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Earlier this year Daphni (aka Caribou, aka Dan Snaith) released a very special FABRICLIVE mix made up of 23 original, unreleased Daphni tracks and four new Daphni edits to widespread critical acclaim.

Today he has followed up with the announcement that he'll be releasing a new full-length album, Joli Mai, on 6 October (NB vinyl coming later..) comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'.

Quarter Inch Homage Slingers

Grammy-winner, Boz Scaggs, known for his silky voice and genre-blending style, takes a refined turn with a jazz-influenced record that showcases his deep appreciation for classic grooves and sophisticated arrangements Blending smoky vocals with laid-back rhythms, the album nods to the cool jazz clubs of the past while keeping Scaggs' signature soul intact. It's a smooth, mature work comprised of Boz's interpretation of classic standards as well as one new original track.

It was December 2015 when Simon Weiss delivered his first EP for Voyage Direct, an impressively intergalactic affair full of supersonic synthesizer arpeggio lines, Motor City influences and robotic drum machine hits. Two years on, the experienced Dutch producer returns to action for the first time since, in the process delivering another quartet of starry-eyed productions.
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Through releases on Deepermotions, Rush Hour and Hometaping is Killing Music, Weiss has established a reputation for combining a deep understanding of dancefloor dynamics with a sci-fi inspired futurist aesthetic. Both of these complimentary traits are much in evidence on his second outing for Voyage Direct.

Weiss blasts off via Brain Fever', where raw, mind-altering arpeggio bass, fuzzy drum machine hits, spacey chords and alien electronics thrust our hero skywards. Think of it as techno for funk-fuelled, Italo-disco loving astronauts whose journey to the end of the universe is only just underway. This intergalactic funk blueprint is explored further on the deeper and more melodious You Want A Cigarette', where Weiss's vocoder vocals wrap themselves around mutant TB-303 lines, rush-inducing chords and clattering machine percussion.

On Space Ghetto (Booty)', our hero celebrates the discovery of previously unknown worlds in the only way he knows how. With kaleidoscopic, full-throttle electronic motifs and funk-fuelled synth-bass to the fore, Weiss offers his own unique take on electrofunk. Pleasingly fuzzy and tightly wrapped in the syncopated drum machine handclaps of ghetto-house, it's a typically far-sighted and attractive proposition.

With just two minutes to go until his spacecraft touches down on alien territory, Weiss rounds things off via the melancholic chord progressions and heartfelt vocoder vocals of Intro', a beat-free excursion just tailor made for dramatic set openings and spine-tingling mix endings. He may be stepping into unknown territory, but it won't be the last you'll hear from Simon Weiss.

Cintura Interna is João Hã’s new release for Sucata Tapes, a work shaped by accident, drift, and unlikely connections. Its guiding notion comes from “Música Careca” (Bald Music) — a strange term apparently used by Jean Dubuffet to describe his own sound experiments. Dubuffet wasn’t a musician, but he was bald; the phrase lingers as an apt description for music that is naïve without innocence: amateur bruitism, soft sound, raw and direct, where intention is left exposed to errancy.
The piece itself came together without project or plan, eventually forming what Hã calls an “accidental Frankenstein” — or perhaps Frankenoise. Built from recordings made more than 15 years ago on cassette and obsolete equipment, mixed with more recent material, Cintura Interna bridges time and decay, refusing diaristic or documentary framing.
As an unexpected detour, the release also includes a version of the garage classic Louie Louie.

" Originally released in 1995, Jimmy Somerville's Dare To Love stands as a powerful statement of pride, passion, and pop brilliance, carried by one of the most unmistakable voices in modern music.

" Dare To Love embodies Somerville's gift for marrying political conviction with irresistible melodies. Produced by Stephen Hague and other longtime collaborators, the album traverses bass-laden house grooves, slower, dubby reggae numbers and classic pop ballads.

" Featuring the UK Top 30 hits 'Heartbeat' and 'Hurt So Good', along with the poignant 'Safe in These Arms', Dare To Love explores love, loss, and identity, both on and off the dancefloor.

" London Records celebrate 30 years of Dare To Love with a full remaster and expended editions :
1. putting the album on double vinyl for the first time 21 tracks. Features previously unreleased b-sides & rarities. Collector Double LP Crystal Clear Curaçao

This exceptional release brings together two of Marcia Griffiths’ most remarkable recordings.

Both tracks originally appeared on her acclaimed debut solo album Sweet and Nice , produced by

Lloyd Charmers and released on Trojan Records in 1974.

These two gorgeous tracks are extremely popular today as highlighted by the hundreds of thousands views on Youtube

but incredibly, this is the very first time these two gems are issued on a 7" single!!

Colin Curtis Jazz Dance Fusion Vol 4

Colin Curtis is back! with another finely curated selection of the best Jazz Dance Fusion records he could find.

Volume 4 reflects a combination of new music, unreleased music, and tracks that have never been on vinyl before or have not attained the recognition they deserve. Packed with great Jazz Dance music from the UK and all around the world. The whole purpose of these compilations is to introduce you to fantastic talent and allow you to then go and explore all their works and keep this movement moving!

With brand new & exclusive releases, extremely rare tracks, and many only available on Vinyl for the first time from Brazil, Cuba, Japan, Italy, USA, UK, and beyond. Showcasing another insight into Colin Curtis's world of Jazz Dance Fusion and highlighting the sheer diversity & talent on offer from Vocal Jazz, Salsa, and Latin Spoken Word to Sambas & Fusion, It's All Here!

"Fasten your Seatbelts for a Jazztastic ride !!" - COLIN CURTIS









i 09: Chris Bangs & Nova Vida - My Only (Geemix) feat. Klei









i 09: Chris Bangs & Nova Vida - My Only (Geemix) [feat. Klei]









[i] 09: Chris Bangs & Nova Vida - My Only (Geemix) [feat. Klei]









[i] 09: Chris Bangs & Nova Vida - My Only (Geemix) [feat. Klei]

It was in Studio 4 of WDR in January 2022 when Simon Oslender first met Steve Gadd during the recording session for the album 'Centerstage'. Guitarist Bruno Muller was also there. The chemistry between the musicians was right from the very first time they played together. At the end of the session, Steve Gadd said to Simon and Bruno: "We'll do more together." And that's exactly what happened! Simon Oslender's highly successful studio album 'All That Matters' was recorded at the end of 2023.

Will Lee was also there on bass, who together with Steve Gadd has been one of the most famous rhythm sections in pop and jazz history for almost 40 years. At the end of the recording session, it was clear to everyone involved: this band had to go on tour to present this music to fans live. In December 2024, the time had come. The band, joined here and there by guests Jakob Manz on alto saxophone and Nils Landgren on trombone, went on tour. All concerts were sold out; the atmosphere in the respective venues was magnificent; thunderous applause and encores in every club or concert hall. Every concert was recorded. Now the result is here. An album full of joy, musicality, spontaneity, creativity, and incredible grooves! 'On A Roll - Live', a concert to take home with you. It doesn't get any better than this!

Hip-Hop history comes full circle with the reunion of Chip Fu, lyrical powerhouse of the Fu-Schnickens, and NBA legend Shaquille O’Neal, famously known in music as Shaq Fu. The duo first made waves in the 90s with the multi-platinum single “What’s Up Doc? (Can We Rock),” a cultural crossover moment that cemented their place in Hip-Hop history.
Now, they return with “Warning” - pressed for the first time ever on limited edition 7-inch vinyl. The record captures the raw, high-energy chemistry between Chip Fu’s rapid-fire delivery and Shaq Fu’s commanding presence, proving that their dynamic still hits just as hard today.
More than a single, this release is a celebration of two icons reunited, bridging the worlds of Hip-Hop and basketball once again. A must-have for collectors, DJs, and fans who lived the moment — or are ready to experience it for the first time

2026 Repress

There's no need to apologise - not when the vinyl in question is as good as this. If you've seen Ricardo Villabos behind the decks of late you'll almost certainly have heard him drop one or more of these superlative edits, as he's been hammering them practically non-stop. You can't blame him. 'Edit 1' is a hypotonic bongo-fest that shimmers and caresses the dancefloor with absolute confidence. 'Edit 2' is a female vocal-led disco-slanted house affair with neatly trimmed, jazzy keys and a perky bassline, while 'Edit 3' looks to the late 70s/early 80s for inspiration with a supercatchy synth motif that Vince Clarke would give his right hand for and some exotic sounding, continental male vocals that round it off superbly. Imagine that Patrick Cowley and Krafftwerk made a tune together and you're in the right area. Put all three together and, well, you've got quite the package.

Another new project coming on Macadam Mambo is the first release of the duo Hun Hun.

Hun Hun are 2 young brothers from Bruxelles who are doing a very special music in an ethno-shamanic-tribal vibe pretty cinematographic. With this first opus, an album of 10 tracks, they bring us on a journey into deep, dark and mysterious atmospheres with natural backgrounds from the forest, beautiful vocals, singular percussions, and rhythms that would easily fit for intro sets at Boccacio in 1988. This album could have been easily released on Crammed Disc in the 80’s, but it has a modern touch from today that makes it a proper gem for Macadam Mambo.

Haute Tension 09 arrives
Les400Coups, a duo made up of Akouphen and Damage Circuits, are back on the grooves to delight us with their very own style! They'll be joined by 2 talented artists, La Tartine and La Gazel.
Tribe fans, this record is for you!

