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Iker is back with "Sinkronia". A gripping takes on Eastern and Western minimalist traditions influenced by the likes of Steve Reich, Suso Saiz or Midori Takada. Transcendental and esoteric rhythmic wonders that take time to unfold. A young percussionist and guitar player with electronic interests displaying a rich sonority and a great sense of structure and arrangements. This record shows the refinement of Iker's attributes, who initially worked in the noise/punk scene and now is part of the local Free Jazz/Improv landscape of San Sebastian, although he currently lives in New York where he has been playing several gigs including a rendition of Glenn Branca's Symphony No.13 at Lincoln center with 100 guitarists. For this new album he uses Xylophone, hand drums, electric guitar, synths and percussion instruments that guide us in an energetic way to territories somewhere between Italian avant-garde, Japanese New Age and American Minimalism. Iker Munduate Thusberg is a Basque multi-instrumentalist born and raised in San Sebastian and with strong ties to Mikkeli in Finland, where half of his family are from. A fine arts student at Bilbao's UPV (Basque university), his interest in sound, art and design has led him to combine all these different disciplines and convey them into his music and his work. "Iker Munduate is an artist and musician who brings a delicate sense of composition and design_ Inspired in part by new age music, Its rippling melodies and frictionless glide recall the futuristic utopias of Detroit Escalator Company and the interior reverie of Nobukazu Takemura (Derek Walmsley, The Wire Dec'24)"

Mit "Almost There", liefert der Pianist und Komponist ESPEN ERIKSEN nach einer äußerst erfolgreichen Reihe von sieben Alben in 16 Jahren, darunter zwei mit dem bekannten britischen Saxophonisten ANDY SHEPPARD, ein weiteres melodisches Meisterwerk ab. Fesselnd und lyrisch, stets melodisch, aber gleichzeitig auch melancholisch und erhebend, handelt es sich um wahrlich ergreifende Kompositionen. "Music with a rich sense of melody coupled with a poignant lyricism that is infectious". - All About Jazz "A wonderfully plaintive jazz record, abandoned to the lost art of melodic minimalism, stripped back and beautifully near bare. No smoke and mirrors, just the graceful chemistry of superb musicians at the top of their game". - BBC Erwähnt werden muss die atemberaubende Klangqualität des Albums. "Almost There" überzeugt mit einem detailreichen und dynamischen Klang, der insbesondere durch seine organische Natürlichkeit hervorsticht. Die Kompositionen wurden in ESPENs bevorzugtem Studio Propeller Music in Oslo aufgenommen und abgemischt. Dort hatte er sich bereits für seine letzten fünf Alben eingefunden, welche aufgrund ihrer außerordentlichen Aufnahmequalität auch häufig in Tests verwendet und in HiFi-Kreisen hervorgehoben werden. Das ESPEN ERIKSEN TRIO wurde im Jahr 2007 gegründet und veröffentlichte 2010 sein Debüt-Album. Als zunehmend beliebte Live-Band tourte das Trio, bestehend aus ESPEN ERIKSEN (Klavier), LARS TORMOD JENSET (Kontrabass) und ANDREAS BYE (Schlagzeug), bereits auf vier Kontinenten und verfügt über ein reichhaltiges Repertoire. Die Musik zeichnet sich durch äußerst melodische und lyrische Instrumentalstücke aus, manchmal versehen mit nordischem Einschlag, sowie durch einen "Weniger ist mehr"-Ansatz, der von der internationalen Presse oft als einzigartiger Beitrag zur heutigen Jazzszene gewürdigt wird. Alle drei Musiker verfügen über einen vielseitigen musikalischen Hintergrund, der von Pop bis Jazz reicht, und haben bereits mit Musikern wie Bugge Wesseltoft, John Scofield, Joshua Redman, Dhafer Yousef, John Taylor, Vince Mendoza, Eivind Aarset, Knut Reisersrud, Mathias Eick, Nils Petter Molvær, Thomas Stronen, Odd Nordstoga, Håkon Kornstad, Jarle Bernhoft und Bendik Hofseth zusammengearbeitet.