Knob twisters Biesmans & Johannes Albert are back at it with another sun-drenched late summer weapon. This time they shine a "Tangerine Beam" straight onto the dancefloor. Expect a cheeky disco spark that might remind you of something at the core, bouncing rhythms, and a melody so infectious you'll catch yourself humming along after the first round. Both playful and relentless, "Tangerine Beam" connects the dots between timeless disco heat and modern club thunder. One spin and you'll know: this beam is unstoppable. For the vinyl fan, there will be an orange 12" even. When life gives you tangerines...

Manche sagen, es sei Albert Einstein gewesen, der das gesagt hat, aber ich bin mir ziemlich sicher, dass es Hristo Stoichkov war: ,Glück gibt es nicht." Manche Bands leben ihre gesamte Karriere von einem einzigen Song, was Experten als One-Hit-Wonder bezeichnen. Hier würden wir es wahrscheinlich einfach als Strohfeuer bezeichnen, etwas, das uns etwas vertrauter ist. Andere Bands schaffen es, ein oder zwei großartige Alben herauszubringen, vielleicht sogar drei. Darüber hinaus wird es schwieriger, Bands mit mehr als vier soliden Alben zu finden. Diese Bands haben etwas Besonderes, eine Art Magie. Jeder, der sie kennt, hat eine klare Referenz, eine Grundlage, ein Konzept, eine Art, Dinge zu tun, die einen fesseln und in ihren Bann ziehen, genau wie in diesem Fall. CRIMs fünftes Album "Futur Medieval" hält die Flamme ihrer vorherigen vier Alben am Leben. Es ist ein Killer-Album, voller Energie und Leidenschaft. Wie immer gibt es Hymnen, Refrains zum Mitsingen, den charakteristischen synchronen Punch in jedem Song und diese elektrisierenden Gitarren, die von der ersten Note an ihre Trümpfe ausspielen. Wie es in einem ihrer Songs heißt: ,"Nichts Neues?" Na und? Erwachsenes Vergnügen ist genau das, - Jordi "Unclu" Sabatés Ametller CRIM wurde 2011 gegründet und sind wohl die größte Punkband Kataloniens/Spanien. Diese äußerst leidenschaftlichen Musiker haben sich lokal einen Namen gemacht, spielen mittlerweile immer wieder vor Tausenden von Leuten und haben starke Songs, die in vielerlei Hinsicht eine sehr florierende Szene in Nordspanien vorantreiben. Die Popularität von Crim außerhalb Kataloniens wächst rasant, da sich ihre Authentizität in ihrem Sound widerspiegelt und ihr kompromissloser Ansatz in vielerlei Hinsicht universell ist und für Fans leicht erkennbar und einladend, unabhängig davon, welche Sprache sie sprechen. Jeder, der diese Band live gesehen oder ihre Alben gehört hat, kann die Kraft und Energie bezeugen, die sie besitzt. FFO Cock Sparrer, Leatherface, Social Distortion CD, klassisch schwarzes oder mehrfarbiges Vinyl!

The Chopped Not Slopped version of early contender for 2025 rap album of the year, Life Is Beautiful, by hip-hop heavyweights Larry June, 2 Chainz & The Alchemist. Pressed on stunning Translucent Purple vinyl, this 1xLP is the perfect collectors item for any fan of the Houston Chopped & Screwed Culture. Chopped by Houston royalty OG Ron C & The Chopstars, the 11 track album is resequenced and sprinkled with his own twists throughout. Limited to 2000 units worldwide and likely never pressed again.

In 1979, Johnny Thunders, renowned Heartbreakers and New York Dolls guitarist, teamed up with Wayne Kramer, the legendary guitarist of Detroit"s seminal MC5, to form "GANG WAR" - an alliance that lasted the best part of a year. Johnny had just released his So Alone album, and Wayne was not long out of jail after serving two of four years for a coke bust. Although Gang War released no records and were without a label - at the time they were an underground act - in retrospect the collaboration is looked on as a "rock fantasy" supergroup. These live Toronto, Boston & New York recordings bear testimony to this unique partnership between two celebrated rock guitar icons.

Reissue of the very first album ever released by Sly & Robbie’s iconic TAXI label back in 1979.



"Having saved enough money during a tour with Peter Tosh to buy 4 multitrack recording tapes, Sly & Robbie asked Gregory to voice a few songs for them. Because they had played on so many of his hits, Gregory generously agreed to do it for free to help bootstrap the new TAXI label.

In 1979, Gregory Isaacs was by far Jamaica’s most popular artist, earning his "Cool Ruler" nickname many times over releasing hit after hit, most of which were produced with Sly & Robbie, who at 25 years of age were already the hottest backing band. Out of these sessions came hits like "Soon Forward", a fabulous cover of Bob Marley’s "Slave Driver" and 4 other potent tracks. There were no flimsy soul or pop covers: Gregory Isaacs, whose voice and range were at their peak, sang with clarity, depth, verve and confidence, with no unnecessary mannerisms.

A must have for any serious music fan, this crucial album features extended so-called "Discomix" versions of all the songs, providing listeners with a generous serving of the Riddim Twins drum and bass extravaganza. In addition to the original album, we have added 3 dub versions that were only released in Jamaica, as B Sides of singles, in 1979. These have never been reissued until now and provide a fascinating glimpse into Sly & Robbie's drum and bass sound, which revolutionized Reggae music at the time."

2025 Repress

First release from the Portuguese vinyl only label, Dreams Come True. Born from the childhood dream of his mentor Ostinato, DCT aim to reflect his passion for vinyl records and electronic music. For this first release, nothing better than bring together friendship, passion and talent. In the last couple of years Floog and Ostinato became close friends and crafted this release togheter.

The original tracks from Floog reflect all his versatility fusing minimal with some spicy and tasty vocals, following a different path of the classic rominimal sound. The remixes are the reflection of the label owners personal taste.

Antraum (Traumer and Anton) did a huge remix with an infectious groove, a huge bassline, and certain sound complexity that makes you dance from the first to the last beat. Ted Amber its for sure one of the bastions of the classical Rominimal sound. This remix shows all his talent to build unique vibes in each release he does. Dreams Come True is now unleashed, and we ll keep sharing them with you.

Frederiksberg Records is proud to announce the long-awaited reissue of Ambonisye Lord Shepherd"s 1981 debut album, "Evidence For Real", a deeply personal and spiritual fusion of Soul and Jazz that has remained a hidden treasure for more than four decades.

Clear Vinyl. Luxurious jacket with embossed logo and details plus cut-out on the side. Explore an emotional sci-fi game with a unique blend of survival, adventure, and base-building elements. Help the sole survivor of an ill-fated space expedition create alternative versions of himself to escape a hostile planet and tackle personal turmoils with this unconventional crew. 11 bit studios, the creators of the award-winning games This War of Mine and Frostpunk, present The Alters, an ambitious sci-fi survival game with a unique twist. You play as Jan Dolski, the lone survivor of a crash-landed expedition on a hostile planet. To survive, you must form a new crew for your mobile base. Using a substance called Rapidium, you create alternative versions of Jan -The Alters- each one shaped by a different crucial decision from the protagonist's past. The one-of-a-kind soundtrack for The Alters was created by Piotr Musial best known for his compositions for games like The Witcher, Frostpunk and This War of Mine. For The Alters, Musial chose to stray from the obvious path when it comes to this genre of games and head for something more original: "While many sci-fi soundtracks these days favor the sound of analog synths, the idea behind the music of The Alters was a bit different. We wanted the music to feel more untraditional and mix digital, glitchy elements, unstable reverb with organic sounds, all of which together could support this unique story." With this approach, Musial dove deep into the world of The Alters to turn abstract ideas and atmospheres in very concrete music: "We aimed for the planet to feel overwhelmingly strange and hostile at first. The music starts as more abstract and based on dense atmospheric sound design. Our circular base, a place of safety and comfort inspired to create a theme that 'goes round' by a repeating leitfmotif. You will always feel at home there, unless there's something bad happening, and that's where the theme will get changed, broken." Musial further explains: "One of the key elements we get to discover in the game is the Rapidium crystal. A strange mineral, with yet unexplored properties. We felt like it could have its own theme too, and therefore, wherever you find it, it 'sings' to you with it's strange, bassy voice, supported by a trace of live recorded strings, that were digitally destroyed to create this translucent texture, that sound unlike the real thing. A glitch crystal, is what they call it after all. But the more we explore the planet, the more the story we uncover. We wanted the music to gradually gain momentum and show the leitfmotifs more often, guiding you through emotional moments, fun moments, tough ones, reaching a grand finale. I hope you'll enjoy this ride." Enjoy playing and listening to The Alters!

Fobos Hailey is the sound of a new era. Reminiscent of the anti-authoritarian, boundless soundscapes of the early '90s, his music carries an infectious, ethereal flair of self-determination. Bulletproof oozes liquid confidence and swagger — it's the kind of sound that lights a fire in your belly. Throw it on your sound system, and you'll be dodging bullshit like Neo dodges bullets in The Matrix. Fobos Hailey elegantly showcases the breadth of his production — from heavy-hitting bangers to self-reflective, contemplative jams. Get ready to be dosed with some of the freshest sounds of 2025. This masterful LP reimagines the rave sound we love from the past and pushes it into a future-facing, modern form.

Tremor erscheint zu einem Zeitpunkt, an dem Averys Arbeitspensum für Außenstehende kolossal erscheint. Als Produzent, DJ, Musiker und Remixer, der ständig mit anderen zusammenarbeitet, hat er kürzlich DRONE:NODRONE von The Cure neu interpretiert, wofür er allgemeine Anerkennung erhielt. Seine Arbeit als eines von drei Mitgliedern von Demise of Love (eine Gruppe, die gemeinsam mit Ghost Culture und Working Men’s Club gegründet wurde) liefert derzeit den Soundtrack für die verschwommenen, undurchsichtigen Ränder der Tanzflächen auf der ganzen Welt. Das Album ist Averys erste Veröffentlichung bei Domino.

Die Platte ist voller unerwarteter Kollaborationen, darunter: Yeule, Art School Girlfriend, Ryan von bdrmm, Yune Pinku, Cécile Believe, Walter Schreifels von Rival Schools, Julie von New Dad und Alison Mosshart. „Tremor” wurde teilweise von David Wrench und teilweise vom legendären Alan Moulder gemischt. Es ist ein Breitwand-Album, auf dem sich Daniel mehr denn je auf Instrumentierung stützt und diese Klänge mit seiner charakteristischen, dunklen, techno-ähnlichen Produktion ergänzt. Es gibt wunderschöne melodische Parts, große elektronische Hits, härtere Grunge-Parts und wunderschöne Ambient-Momente, die einen wieder zur Ruhe kommen lassen.

Finally, back on vinyl after 20 years! Skunk Anansie’s seminal 3rd studio album Post Orgasmic Chill was released in 1999 when the band were at the height of their powers - the tour around this album saw the band headline Glastonbury. The album includes classics such as Secretly, Charlie Big Potato and You’ll Follow Me Down.
Gatefold sleeve with printed inner bag.

In March 2025, "On the Love Beach" held a highly successful solo concert in Shanghai and Beijing with Toushi Naoki.
2025 marks the 30th anniversary of their memorable debut album, "On the Love Beach," and the band's three first albums will be reissued on CD and vinyl!

All three albums are made using the original master tapes, and each has been thoroughly remastered under the supervision of Shinji Shibayama for high-quality
sound!

Shinji Shibayama, who played drums for IDIOT O'CLOCK, a stalwart band in the Kyoto underground scene in the early '80s, founded Orgu Records in 1986
and released "Eat Meat, Take a Vow" under the name "Hallelujahs," formed "On the Love Beach" in 1992. This 1995 debut album by "On the Love Beach"
deserves to be passed down to future generations.
"On the Love Beach," which took approximately three years to complete due to its 24-channel multi-track recording, truly marks the origin of "On the Beach"

It was during the production of this album that Shibayama met his partner, Masako Takeda. Starting with the classic song "Nagisa no Watashi," born from that inspiration,

this masterpiece, with its kaleidoscope-like polyhedral structure, is the result of a meticulous reconstruction of the musical essence of Shibayama's

personal history, including GS, Showa-era pop, progressive rock, contemporary music, and psychedelic influences. The album also features a superb cast of

guest appearances, including Naoki Toshi, Kenichi Takayama "IDIOT," Chie Mukai, and Fuyuri Kudo.

While the 1995 album LP was a low-sounding cut due to its 54-minute running time, this analog reissue features a 2LP cut for superior sound quality.
The D-side includes the obscure classic "Woman," which was only available on CD at the time, and the album has been reborn as a timeless, complete version
worthy of the 30th anniversary of its release! Of course, the CD released at the same time is also a high-quality version with the same remastering!

Im Juli 1955 reiste der damals 19-jährige Luciano Pavarotti zusammen mit seinem Vater und einem Chor aus
Modena nach Wales, um am Llangollen International Musical Eisteddfod teilzunehmen. Dort gewannen sie
den Wettbewerb der Männerstimmen mit großem Abstand. Dieser besondere Moment inspirierte Pavarotti,
professioneller Sänger zu werden. 40 Jahre später, im Jahr 1995, kehrte er zurück, um während der
Eisteddfod-Woche ein besonderes Konzert im Pavillon zu geben. Diese Aufnahme dokumentiert das bisher
unveröffentlichte, historische Konzert. Zu der versammelten Menge im Pavillon sagte Pavarotti: „40 Jahre,
mein Gott, es fühlt sich an, als wäre es gestern gewesen. Ich habe so viele Dinge getan. Wenn Journalisten
mich fragen, welcher Tag in meinem Leben besonders war, dann sage ich, es war der Tag, an dem ich
diesen Wettbewerb gewann, weil ich mit all meinen Freunden zusammen war.“
Die Sammlung präsentiert ein Programm voller Arien aus Cavalleria rusticana, Il trovatore und Macbeth
sowie bekannte neapolitanische Lieder. Sie enthält außerdem zwei Tracks aus dem Jahr 1955, die als die
ältesten Aufnahmen von Luciano Pavarotti gelten. Das beiliegende, 100 Seiten starke Buch bietet einen
lesenswerten Essay von Maestro Mark Wilkinson über dieses historische Konzert sowie seltene historische
Fotos aus dem Llangollen-Archiv. Die SACDs in dieser Box sind hybrid und verfügen über eine PCM-AudioEbene, die auch auf Standard-CD-Playern abgespielt werden kann, sowie über eine DSD-Ebene.

2025 Repress

DJ Koze exists both above and beyond club culture as we know it - his albums and remixes flying free from genre and trend - and symbiotically woven into its heart. Yes, he always abstracts and weirds out the principles of house, techno, hip hop, pop, psychedelia, exotica and so forth, but he does that because he understands them. And when it comes to club-demolishing tracks, he understands those principles as well as just about anybody on earth. Thus he could create an enduring club tune like 2015's 'XTC' that is strange, contemplative, even disturbing, bore little relation to anything around at the time, yet still got bodies moving and sweating better than way more obvious techno bangers. And thus the Knock Knock album, which melts a million genres and none into one another, can comfortably include 'Seeing Aliens". 'Seeing Aliens' unquestionably is a banger, its bass riff snaking around your body like a python, its high-drama strings, pianos and outbursts of noise designed for maximum crowd pressure release. But, again, it sounds like nothing else, and its dynamics and twists unfold over eight and a half minutes in ways that will mess with your head every time no matter how many times you hear it. The exclusive b-side track, 'Nein König Nein' ("No King No"!), meanwhile, is slightly gentler on the face of it: it's less about sonic pressure, more about hip-shaking syncopation. But it too tells strange fairytales in its peculiar and brain-tweaking accumulation of detail, and though you'll hear archetypal sounds from the heart of house and disco in it, every last one of them becomes new and otherworldly.

Cindy Lee, the performance and songwriting vehicle of Canadian artist Patrick Flegel (who fronted influential indie group Women earlier), previously stunned listeners with Act Of Tenderness, a heart-wrenching statement informed by the noirish core of celebrity, and has continued to enchant with every album, including the startling What's Tonight To Eternity released earlier this year.

Model Express originally appeared as a self-released edition of 100 gold cassettes. The arch, filmic drama of Cindy Lee's songwriting – realized with keyboards, guitars, aching voice and collaged, lo-fi production – traverses a wide range of emotional and sonic terrain. The red velvet psych-pop of "What Can I Do" gives way to the fluid "Diamond Ring" like radio bursts from space. Model Express finds Flegel at both their most experimental and immediately melodic, and this first-time vinyl release recognizes the collected tracks as a pillar in the Cindy Lee catalogue.

Cindy Lee (who uses the gender neutral pronoun they) is a drag persona drawing on suburban closet queens and mid-century divas. In keeping with Flegel's interest in the faultlines of identity, gender expression, performance and media, Model Express delivers an intense and diverse set of unforgettable songs.

»Lilac« is the first Donna Regina album since 2019’s »Transient.« The world has changed considerably since then, which has also left its mark on the Berlin indie pop duo. The songs released as part of the 2021 single »Welt in einer Stadt« (»World in a City«) for Karaoke Kalk had already dealt with the pandemic-induced standstill and its effects on urban space, and also the rest of the album shows that Günther and Regina Janssen have been influenced by recent social and political developments. »In ›Lilac,‹ I imagine good ol’ Earth as a big ol’ bear shaking us off because it can’t stand us anymore,« says Regina Janssen. It has become a serious album, Günther affirms, but he is also adamant that it is not a sad one. Musically, Donna Regina have remained true to the spirit of their early work, recently re-released by Karaoke Kalk: their arrangements are as minimalist as they are emotionally rich.

»The music is always there,« says Regina Janssen about the creation of the tracks on »Lilac.« As always, the two record their music »track by track and without computers,« as Günther notes. Samples play a smaller role this time than on earlier albums, with analogue instruments such as a monophonic synthesiser and, above all, guitars coming to the fore again. This frames lyrics that are being delivered by Regina in German, English, or in both languages. They delve even further into the intricacies of urban life. »Cities are underrated! What a civilisational achievement it is to have so many people living under one sky,« says Regina. »They constantly put you in touch with the unfamiliar. Sometimes they’ll be overwhelming, and they are always alive.« This ambivalence shapes the tone of the album that ponders on the state of the world today.

Starting with the ominous sounds of »Whole World In My Town,« through the dreamscapes of »Autumn In Paris,« to the elegiac conclusion of »No More Roses,« Regina and Günther Janssen move through different timbres and styles with a few select means. Their preference for minimalist electronics becomes evident at times, while elsewhere the pieces open up to balladic arrangements in which the guitar plays a leading role. This turns »Lilac« into a city by itself, the songs forming its soundscape: every neighbourhood looks different, every street has its own character.