Following the 2023 album Young Hearts, produced in collaboration with Kenny Beats, 22 Durnham Dew finds Benny Sings turning inward for his most personal album to date.

After decades of touring and recording, Benny has embraced a more grounded, family-focused lifestyle. 22 Durnham Dew was created with and about his immediate family, featuring contributions from both his wife and daughter. Across its songs, Benny reflects on fatherhood, family life, and the everyday moments of adulthood.

Long celebrated as one of the most distinctive voices in modern pop, Benny Sings continues to showcase the warmth, craftsmanship, and effortless charm that define his work.

Manchmal reicht ein Sommer, um zu zeigen, wohin die Reise geht. Fruchtiger Beigeschmack haben ihren nicht nur angekündigt, sie bespielen ihn gerade und begeistern dabei: 300.000 Streams in nur acht Wochen, zehntausende neue Fans auf den sozialen Netzwerken, ein ausverkauftes Releasekonzert, eine Zusatzshow mit Milla im September, die ebenfalls fast ausverkauft ist, ein Support-Slot vor 6.000 Menschen bei ZAZ in München, viele Festivals - und mittendrin "Löschzug", den die TAZ zum "linken Sommerhit des Jahres" erklärt hat. Auf den Socials wird das Trio gerade zur Band, über die man spricht, bevor man sie überhaupt gehört hat. Klare Haltung, großartige Songs, eine Band, die Musikfans begeistert, weil sie so ein wohltuender Gegenentwurf zum sonst vorherrschenden oder zumindest gefühlten Sound-Einheitsbrei im Netz darstellt. Jetzt kommt das Debüt, das all das einfängt: "Fast schon gut ist nicht schlecht" - die Debüt-EP von Fruchtiger Beigeschmack, erscheint bei superpolrecords. Ein Titel mit Understatement, der genau das Gegenteil meint. Fünf Songs, die Indie-Songwriting und Jazz-Offenheit zusammenbringen, ohne sich in Genreschubladen zu verlieren. Die wirbelnde Frontfrau Milena vorne, mit Texten, die nicht ausweichen und längst nicht nur der GenZ aus dem Herzen sprechen. Levi und Felix, die dem Ganzen Raum und Reibung geben, vorgetragen mit unbändiger Spielfreude, die sowohl auf Platte, aber vor allem live zündet. Das ist keine Band, die auf den Durchbruch wartet - sie ist bereits mittendrin, und die Zahlen sprechen für sich: Hunderttausende Streams, ausverkaufte Shows, ein Sommerhit im Feuilleton. "Fast schon gut ist nicht schlecht" ist der Beweis auf Vinyl - das Debüt einer Band, die längst mehr ist als ein Geheimtipp. Diese Zeit braucht einfach einen fruchtigen Beigeschmack.

A clerestory - a bright or "clear" level or "story" - is an upper section of wall, most often in a church punctuated by windows. It is a powerful image for grasping this luminous new music from Jules Reidy. Light casts shadows, of course, and logics of shadowing, mirroring, and distorted reflection - of key importance for Reidy"s work as a whole - inform the sumptuous surfaces of Clerestory. "Shadow Symmetric" is a string quartet commissioned and performed by the JACK Quartet as part of their JACK Studio program. The piece makes simultaneous use of two pitch sets, beginning from the same starting point but expanded using different scaling to produce what Reidy describes as "two offset spectral layers." "Clerestory Windows" offers up a distorted mirror image of the string quartet, arranged as a series of episodes that each remake the material in their own way. It begins with an arrangement of the string quartet material for MIDI strings and voices, repositioning its rigorous harmonic exploration somewhere between the Lovely Music Ltd universe and a 90s RPG soundtrack. This episode derives from Reidy"s installation Inside, Crystals and Circuitry, held in Stockholm in 2025. The piece moves into a lyrical 12-string acoustic guitar air performed at the installation opening, before the strings from the first side reappear. From this emerge flickering arpeggios, achieved by arranging the string quartet material for the RMI, an early digital synthesizer. Clerestory is a meditation on fundamental dynamics of human experience: orientation and disorientation, the hazy borders the hazy borders between the material and the spiritual, and the instability of identity.