Manchmal geht einfach alles POP! Fall in Love Again with "Balloon Balloon Balloon"! Unterwerfung. Das ist das Wort, das mir in den Sinn kommt, wenn ich mich mit Kai Slaters Sharp Pins auf den überwältigenden Pop-Planeten begebe. Das Universum funktioniert nur, wenn man sich unterwirft: sich der Liebe unterwirft, sich der Rockmusik unterwirft. Sich der Kraft zu unterwerfen, die von einem Jungen ausgeht, der seine Gitarre schwingt, um makellosen Gitarrenpop zu kreieren, der ins Pantheon der Idole gehört, zu denen er mit diesem Album aufsteigt. Natürlich ist es verständlich, dass man zunächst wütend ist. Alle waren wütend auf Big Star, weil sie den Beatles zu nahe kamen. Und alle werden wütend auf Sharp Pins sein, weil sie dasselbe tun und dann noch Guided by Voices mit ins Spiel bringen. Wie kann er es wagen? Diese Überheblichkeit. Welcher 20-Jährige glaubt, er könne Robert Pollard übertrumpfen? ,Queen of Globes and Mirrors?" Ein Verbrechen. Mit dem noch schlimmeren Verbrechen, Songs zu schreiben, die so rätselhaft zeitlos sind, dass man glauben könnte, sie seien aus einem verlorenen Beatles-Band gestohlen worden. ,I Don't Have the Heart" und ,(I Want to) Be Your Girl" lassen einen wirklich im Unklaren darüber, wann und wo sie entstanden sind. Aber wenn der Lo-Fi-Noise-Pop von "Balloon Balloon Balloon" uns an etwas erinnert, dann daran, dass nur Kai das kann. Mit seiner 12-saitigen Gitarre und seiner unermüdlichen Besessenheit von Popmusik ist Slater einzigartig ausgestattet, um nicht nur von Pollard und Chilton das Erbe anzutreten, sondern auch den Byrds, den Temptations, den Four Tops und allen anderen Künstlern nachzufolgen, die versuchen, die wahre Liebe auf Band zu bannen. Er wendet die Taktik ,um Vergebung bitten, nicht um Erlaubnis" an, wenn er sich bei diesen Größen bedient, und uns bleibt nichts anderes übrig, als Slater zu vergeben, dass er uns diese Rock'n'Roll-Juwelen schenkt, die er aus der Vergangenheit in eine Zukunft katapultiert, die so melodisch makellos und doch kantig und aufrichtig ist, dass wir ihm auch dafür danken müssen, dass er das Genre vor der Bedeutungslosigkeit bewahrt hat. Denn was Slater hinzufügt, ist ganz und gar sein Eigen. Eine unbeschreibliche Sensibilität für das Songwriting, die trotz der zahlreichen Anleihen nur ihm gehören kann. Am Ende des Albums schluckt man jegliche Wut oder Ungläubigkeit, die man vielleicht hatte, und akzeptiert, dass Sharp Pins wirklich so gut sind. Auf diesem umfangreichen, aber niemals überladenen Album erschafft Slater eine Welt voller kleiner Pop-Perlen, die so einfach und dumm gut sind, dass sie uns daran erinnern, dass eine andere Welt möglich ist. Denn es ist nicht nur so, dass die Songs unmöglich aus dem Kopf gehen, was sie auch sind. Es ist Slaters eigene Hingabe an dieses Streben nach dem perfekten Popsong, die uns glauben lässt, dass dies nicht nur möglich ist, sondern auch ausreicht, um dem Leben wieder Form und Farbe zu geben. Fall in Love Again ist keine Empfehlung, sondern eine Verpflichtung. Nicht nur gegenüber einem schönen Mädchen, von denen es auf dem Album viele gibt, sondern gegenüber der Welt selbst. Vielleicht ist es dann möglich, die Zukunft zu erreichen, von der der 20-jährige Slater selbst träumt, aber bis dahin haben wir seine Liebesbriefe an den Rock'n'Roll und die Welt um ihn herum, die uns Gesellschaft leisten.

Das 2024er Album des irischen Indie-Folk-Singer/Songwriters Fionn Regan wird erstmals auf Vinyl erhältlich: "O AVALANCHE" ist voller schwebender Intimitäten, abstrakt und intuitiv, durchdrungen von einem Gespür für die erhebende Verbindung zwischen Umgebung und Emotionen. Zwischen sonnendurchfluteten Kulissen und leuchtenden Arrangements entstand eine Reihe wundervoll-erhabener Songs. Koproduziert mit Ian Grimble (Travis, Manic Street Preachers, Texas), schafft Regans abseits gelegenes Gespür für Klima und Landschaft einen weiteren kreativen Höhepunkt und ein Album, in dem man sich verlieren kann.

Moving freely through time and space via experimental DIY recordings since 2009, Joasihno return with their fourth album "Spots".

“Find your spot in the shade,” a truly laid-back and incredibly soft-spoken MC once advised, yet in a world that seems to get shadier every day, it’s probably time to finally get out and face the sun. Southern German experimental pop duo Joasihno – initial solo founder Cico Beck (The Notwist, Aloa Input, Spirit Fest) and drummer/composer Nico Sierig (Instrument, Fehler Kuti) – seem to know exactly when it’s time to shine. Idiosyncratic genre tweakers since day one, they have been operating at their own pace, mostly staying in their own shady corner. Yet, almost a decade after their most recent “Meshes” (an album that came with a whole legion of tiny music robots), it’s high time for them to take over more corners, to reclaim even more spots between lo-fi and sci-fi, retro electronica and contemporary classic. Drawing upon influences as varied as Reich, Riley, and Ryuichi, múm, Meek, and Moondog, while also nodding to other experimental twosomes (e.g. The Books), the duo’s fourth full-length “Spots” is set to arrive via Alien Transistor in late 2025.

Leaving soulless automation and all things artificial to others, Joasihno launch the latest record on “2 Squares” that feel like a peaceful, almost bucolic version of retro space age: lights blink ever so softly as easy-going bass tones point at today’s introspective flight arc. Electronic shapes align and things lift off – with a majestic 8-bit sunrise soon appearing right in front of us. Whereas playful title song “Spots” is a miniature Rube Goldberg kind of device, with quirky plucked strings and glitches setting off more and more contraption layers, “Crackleboom” is uncharted energy, an open landscape, an expanding bonfire that leads to a long-forgotten piano, all dust-covered in some kind of saloon. Space might be only noise to others, here, it’s foreboding screeches (“Dizzle Whistle”) that make room for A-side center piece “Forest Lights”: a steady beat that lures us to a clearance in the woods. Things break and shatter in the distance, but this spot right here is for hypnosis, dancing, sylvan spirits. And yeah, it’s surprisingly hot down here in the undergrowth…

Opening side B with a fun banger that takes the unhinged dancing to the playground – “Characa Orb.” feels like French kids on swings going crazy, a tipsy, tongue-in-cheek electro blow-out between Oizo and Orbis Tertius –, things get even more cinematic throughout the second half. Even the cheapest, lo-fiest gear is sufficient to make “The Slow Hour” glow like true, timeless pop royalty. In fact, the very same pop spirits roam and celebrate freely in the chirpy coves of mesmerizing “Detune Lagoon” – more hand-crafted sci-fi/lo-fi loops you’ll only find after facing the ghosts of Lynch or Sakamoto on those night-time trails under the “Deep Moon”. It’s all DIY spots, spots that leave room to dream or dangle, drape yourself over or dive into. Returning to the leafy bower on a melancholy post rock tip, we eventually learn that “Death Is Real” – and so we’re left with a laterna magica that turns and turns and turns. It’s a beautiful spot where light and shadows keep on dancing, just like they’ve always done, ever since the dawn of this madcap universe.

With over 1 million social media followers!!
Idol project "fleuЯR" by Ichika Matsumoto and Sumire Kuramoto.
The divine song "Suki Sugiru" will be released on a 7-inch record!

Ichika Matsumoto and Sumire Kuramoto's idol project "fleuЯR" launched in earnest with a digital release in May 2025 and a CD release in July.

Once you hear it, you'll be hooked on these sublime melodies!
The miraculous, classic idol pop song "Suki Sugiru" and the killer tune "Ashita Kumori no Chi" (After Clouds Tomorrow), featuring the perfect interplay
between the two vocalists, are finally available on a 7-inch record!
Lyrics and music by Taisei Osaka, who has written songs for artists such as SMAP.
Arrangement by Seiji Muto, who has worked on numerous hits, including AKB48's "Koi Suru Fortune Cookie"
The ultimate idol pop song from a team of incredible writers!

Sonetos del Amor Oscuro is an ode performed by four enchanted souls who have intertwined their hearts and conjured harmonies and rhythms that wander endlessly among the spellbinding words of a poet from Granada... Federico García Lorca;
He wrung, pushed and vibrated words like tectonic plates, transforming plains into poetic mountain landscapes. He then covered them with a Moorish carpet of snow crystals and had them reflected by the dark locks of hair of a gypsy girl from Albaicín who, with a voice forged in gold and silver, sings her little sister to sleep with a soothing lullaby.

Helena Casella – vocals
Myrddin De Cauter – flamenco guitar
Stijn Kuppens – cello
Stefan Bracaval – flute, bass flute

Helena Casella, the Belgian-Brazilian vocalist with a deep, soft and warm voice, translates her multicultural background and personal thoughts into music in a passionate, soulful and refined way. With her roots in an exceptionally musical family, her music exudes this unique heritage. She effortlessly interweaves genres such as R&B, soul, hip hop and modern jazz, while remaining true to the vibrant sounds of Brazil, an essential part of her roots.
Her debut album was released earlier this year on W.E.R.F. records.

Myrddin De Cauter's music is deeply moving, complex, passionately rhythmic and deeply emotional. He has mastered the compás of flamenco, which gives him the freedom to converse with elements from jazz or classical music. His speed sometimes seems otherworldly, but those who take the time to listen closely to his music will quickly discover an immense world of pure emotion, beauty and tranquillity. After six albums and countless concerts, Myrddin proves that great virtuosos do not necessarily have to come from Spain. At the tender age of eleven, his father taught him to play the clarinet in jazz and gypsy swing style; he became part of the family orchestra and gained his first experiences on stage. A classical melody composed on the guitar prompted him to ask his father to teach him the basics of flamenco guitar. Soon after, Myrddin seemed ready for the real thing and went to Andalusia to learn from Manolo Sanlucar and Gerardo Núñez. This inspired him to compose in his own unique language, deeply rooted in the pure flamenco tradition but enriched by boundless creativity.

Stijn Kuppens is a cellist, composer and producer. In his own genre, which he describes as non-classical cello, he uses the cello in his own unique way. His profound knowledge of the complex history and techniques of the style is clearly audible: Kuppens' mastery of classical music is evident in every note he plays, whether he is performing solo or collaborating with other musicians. His skill as a musician and ambition to explore the boundaries of conventional classical music is evident in his ability to seamlessly blend different genres.

Stefan Bracaval is a classically trained flutist who graduated from the Royal Conservatory of Antwerp. His fascination with the expressive potential of improvisation led him to jazz, where he became a self-taught jazz flutist. Bracaval has collaborated on projects with prominent jazz figures such as Charles Loos, Bert Joris and the Brussels Jazz Orchestra. In addition, he worked as a soloist and arranger with the VRT Radio Choir in 2016. Bracaval leads the Stefan Bracaval QU4RTET, which emphasises the flute as a central jazz instrument and brings new repertoire rooted in jazz traditions.

Live
31/10/2025 – Café Silverio, Gent (BE)
15/01/2026 – Kloosterkapel Diepenbeek (BE)
16/01/2026 – ‘t Ey, Belsele (BE)
17/01/2026 – Sint-Luciakerk (kerkconcerten Merode), Engsbergen (BE)
23/01/2026 – Muziekcentrum Dranouter (BE)

Thelonious Monk once famously said "the piano ain't got no wrong notes", and this mantra is evident in his playing: full of angular, challenging harmonies combined with a harsh and percussive technique. Though his style of playing was unorthodox, he could also play runs and arpeggios with great speed and accuracy. All in all Monk would prove to be a long-lasting influence on jazz piano. All this is highlighted on 1967's Straight, No Chaser, Monk's sixth album for Columbia. On it, you'll find the album's namesake "Straight, No Chaser", a composition by Thelonious himself that became one of the most important blues-based standards in the jazz repertoire. Furthermore, the album features "Japanese Folk Song", a two-century old tune that Ryan Gosling's character is practicing in the movie La La Land. Charlie Rouse plays the tenor saxophone and the liner notes are writting by jazz writer and producer Orrin Keepnews. Straight, No Chaser is available as a limited edition of 2500 individually numbered copies on crystal clear vinyl and comes in a deluxe, heavy duty sleeve.

Slip is Paul Abbott’s response to his 3 day residency at OTO in 2023. It’s a continued exploration of the acoustic-digital hybrid drum setup Abbott has been developing for some time, which involves drum kit and synthetic sounds combined closely—through an entanglement of limbs and cables—in an intimate but strange relationship with each other.

Paul Abbott hasn’t had any formal musical training, but has a long history of making music, having collaborated for years with Seymour Wright, Pat Thomas, Michael Speers, Cara Tolmie, Anne Gillis and many others. Eventually, led by a profound suspicion of what is fixed or limited, Abbott began finding other ways to organise sound - or what he calls ‘material’:

“I wanted a way to 'persuade' or guide the possibility of something happening - my activity or the events of an algorithmic composition - for example, but without certainty or formalism. It felt to me, during playing, that certain ideas had a particular sort of shape, but more than the form of a line. I began to write alongside (before/after) playing the drums, and ‘characters’ began to enter the scene as a more wobbly, and therefore appropriate option to notation. Working with these characters allowed me to simultaneously approach body, imagination, language and music: without dividing things up or separating these aspects from each other. It allowed me to leave things messy and entangled, whilst trying to deal with form and specificity: wanting to have some things feel or respond differently to other things at other times.”

In approaching his residency, Abbott developed a fixed cast of characters - crystal, lleaf, reiy.F, reiy.C, strike, nee, qosel, sphu and aahn. They each communicate using different kinds of movement and drum kit/s, and Abbott choreographed them as ‘dances’ based on different feelings, or outlines of behaviours suggestive of ways of moving (body, drums, sounds). He then arranged these characters into ‘compositions’: one for each performance day, with each composition featuring multi-layered activity - options for behaviours, ways to move around the rooms, play drums, develop synthetic sounds, change the lights or re-distribute the sound in the space.

After the performances, Abbott took home 9 hours of recordings split into up to 28 multitrack channels for each day, and re-organised his cast once more into a performance for 2LP, CD and digital. It’s an enormous amount of work - but Abbott is activated by the process. For him, the pleasure of unstable edges, possibilities, slippages, is the vital attraction. Like all living organisms, Abbott’s characters have malleability and responsivity. They stimulate a bundle of possible behaviours, a tendency to act a certain way, a temperament, a boundary of respective limits or affordances.

It’s an affective way of working, inclusive of Roscoe Mitchell, Sun Ra, Nathaniel Mackey and Milford Graves. In ‘Pulseology’(2022), Milford Graves reminds us, ‘Breath varies, so cardiac rhythm never has that (metronomic) tempo. It’s always changing. All the alignments of the heart are determined based on the needs of the cells, specifically tissues and organs. The heart knows if it needs to speed up.’ In Slip, to slip, in a heartbeat, is to descend not into the grid of the even metre accorded to the heartbeat, but into a play of mutability and modality. To change is the condition of the heart.

This exclusive repress comes as a special edition limited vinyl in red, yellow, and white splatter - the signature Peacemaker colours. The Cruel Intentions are finally re-issuing their long sold-out debut album No Sign of Relief! The band has gained massive international attention after being featured on the soundtrack of HBO Max's hit series Peacemaker, directed by James Gunn. On "No Sign of Relief" you'll find the tracks Jawbreaker, Borderline Crazy, Sick Adrenaline and Reckoning - four songs personally handpicked by Gunn for the series. This exclusive repress comes as a special edition limited vinyl in red, yellow, and white splatter - the signature Peacemaker colours. "No Sign of Relief" is an album bursting with confidence and energy that instantly rubs off on the listener. It's groovy, angry, cheeky, and fun - music that sparks emotions of rage, joy, confidence, and pure excitement.

With her ninth studio album, Irish-born, Edinburgh-based singer Heidi Talbot pays tribute to strength, resilience, and inspiration - from legendary figures to the unsung heroines within her own family. Rooted in both personal experience and collective lore, the collection weaves stories of women legendary and intimate. The warrior queen Grace O"Malley (Gráinne Mhaol), the goddess Brigid of Co. Kildare, and Anna Parnell, leader of the Ladies" Land League, appear alongside Talbot"s grandmother Kathleen, whose recorded voice opens the closing track. Throughout, themes of resilience, love, ancestry, and grace echo across time. Following the critically acclaimed Sing It For A Lifetime, Grace Untold continues Heidi Talbot"s evolution as a songwriter of remarkable honesty and depth. It is a record of stories - whispered and sung, remembered and reimagined - a woman"s tribute to all women who have inspired, protected, and passed the song forward.

MD008 is here! — a bold new chapter in theever-evolving world of re-edits. This latest instalmentis a masterclass in versatility and emotion: four distinct cuts, four immersivesoundscapes, each crafted to ignite the dancefloor in its own unforgettableway. From hypnotic vocal firestorms to cinematic tributes, MD008 is a recordthat transcends trends and celebrates the timeless art of groove. Vinyl-only,limited edition — a future classic in the making.



A1 –TVGLips
A relentless vocal workout built to commandattention from the very first beat. “TVGLips” is a powerhouse opener —hypnotic, high-energy, and unapologetically intense. Its driving rhythm andsoaring vocal lines lock dancers into a euphoric trance, pushing momentumhigher with every bar. A weapon of choice for peak-time sets.



A2 –Tu Sei
Radiating pure nostalgia, “Tu Sei” channelsthe neon-lit spirit of the 1980s with a contemporary twist. Shimmering synths,heartfelt melodies, and a groove steeped in retro romance make this track anirresistible dancefloor moment. Equal parts cinematic and soulful, it’s a loveletter to a bygone era — and a timeless anthem for now.



B1 –Inquinada
Where new wave attitude meets disco power.“Inquinada” is a darkly seductive cut that pulses with underground energy — rawbasslines, mechanical percussion, and shimmering synth layers collide to createa sound that’s both nostalgic and futuristic. Perfectly balancing edge andallure, it’s a track that keeps the floor moving deep into the night.



B2 –Gatto Fresco
Closing the EP is aheartfelt homage to one of music’s greatest icons. This is a tribute toFreddie, and it’s pure celebration — anthemic, uplifting, and full of life.With its soaring melodies and infectious groove, it captures the unbreakablespirit and theatrical brilliance of Freddie’s legacy, leaving dancersexhilarated and inspired as the lights come up.



LimitedEdition, Vinyl Only
True to form, MD008 ispressed in strictly limited quantities — once it’s gone, it’s gone forever.Collectors, selectors, and lovers of the edit craft: this is a piece you’llwant in your collection.

Back in 2023, I picked up a record by Jacob Dwyer — I was completely captivated. His lyrics weren’t just words; they were portals. I had to track him down. After some digging, I made contact — and asked him if he would like to collaborate with me.

He said yes.