Repress auf goldenem Vinyl. Limitiert auf 300 Exemplare. Vergesst alles, was ihr dachtet, über Postpunk zu wissen - BERLIN 2.0 zünden die Endstufe in der Punk-Evolution. Nach dem szeneübergreifend gefeierten Debüt "Scherbenhügel" droppt die Stuttgarter Band mit "Kaltental" jetzt ein zweites Mal eine Bombe über Postpunk Germany - und mit diesem Monster eines Longplayers ist klar: Hier wird keine Welle geritten. Hier wird eine Welle ausgelöst werden. "Kaltental" ist der dystopische Soundtrack einer brennenden Welt im Endspiel kapitalistischer Ideologie, zwischen Endzeit und Aufbruch, Resignation und Kampfbereitschaft. Härter, düsterer, dringlicher. Mit einer Mischung aus rasenden Hardcore-Ausbrüchen, klassischen Rock-Elementen, Post-Hardcore-Gitarrenwänden und melodischem Endzeitpop kracht "Kaltental" unverschämt souverän durch Genremauern und zerbombt mit radikal-klarsichtigen Texten von Ausnahmesängerin Elena Wolf Gabionenzäune in Vorgärten und Köpfen "ganz normaler" Deutscher im Aufrüstungswahnsinn. Ferdinand Führer von Fieser Schwan Recordings hat "Kaltental" aufgenommen, gemixt und gemastert und in eine rohe, dröhnende Elegie verwandelt, die aber auch keine Gefangenen auf dem Dancefloor macht. Die antifaschistische Bladerunner-Jeanne d'Arc in mittelalterlicher Rüstung auf dem Cover ist dabei mehr als eine Reminiszenz an revolutionäre Frauenfiguren in Geschichte und Kunst. Das neo-retrofuturistische Artwork der Wiener Fotografin Doris Himmelbauer ist die cineastische Visualisierung eines Albums, das Gewalt, Verletzbarkeit und die Sehnsucht nach einer besseren Welt verhandelt. "Kaltental" ist Krieg. Innerlich wie äußerlich. Aber auch ein Urschrei nach Liebe und Solidarität in der unbeirrbaren Überzeugung, dass alles auch ganz anders sein kann.

2026 RE-Release
Beat machine freak duo Bill Converse and Patricia (Max Ravitz) present 380/750, a new EP on Acid Test that blends the two producers’ singular styles to form an emotive “introspection on the dance floor” experience over the course of 4 tracks.

Recorded at Ravitz’s Brooklyn studio over the course of two days, 380/750 features raw, no-multitrack, no-edit live recordings that showcase the duo’s intuition for expressive rhythm tracks. Considering Converse’s roots in the 90’s Michigan rave scene, and Ravitz’s Chicago upbringing, the midwestern strains really shine through. With rhythm-composer mutations, acid dripping over atmospheric synth textures, and the ever-present jack throughout, 380/750 offers a deep sound to get lost in that feels both new and classic at the same time.

Leeds six piece, Adult DVD, announced their signing to Fat Possum this year, with standalone single ‘Real Tree Lee’, which landed the band on the BBC 6 Music A-List along with ‘Ones To Watch’ attention from the likes of The Rolling Stone, The Line Of Best Fit and more. On September 25th they release their much anticipated debut, self-titled album. Recorded and produced by the band at hometown The Nave Studios, the new album fuses Adult DVD’s love of hook laden indie, with pulsing groove, 90's acid house influence and an undeniable humour in their songwriting. Known for their electric live show, including their recent sold out London residency plus debut USA and Japan tours, Adult DVD is a festival favourite; hailed ‘Best Of SXSW’ (Rolling Stone), 'Best Of The Great Escape' (The Sunday Times, DIY and Dork). The band are continuously on the road with routing booked through to 2027, across UK/EU/US/JP.