Fast forward through months of back-and-forth, and then it landed — in my inbox — Tom’s House: a one-hour audio-drama written and performed by the incomparable Jacob Dwyer. It’s a hypnotic, surreal journey through the mind of someone returning home after 15 years — disorienting, poetic, and fully immersive.

To accompany this masterwork, I put together my take on Canon HF10 — 12 minutes of deep, rolling tech grooves, bouncing acid basslines, freaked-out synths, and lyrical gold. (“He demanded a fried egg sandwich…”)

Flip to the B-side and things get wild with The Baby Legit Upside Down — a full-tilt burner packed with razor-sharp 808 electro/techno drums, squelchy 101 bass stabs, swirling pads, and an evolving sub that’ll shake the foundations. Dwyer’s voice threads through the chaos with uncanny flair — bizarre, brilliant, unforgettable. The title means what it says.

We close the EP with Red Flowers — slowing the tempo, diving into squelchy breaks and textural weirdness, as Jacob drops in snippets of conversation with his sister, alongside more sharp, off-kilter reflections on Tom’s House.

Check the full audio-drama: Jacob Dwyer – Tom’s House

Manche sagen, es sei Albert Einstein gewesen, der das gesagt hat, aber ich bin mir ziemlich sicher, dass es Hristo Stoichkov war: ,Glück gibt es nicht." Manche Bands leben ihre gesamte Karriere von einem einzigen Song, was Experten als One-Hit-Wonder bezeichnen. Hier würden wir es wahrscheinlich einfach als Strohfeuer bezeichnen, etwas, das uns etwas vertrauter ist. Andere Bands schaffen es, ein oder zwei großartige Alben herauszubringen, vielleicht sogar drei. Darüber hinaus wird es schwieriger, Bands mit mehr als vier soliden Alben zu finden. Diese Bands haben etwas Besonderes, eine Art Magie. Jeder, der sie kennt, hat eine klare Referenz, eine Grundlage, ein Konzept, eine Art, Dinge zu tun, die einen fesseln und in ihren Bann ziehen, genau wie in diesem Fall. CRIMs fünftes Album "Futur Medieval" hält die Flamme ihrer vorherigen vier Alben am Leben. Es ist ein Killer-Album, voller Energie und Leidenschaft. Wie immer gibt es Hymnen, Refrains zum Mitsingen, den charakteristischen synchronen Punch in jedem Song und diese elektrisierenden Gitarren, die von der ersten Note an ihre Trümpfe ausspielen. Wie es in einem ihrer Songs heißt: ,"Nichts Neues?" Na und? Erwachsenes Vergnügen ist genau das, - Jordi "Unclu" Sabatés Ametller CRIM wurde 2011 gegründet und sind wohl die größte Punkband Kataloniens/Spanien. Diese äußerst leidenschaftlichen Musiker haben sich lokal einen Namen gemacht, spielen mittlerweile immer wieder vor Tausenden von Leuten und haben starke Songs, die in vielerlei Hinsicht eine sehr florierende Szene in Nordspanien vorantreiben. Die Popularität von Crim außerhalb Kataloniens wächst rasant, da sich ihre Authentizität in ihrem Sound widerspiegelt und ihr kompromissloser Ansatz in vielerlei Hinsicht universell ist und für Fans leicht erkennbar und einladend, unabhängig davon, welche Sprache sie sprechen. Jeder, der diese Band live gesehen oder ihre Alben gehört hat, kann die Kraft und Energie bezeugen, die sie besitzt. FFO Cock Sparrer, Leatherface, Social Distortion CD, klassisch schwarzes oder mehrfarbiges Vinyl!

Emma Yuzz bursts onto the scene with her EP Clementine, an intimate and emotional offering that fuses soul and R&B with her own authentic style. The EP includes six tracks: four songs (“Goodbye Clementine,” “Confessions,” “Bring me Back,” and “Wild”), an interlude (“Lluna de foc” - ‘Moon of fire’) and an outro (“Me despido” - ‘I say goodbye’), all connected by a deep emotional narrative

Die Grammy-gekrönten Songwriter The Bros. Landreth kehren mit ihrem vierten Studioalbum ,Dog Ear" zurück. Die mehrfach mit dem JUNO Award ausgezeichneten liefern ein herzliches und energiegeladenes Album, das die unbestreitbare Energie dieser Band einfängt. Inspiriert von der Freude und Kameradschaft, die sie während zweier lebhafter Jahre auf Tournee nach der Pandemie erlebt haben, begaben sich die Brüder Joey und Dave Landreth zusammen mit ihren engen Mitarbeitern Roman Clarke, Murray Pulver und Ian Phillips ins Studio. ,Dog Ear" wurde in einer inspirierten fünftägigen Session aufgenommen und ist das bisher fröhlichste und hoffnungsvollste Album der Band, das die Melancholie der Vergangenheit hinter sich lässt und Themen wie Familie, Optimismus und emotionale Resilienz erkundet. Das Album enthält elf emotional bewegende Tracks, darunter Beiträge von Bonnie Raitt, die dem fesselnden ,Half Moon Eyes" ihre ikonische Stimme leiht und ,Knuckles" in ein tiefgründiges Duett verwandelt. Die ebenfalls aus Winnipeg stammende Powerfrau Begonia liefert eine faszinierende Performance zum Albumabschluss ,Strange Dear" und verleiht der Erzählung des Albums zusätzliche Tiefe. Im Kern ist Dog Ear eine ehrliche Auseinandersetzung mit der Frage, was es bedeutet, für die Menschen, die man liebt, immer da zu sein - insbesondere aus der Perspektive der Elternschaft. Songs wie das beschwingte ,I'll Drive", geschrieben zusammen mit Jonathan Singleton aus Nashville, verkörpern unbeschwerte Flucht aus dem Alltag, während das zarte ,Half of Me" die tiefen Verbindungen unterstreicht, die Beziehungen ausmachen. Die herausragenden Songs ,Dog Ear" und ,Vincent" bieten fesselnde Betrachtungen über Stabilität, Freundschaft und persönliches Wachstum, präsentiert mit der für die Bros. typischen geschickten Gitarrenarbeit, melodischen Wärme und lyrischen Aufrichtigkeit. Mit internationaler Anerkennung, JUNO Awards, einem Grammy Award (als Songwriter für Bonnie Raitts Grammy-prämierte Americana-Performance von ,Made Up Mind" aus dem Jahr 2023) und Lob von Kritikern wie Rolling Stone, NPR, American Songwriter und vielen anderen festigen The Bros. Landreth ihren Ruf als Meister ihres Fachs. Ihre energiegeladenen Live-Auftritte begeistern das Publikum weltweit, und mit Dog Ear liefern sie ihr bisher stimmigstes und mitreißendstes Statement.

Three part journey into an imaginary Amazon from three artists working on the fringes of field recording.

Stories del Tibur​ó​n Llor​​​​​​​ó​​​​​​​n del Amazonas picks up where the previous, Stories of the Indian Dotted Whale trilogy left us. This time, the same three artists, Giovanni Lami, Hannibal Chew II aka Gonçalo F Cardoso and Bardo Todol aka Pablo Picco return to riff on an imaginary crying shark, known to swim in the amazon river. The sad and melancholic shark has never been seen but its weep and sob can be heard all over the region. Here are three works of sympathetic howls for a lonely and misunderstood creature.

First part from Giovanni Lami is made of ghost recordings made during 2020 in Iquitos, Perú, in the amazon forest during the film shoot of “Tras el Barco de Fitzcarraldo”. Second part from Hannibal Chew II is a collection of re-assembled recordings and jams gathered from a trip through the Amazon in late 2017 to early 2018. Later assembled during various improvised recording sessions during the long hot summer of 2023 in Tenerife, Canary Islands. The third and final part comes from Bardo Todol and features abrasive tape and digital field recordings manipulation made by Picco in Iquitos in 2020 during the shooting of “Tras el barco de Fitzcaraldo”.

All three feature sounds of: people talking, static radios, saturday night churches, river people, shawi people, dolphin people, shark people, market people, vibrating insects, zombie insects, giant insects, giant motors and of course various weeps of a crying shark.

Season of The Dead is a visceral, cinematic extreme metal project born from the twisted minds of Titta Tani (former drummer of Necrophagia and Goblin), Giacomo Anselmi (former Goblin guitarist and current member of Goblin Legacy), and Enrico Giannone, founder and owner of Time To Kill Records, acting as producer and visionary behind the entire concept. The idea is as brutal as it is clear: to resurrect the blood-soaked legacy of horror-infused death metal, channeling the rotten spirit of bands like Necrophagia, Mortician, and Fulci, while paying tribute to the grotesque imagery and raw energy of cult underground horror films. Influences range from Killjoy to City of the Living Dead, The Beyond, and Cannibal Holocaust, creating a soundscape that feels like a soundtrack to a lost VHS splatter nightmare.

Hailing from the southwest of France, The Deweys is a flexible trio, evolving through encounters and invitations. Influenced by American folk, blues, and country music, the group has built its own identity and etched the names of its heroes, from Johnny Cash to Nick Cave, from Calexico to R.L. Burnside. On Windwalker, The Deweys have expanded the cinematic side of their universe by inviting a string quartet and a percussionist to form a temporary orchestra, The Black Cat Orchestra, dedicated entirely to the album"s songs. The result is a unique atmosphere, with an opening that pays homage to Ennio Morricone (El Camino Del Rey) and a conclusion that feels like something straight out of a musical (the duet The Gaslamp Memories). In between, you"ll find minimalist folk, psychedelic, Floydian blues, or a heartbreaking ballad... If you needed a soundtrack for a journey, inner or otherwise, Windwalker would be the right companion.