Weezer founding member and original bassist, Matt Sharp, while working on a series of “lost-albums” from the cutting room floor of his creative-life, stumbled upon a curious multi-track reel of analog tape. This mysterious reel found at the bottom of a treasure chest of other master recordings just happened to contain Weezer's very first studio sessions. These were the very same recordings that were responsible for earning the band a record contract for their iconic debut “Blue” album. These newly discovered sessions feature raw, vividly emotional and ecstatic versions of the band's timeless hit songs Say It Ain’t So and Undone (The Sweater Song.) Sharp and legendary music producer Joe Chicarrelli took these recordings to Los Angeles’ famed East/West Studios to take a deeper look into this mythic reel of 1-inch Ampex tape. What the two men quickly discovered was the original lineup (with guitarist Jason Cropper) in an infectious, explosively joyful, feral form. Making the decision to honor the original intention of the music and the traditional technology of the era, the songs were remixed from top to bottom, from tape to vinyl, in a 100% analog process.With Sharp as producer and Chicarrelli on the mix, the result of these sessions makes up the entirety of “1192” (named after the month and year it was originally recorded.) The illuminating spirit of the performances on 1192 are guaranteed to turn the world upside down for blue album fans everywhere. This album stands on its own as an essential entry into the band’s discography and is crucial to understanding the first chapter in Weezer's storied history.

It was a hot day in the Polish summer, over 750,000 fans had crammed their way into the Czaplinek-Broczyno Airfield for the 2025 Pol’and’Rock Festival, a storied tradition for over 30 years. The Duke of Spook WEDNESDAY 13, hot off his smash hit album Mid Death Crisis (lauded by Metal Hammer, Loudwire, Blabbermouth, and more), took the stage and proceeded to decimate onlookers with a career spanning set of both WEDNESDAY 13 and Murderdolls hits. Thankfully, for us all, they had the soundboard tapped, and now that explosive performance will live on forever as UnAlive at Pol’and’Rock 2025, dropping September 25, 2026 via Napalm Records. A bloody good time from beginning to end, certified for high speeds and ghoulish splendor.

Ancient spirits come alive as SKÁLD extend an invitation into times long gone but not forgotten. Ørlǫg, coming September 25, 2026, is their first album via Napalm Records, and it is our destiny. As the Norns weave our future, this album is a fascinating passageway into our pristine origins and the consequences of our choices. Ten new songs as stepping stones, Ørlǫg is an offering to listen, to dwell, to reflect—and to find something within yourself previously unknown. SKÁLD don’t just play music, they awaken ancient ways.

Reckoning is a dense, carefully nuanced, profoundly complex text, though all nine songs are presented as directly as possible: Mary's voice, her guitar, bits of harmonica. Folk music, of a kind, but not a broadside. Nothing so easy as that. Topical songs with a long view, because she's seen and lived too much of it. Mary's most celebrated songs — “I Drink,” “Mercy Now,” “Drag Queens in Limousines” — are confessional stories, closely observed, clear-eyed and compassionate. She sings with the unmistakable languor of her native Louisiana, writes with the bluntness of Boston, where she was once a successful restauranteur, and rewrites with the fierce precision of Nashville, her home for many years. Her 2018 release, Rifles & Rosary Beads, co-written with wounded Iraq war veterans, received a Grammy nomination for Best Folk Album, and an Americana Music Association nomination for Album of the Year. During Covid she wrote and saw published (by MacMillan) Saved by a Song: The Art and Healing Power of Songwriting, part memoir, part reflection on songwriting, through the lens of her most impactful songs. “A reckoning,” Mary Gauthier writes on the outer sleeve to her newest album, “can be personal, political, or spiritual. These songs inhabit all three realms at once.”

HOL1D4Y’s debut album "Topology" explores the invisible connections that bind us together in an increasingly fractured world. Created by Scott Holiday, lead guitarist of Rival Sons, The record blends dreamlike textures with cinematic psych-rock, while embracing dance rhythms and free-form instrumentals, themes of love, technology, identity, and healing. Both expansive and intimate, Topology looks for meaning and human connection beneath the noise of modern life.

The third album from Max McNown, Leave On A Light, reveals a rare artist whose breakout success has brought him even closer to his truest instincts. Amid an explosive ascent that solidified his status as one of his generation’s most compelling singer/songwriters, the Oregon native came to a deeper conviction in music’s power to honor what matters most, such as the people and values who anchor his life. Born from a year of extraordinary momentum—including completing his sold-out, continent-hopping headline tour—Leave On A Light ultimately finds McNown more grounded than ever in his artistic vision, arriving as the fullest expression yet of his singular songwriting voice.

Mit der neuen Ausgabe der Vintage Sounds Vinyl Collection steht diesmal die traditionsreiche Welt der Country Music im Mittelpunkt. Die sorgfältig zusammengestellte Compilation vereint 18 zeitlose Klassiker und präsentiert einige der bedeutendsten Künstlerinnen und Künstler des Genres in klanglich überarbeiteten Versionen. Von den unverwechselbaren Stimmen von Dolly Parton und Patsy Cline bis zu den legendären Interpretationen von Kenny Rogers und Willie Nelson bietet diese Sammlung einen repräsentativen Querschnitt durch die Geschichte der Country-Musik. Zwischen Nashville-Sound, Honky-Tonk, Country-Pop und klassischen Balladen entsteht ein stimmungsvolles Hörerlebnis, das die Vielfalt und den nachhaltigen Einfluss des Genres eindrucksvoll dokumentiert. Eine hochwertige Zusammenstellung für Vinyl-Liebhaber, Sammler und alle, die die großen Songs des amerikanischen Country neu entdecken oder wieder erleben möchten.

Mit Keo steht eine der spannendsten neuen Alternative-Rock-Bands Großbritanniens in den Startlöchern.
Das Londoner Quartett – bestehend aus Finn, Conor, Jimmy und Oli – hat sich innerhalb kürzester Zeit mit
kompromissloser Energie, emotionaler Ehrlichkeit und einer außergewöhnlichen Live-Präsenz einen Namen
gemacht. Rolling Stone bezeichnete die Band bereits als „one of the UK’s most visceral and uncompromising new bands“, während das Dork Magazine Keo in seine „Hype List 2026“ aufnahm.
Nach ihrer gefeierten Debüt-EP Siren (2025) folgt Ende September mit Put A Smile On For Me das mit
Spannung erwartete Debütalbum. Der Longplayer vereint rohe Alternative-Rock-Energie mit intensiven
Songwriting-Momenten und unterstreicht eindrucksvoll, warum Keo derzeit als einer der vielversprechendsten Newcomer der britischen Gitarrenszene gelten.
Vor allem live begeistert die Band mit einer außergewöhnlichen Bühnenpräsenz und einer stetig wachsenden
Fanbase.
Put A Smile On For Me markiert den nächsten großen Schritt einer Band, die 2026 nachhaltig prägen
dürfte

Perhaps because this debut album takes its title from the 80 duplications of the original cell, Eightycuts' first album seems constructed according to an organic logic: one idea contains another, a motif divides, bifurcates, transforms.

The tracks then function like organisms in motion, traversed by passages, secret chambers, and successive metamorphoses.

Nothing remains quite identical to itself. Through these krautrock repetitions, the psychedelic experiments of Siam and Greg, sometimes joined by Frédéric D. Oberland, the group constructs songs that unfold through proliferation. Nervous drums propel the tracks forward while the guitars open up more ambiguous spaces, both abrasive and melodic. Somewhere between the urgency of punk and the slowness of trance.

Three years after their debut, the synth-pop duo HERON is back: On September 25, the Leipzig-based band’s second album will be released on the O*RS Label. With “Be Okay,” the band shows itself to be more experimental than before and strikes a critical note—without losing its signature sound. Dancefloor euphoria meets synthwave drama; big sounds meet big themes: social criticism, sexual oppression, the struggle with one’s own demons, and moments of political powerlessness. But the album is also shaped by a courage to embrace tenderness and a commitment to longing—all underscored by a melancholy that you can dance to. With a playful spirit, the duo fully explores the space between anthemic pop and darkwave moments, thereby revealing their inner selves (even more) to the outside world