Mit Fieras präsentiert das kolumbianisch-deutsche Duo Cosmica Bandida - bestehend aus Manuela Illera und David Blitz - sein erstes vollständiges Album. Nach der EP Lágrimas Saladas entfaltet sich hier ein musikalisches Universum voller Mythen, Rituale und sinnlicher Visionen. Jeder Track öffnet eine neue Tür: vom surrealen Tiburón Blanco über das feurige Volcán bis zum hypnotischen Pantera del amor, das den Dembow neu denkt. Die Musik von Cosmica Bandida verbindet psychedelische Cumbia-Grooves mit elektronischen Texturen, durchzogen von Einflüssen aus Italo Disco, Trap und Latin Alternative. Fieras ist mehr als ein Album - es ist ein klangliches Ritual, das Körper, Schatten und Stimmen auf einer tropisch-kosmischen Tanzfläche vereint.

Mit Fieras präsentiert das kolumbianisch-deutsche Duo Cosmica Bandida - bestehend aus Manuela Illera und David Blitz - sein erstes vollständiges Album. Nach der EP Lágrimas Saladas entfaltet sich hier ein musikalisches Universum voller Mythen, Rituale und sinnlicher Visionen. Jeder Track öffnet eine neue Tür: vom surrealen Tiburón Blanco über das feurige Volcán bis zum hypnotischen Pantera del amor, das den Dembow neu denkt. Die Musik von Cosmica Bandida verbindet psychedelische Cumbia-Grooves mit elektronischen Texturen, durchzogen von Einflüssen aus Italo Disco, Trap und Latin Alternative. Fieras ist mehr als ein Album - es ist ein klangliches Ritual, das Körper, Schatten und Stimmen auf einer tropisch-kosmischen Tanzfläche vereint.

Massano’s Debut Album Natural Arrives on Vinyl

Following the success of his acclaimed debut album Natural, Massano announces the release on vinyl. Originally released digitally in April 2025, Natural marked a defining chapter in Massano’s artistic evolution and now fans can experience the project in a new tangible format.

A collection of 15 tracks that capture five years of growth, Natural showcases Massano’s ability to craft hard-hitting sonic stories that balance power, depth and emotion. This vinyl features a private edit of fan favourite “The Feeling,” alongside “Angel In The Dark” with Anyma, “Oblivion” with CamelPhat, and “Healing” with Stephan Bodzin. Digging deeper into the album, you'll find long-awaited tracks like “Welcome To The Underworld,” “Fade Away,” and “Over The Edge”, the vinyl release offers an analogue immersion into the full narrative arc of Natural.

From the maniacal opening notes and carnival barker howl that launch the album, The Ugly Organ wasted no time searing itself into a listener's ears and quickly established Cursive as a musical force with which to be reckoned. A selfaware examination of artistic constraints (or lack thereof), relationships, sex, and the intersection of all three, The Ugly Organ wowed critics and audiences alike with its cerebral, cathartic blend of songs. Fiercely intelligent and cohesive - the liner notes laid the songs out like a play, complete with stage directions - across its diverse sonic landscape, the album landed Cursive on the Sunday Arts & Leisure section cover of The New York Times (which also called it "a marvelous collection of riddles and left turns, conceived as a single piece of musical theater") and earned accolades from Rolling Stone ("a brilliant leap forward"), Entertainment Weekly, Billboard, Alternative Press, MAGNET ("The best punk record you'll hear all year"), Esquire, and SPIN, among many others, as well as a place on numerous year-end best lists. The Ugly Organ feels as vibrant and vital today as it did upon release more than 20 years ago. A landmark album, it not only catapulted Cursive from the simmering indie underground to the forefront of a genre, but also served to inspire a host of young bands in its wake.

Bon Jovi’s GREATEST HITS mit den größten Chartstürmern der Band, darunter „Livin’ on a Prayer“,
„You Give Love A Bad Name“ und „It’s My Life“.
Das Album ist ab dem 13.09 überall verfügbar.

There are artists we occasionally happen across, even 14 years into our FatKidOnFire journey, where we know we need to work with them. There is material from said artists which sets our world on fire, and then there’s the four tunes that make up our first physical record in over two years. This one’s a long time coming, and also marks one of the first instances in FKOF Records where we welcome an artist to the family with a straight-to-record release. When you hear it, you’ll understand why. This is the long overdue FKOFv009…

Over the last decade and a half, the 140 landscape has been through its peaks and troughs. Tastes and styles change, but the one constant is when we find the right beats, bass and space we know we’re onto a winner. The international TRAKA collective caught our eyes and ears early on in their project – for all the right reasons. We’re delighted to welcome them to FKOF Records with a long-overdue record, as well as welcoming long time FKOF fam Oddkut back into the fold.



“The ninth outing on FKOF Records’ physical imprint opens with the anthemic voice of Rider Shafique joining forces with TRAKA for ‘Soo’. Hard-hitting truths, juddering percussion and a rolling low end so solid you can almost chew on it. Keep fighting and rise.

“Next up, we ratchet things up a notch with ‘Shock Em Up’. It’s an absolute unit of a tune, and when we get asked for what we mean by beats, bass and space this is our 2024 example. Effective heavyweight sonic warfare.

“FKOF009’s B-side opens with ‘Silus' – continuing along the foundations TRAKA laid on the A-side. Suffocating power, engaging atmospherics and a vibe that works at peak time on the dancefloor as well as it does opening or closing out the graveyard slot.

“We close out the record welcoming Oddkut back for his latest outing on FKOF Records with the TRAKA collab ‘Shake Junt’. It twists and turns through its first drop, before taking a completely new direction in the break. It’s an absolute groove and one that’s been a firm favourite for as long as it’s been in the bag.”

47 marks TEN YEARS with its 47th and final release, closing the catalogue at 47047.

Launched as an event series by Tommy Four Seven in Berlin’s intimate Arena Club in 2014, the 47 parties paved the way to the label we’ve come to know today, inspiring and encouraging a host of interdisciplinary artists along the way. The imprint opened in 2015 with a V/A, and now, ten years later, 47 comes full circle with the release of its last-ever record and compilation.

As always, the various artist collection reflects the imprint’s long-running ethos of championing underground and upcoming talent. Titled ‘Ten Years’, the record features label debuts from Jin Synth, Casual Treatment, SAMA, Yrsen, and contributions from familiar faces like Pause, Rommek and AgainstMe, to name a few.

Across the 20-track V/A, each artist delivers precise and sonically rich productions, spanning several palettes. You’ll find a dreamy soundscape punctuated by blips and bleeps from Amotik. Claustrophobic atmospheres and winding rhythms by Innersha. Liquid melodies and maximalist basslines from Ana Rs. Moonlit synths and icy motifs by VSK. Club-driven 4/4 techno with a metallic sheen from ASEC. An emotive take on ambient and techno from Linn Elisabet. A spiralling trip with IDM touches from Nørbak, and more.

‘Ten Years’ mirrors the adventurous attitude of 47, celebrating the artists and sounds who’ve helped to build the label’s solid reputation, leaving an indelible signature on electronic music for years to come.

Charlotte de Witte releases more hot news on her eagerly awaited eponymous self-titled debut LP, which drops November 7th on her KNTXT label. Fans already stirred to frenzy by two killer LP singles can now pre-order/pre-save the album digitally and on vinyl. She also reveals the cover art and track list in its entirety.

Already hailed by Vogue DE, BBC 6 Music, Resident Advisor, DJ Mag, Mixmag, Rolling Stone, Billboard amm., the acid-drenched, unstoppable lead single and set staple ‘The Realm’, and powerful organ-heavy cut ‘No Division’ (feat. XSALT) reflect the power of the full 11 track release. The ‘No Division’ vinyl was pre-released during her recent six instantly sold-out New York City shows in four days triumph. With one more LP single promised before the full drop, fans will have to wait and see which that will be…

After a fifteen year long career of propelling the techno scene forward and 25 standout EPs, the Belgian DJ & producer ‘started to feel the urge to embrace a format that allowed me to showcase my sonic identity in its entirety.’

Though the album is deeply personal – ‘these are tracks that move me, songs that carry me away like only club music and a night lost in it can’ – it’ll be a must-have for fans & techno/acid fiends. ‘Make no mistake, this is a true DJ album. I’m a club kid, always will be, and every track on this record makes me want to dance.’

It’ll do the same for other ravers. One more LP single to come… which of these is it to be?

Epsilon Record Co is pleased to introduce its latest release ICE CREAM.

The two previously unissued tracks from 1978, recorded in Los Angeles, California, re-mastered by Steve Fuji.

Steve Fuji and I have collaborated on several projects including Paris Ford, The Kopestetics, Real Side, Taxie, Kenyatta, Henderson & Jones, Natural Impulse, Ray Williams & Prime Cut. He is a valued member of Epsilon Record Co and we are grateful for his assistance and expertise.

Several years ago Steve informed me that he had a master tape from a recording session he conducted in 1978 (he believes it was at Mystic Studio) from one of the original members and co-founders of Taxie, Charles Erwin Williams II, also known as ‘Ice Cream’.

The tape was in good condition and the original version of With Love You’ll Find A Peace Of Mind was 7 minutes 38 seconds. I asked Steve if it was possible to shorten it to approximately 3 minutes.

A few days later I received several versions re-mastered and re-mixed by him and we both agreed they sounded excellent.

We hope you will enjoy this as much as we do. It is a fantastic piece of unheard Californian soul music available exclusively on Epsilon Record Co.



The B side Seaside Vibe is a killer funky instrumental with an amazing production.

Celebrating their 10th anniversary, piano trio Alter Ego presents their first-ever best-of LP featuring their signature ballads!
Alter Ego, a piano trio from the Setouchi region, has captivated listeners with their lyrical melodies.
This first-ever best-of LP features a carefully curated selection of the finest ballads they've crafted over the past decade.
This album was remastered at Alchemy Studio, a studio essential to Alter Ego's music.
The album features 11 tracks, including (2) "Meeting That One Friend," a tale of a special encounter; (3) "Where Will We Go?", a jazz waltz depicting the emotions felt at
a crossroads in life; (4) "The Wind Blows on Penelope," which depicts the flow of people connected to the coffee shop "Penelope," which is considered the origin of
pianist Hitoshi Ogata's career; and (10) "The End Opens Up New Possibilities," a song written at a time when parting with a loved one can also be a moment when a new
door opens. Music nurtured over time will gently reach your heart and leave a deep impression.

Selected by Yoshikazu Ogata & Keisuke Taniguchi

Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only a year or so ago, Gnome actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material - quite a few albums' worth - on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like minded players from Frankston's rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins on drums, Gnome became a band.

Early in 2025, the last solo Jay recordings released under the Gnome name caused something of an international underground sensation when the Bandcamp only I Like It EP - four songs of kranked up Kinks-style mono riffage - was posted by a Spanish garage-punk YouTube page and quickly clocked up over 50,000 views.



At the same time, the band quickly began gaining attention on the thriving Frankston scene and around Melbourne. They started breaking out, sharing bills with the likes of Drunk Mums, Skegss, Split System, The Prize, The Unknowns, Cosmic Psychos, Hockey Dad, Guitar Wolf, The 5.6.7.8's, The Breadmakers, Loose Lips, fellow Frankstoners/Singing Bird alumni The Belair Lip Bombs, and, on a quick trip to Sydney, Cammy Cautious & The Wrestlers.

And now, finally, we have The Gnomes' debut album. Twelve killer tracks that combine the best of the '60s with the best of today. Twelve killer tracks that show off assertive and accomplished songwriting, singing and playing and an explosive and authentic swinging group sound. Twelve killers slices of raw rock'n'roll running the gamut from the savage Rhythm & Blues of "Play With You" and “Better With You” to the vibrant beat pop of "I'll Be There" and "I'm Not The One", with forays into the heavy reverb psych of "Stung", the Cavern/Star Club stylings of "Flippin' Stomp" and the first flyte jangle of "Time Will Tell" along the way. There’s more of course, including a new version of that Kinks-style kranker “I Like It” for good measure.

Frankston’s Fab Four are taking their sound to the world. Join them for the ride!

When Straight Ahead hit the shelves in 1974, it marked another bold chapter for Brian Auger’s Oblivion Express. The band—Steve Ferrone on drums, Barry Dean on bass, Jack Mills on guitar, and Lennox Langton on congas— was firing on all cylinders, pushing jazz fusion into fresh, uncharted territory.

Critics took notice, with Billboard praising the album as “excellent in development and inventiveness, ” and it found its way onto multiple charts at once.

The journey begins with “Beginning Again, ” a lively opener built on Langton’s congas and Ferrone’s muscular groove. Auger’s electric piano sparkles here, immediately setting the album’s adventurous tone. Then comes their take on Wes Montgomery’s “Bumpin’ On Sunset. ” Darker in mood and drenched in atmosphere, Auger stretches out into improvisation while still honoring Montgomery’s spirit. The interpretation struck such a chord that, years later, Wes’s widow wrote to Auger to tell him it was her husband’s favorite version of his much-loved tune.

The title track, “Straight Ahead, ” shifts gears into funk, showcasing the group’s ability to slide effortlessly between genres. “Change” pushes further, blending rock’s raw energy with jazz’s improvisational freedom, driven by Auger’s command of the Hammond organ. To close, “You’ll Stay in My Heart” brings the tempo down with a tender, soulful ballad—an intimate ending to an album full of bold explorations.

At the time, reviewers hailed the record as a gem. One called it “a minor masterpiece of incredibly engaging and melodic keyboard-centric jazz-rock fusion. ” Another singled out “Bumpin’ On Sunset” as “the best reason to own this recording.”

Half a century later, Straight Ahead still resonates. It captures that fertile moment in the 1970s when jazz, rock, and funk were colliding, and artists like Auger were busy redrawing the map. To this day, it stands as proof of Auger’s fearless curiosity and his knack for breaking boundaries—music that looked forward then, and still feels ahead of its time now.

Emile Sornin has a robot in his life. It's not love, but it's not friendship either, and Forever Pavot is releasing an album documenting the affair on Born Bad. After a bunch of bold pop studio albums and a small stack of soundtracks, Emile needed a break. To put an end to it, he embarked with handyman extraordinaire Jonas Euvremer on the manufacture of an automaton destined to make his musician’s life easier. Melchior, who gave his name to the record, has the face of a ventriloquist's dummy, two plastic left hands, preppy clothes and a primitive logic circuit. This goodie two-shoes cousin of Bender’s is supposed to be doing the interviews and deal with socials for Emile. The plan worked admirably : Melchior is a perfect cover-boy, and his very existence has put our man back to work.



They set a path for phat electronic ventures (and by the way, mostly english-speaking). Sub- continental bass & massive drums, heavy-footed and unabashed : as much appreciated as unexpected. The half-android shares songwriting credits and vocal parts vocoded to perfection. Not a jealous lad, Melchior makes way for a guest of choice on “UFO” and “Waiting for the sign” : Lispector. Julie Margat sings and collaborated on the lyrics for these two bangers that provide a lot of context (robot angst is real). Kumisolo, our favorite Japanese « it » girl in Paris, also sent her “Postcard”, more vapour than song, unreal musical cotton candy of arrangements.


Domotic, who mixes and co-produces, gives a nice spin to “Count to 10”, a hip-hop/kraut crossover with a BEAK> flavour. The Forever Pavot, once a big-band, will be touring as a bass/ drums/keys & vocals trio, with Melchior as guest.



Record after record, Emile Sornin has become an increasingly literate musical illiterate. When needed, his music can still become a thicket of ancient and modern finds. « Le robot gentilhomme », a skillful pastiche of baroque composer Jean-Baptiste Lully, would stand a few rounds against Wendy Carlos. His love for oldies also shines through “Skyway”, a nod to the late Pierre Arvay, France’s Colonel Sanders of library music nuggets.



Forever Pavot may have gone wild, but remains indebted vis-à-vis the golden age of film music. Forebears deluxe Ennio Morricone & François de Roubaix make Hitchcock-style cameos: discreet appearances that you’ll watch out for (those syncopated cascades of syllables at the end of « UFO », and I guess we can indulge with some clavichord/ondioline Victoria sponge). His new flirt is all but a toxic relationship. « Melchior, Vol. 1 »: the robo-bromance is not over yet.

Cambridge’s acclaimed psych-folk quintet Fuzzy Lights return with their fifth album ‘Fen Creatures’. Following on from 2021’s critically lauded ‘Burials’ the band have created their most conceptually focussed work to date – a mediation on environmental crises that uses the folklore and history of East Anglia as a lens to examine humanity’s fractured relationship with the natural world.

The album operates across multiple historical timelines, from Iron Age hill forts to medieval plague houses, from Byron's Romantic-era environmental warnings to the immediate threat of rising sea levels, creating a temporal tapestry that weaves ancient stories with contemporary concerns.

Musically, the quintet, Rachel Watkins (vocals/violin), Xavier Watkins (guitar/electronics), Chris Rogers (guitar), Daniel Carney (bass), and Mark Blay (drums), have pushed deeper into experimental drone territories while maintaining the crystalline folk sensibilities that have become their signature.

Lead track ‘Greenteeth transforms the traditional cautionary tale of Jenny Greenteeth, the water spirit who lures children to their deaths. "When I read this story to my daughter, she was instantly drawn into it," Watkins notes. "There's something timeless about these tales and the way they speak to fundamental fears and connections that span generations."

Elsewhere, 'War Ditches' imagines the Iron Age dead of a Cambridge hill fort keeping watch over the land, their vigil ending as modern people lose connection with the earth. 'The Promise' creates an imaginary encounter with the ghosts of Landbeach village across multiple eras, connecting the 1665 plague with our recent pandemic experience through shared narratives of community resilience and loss.

Critics praised ‘Burials’ as "way beyond folk and folk in essence all at once" (Backseat Mafia) and "folk-rock looking back squarely at the early 1970s" (Financial Times), and 'Fen Creatures' promises to cement Fuzzy Lights' reputation as one of Britain's most vital contemporary folk acts. The album positions them firmly within the lineage of artists like Fairport Convention, Trees, and Comus who understood that engaging with tradition isn't nostalgic escapism, but a way of accessing older wisdoms about how to live in the world.

‘Burials’ press:

“...the musical battle between the fuzzy and the light makes Fuzzy Lights special.” MOJO ★★★★
“...a simmering, sinister undercurrent which often explodes with apocalyptic fervour.” SHINDIG ★★★★
“...subverting genre expectations and folk melodies.” FINANCIAL TIMES ★★★★
“Way beyond folk and folk in essence all at once, it's a record that’ll bring you much reward.” BACKSEATMAFIA - 8.3/10
“a genuine delight....a stirring and unsettling listen, goosebumps adding to the pleasure of timeless music played well, with perfect precision. Don’t leave it another eight years, eh?” FOLK RADIO
“...re-inventing the folk-rock playbook and dragging it screaming through an array of influences...Fuzzy Lights’ most unique, reflective and ambitious record to date” FOR THE RABBITS