A Flower to Water, the staggering new album from Greek Progressive-Post Metal outfit Playgrounded, finds the five-piece pushing their boundaries even further; welcoming the unquantifiable depths of loss, grief and finitude into their meticulous, fractal process as friends in defiance of neglect. Hailing from Athens, Greece but predominantly based in Rotterdam, Netherlands, Playgrounded have never ceased to push the envelope of Post Metal with genre-defying contemporary electronic and cinematic neo-classical elements since the band's inception almost two decades ago. A Flower to Water is Playgrounded's third full-length offering and sees the band thriving in their creative relationship with Pelagic Records. Recorded and produced by the band across multiple studios back home in Athens and Rotterdam, Playgrounded enlisted the help of longtime collaborators C. Cederberg (Leprous, Anathema) who mixed the album at Cederberg Studios in Kristiansand, Norway and George Tandero (Madrugada, Satyricon, Jaga Jazzist) who mastered it in Oslo. A profound sense of patience is keenly felt throughout the album. The deliberate spaces between each hammerblow guitar riff, pulsing bass line or hypnotic drum groove; each heavy, breathless pause and fizzing glitchy whisper all tell of unspoken loss and absence as an indelible part of A Flower to Water and indeed of Playgrounded forever more. In marking this absence however, in embracing loss head on, Playgrounded reify memory in defiance of neglect. By extracting such a colossal, breathtaking piece of work from a seemingly unassuming collection of sounds, clips and sonics; the quintet slow time to a standstill to present grief in bloom; a beautiful, perpetual flower with its roots in loved ones lost. FOR FANS OF Karnivool, Katatonia, Nine Inch Nails, Deftones, Moderat, The Ocean, Vola, Leprous, Skyharbor, Anathema

A Flower to Water, the staggering new album from Greek Progressive-Post Metal outfit Playgrounded, finds the five-piece pushing their boundaries even further; welcoming the unquantifiable depths of loss, grief and finitude into their meticulous, fractal process as friends in defiance of neglect. Hailing from Athens, Greece but predominantly based in Rotterdam, Netherlands, Playgrounded have never ceased to push the envelope of Post Metal with genre-defying contemporary electronic and cinematic neo-classical elements since the band's inception almost two decades ago. A Flower to Water is Playgrounded's third full-length offering and sees the band thriving in their creative relationship with Pelagic Records. Recorded and produced by the band across multiple studios back home in Athens and Rotterdam, Playgrounded enlisted the help of longtime collaborators C. Cederberg (Leprous, Anathema) who mixed the album at Cederberg Studios in Kristiansand, Norway and George Tandero (Madrugada, Satyricon, Jaga Jazzist) who mastered it in Oslo. A profound sense of patience is keenly felt throughout the album. The deliberate spaces between each hammerblow guitar riff, pulsing bass line or hypnotic drum groove; each heavy, breathless pause and fizzing glitchy whisper all tell of unspoken loss and absence as an indelible part of A Flower to Water and indeed of Playgrounded forever more. In marking this absence however, in embracing loss head on, Playgrounded reify memory in defiance of neglect. By extracting such a colossal, breathtaking piece of work from a seemingly unassuming collection of sounds, clips and sonics; the quintet slow time to a standstill to present grief in bloom; a beautiful, perpetual flower with its roots in loved ones lost. FOR FANS OF Karnivool, Katatonia, Nine Inch Nails, Deftones, Moderat, The Ocean, Vola, Leprous, Skyharbor, Anathema

Vier Frauen, ein Schlagzeuger und ein Haufen richtig guter Songs - das sind THE NAGGS aus Düsseldorf. Die fünf wissen, was sie tun, waren bzw. sind sie doch schon u.a. bei Family 5, The Boonaraaas, Nichts und Beat Martin höchst aktiv. Mit ihrer ersten EP (gigital & Tape) sorgten sie 2023 bereits für Aufsehen und spielen seitdem umtriebig live, jetzt erscheint das erste Album "THE NAGGS GENERATION" auf Vinyl (und digital)! Die Band macht genau das, was gute Musik machen soll: schlechte Laune unmöglich und Stillsitzen ziemlich schwer. Powerpop, Punk und Rock'n'Roll - alles drin. Ihr Sound-Mix: 78 % garagiger Powerpop, 22 % Bubblegum Trash und irgendwo dazwischen ein extra Quäntchen billiger Lippenstift am Kragen. Wer auf dreckige Gitarren, eingängige Melodien, 60s Garage/Beat Flair und jede Menge Energie steht, sollte hier laut aufdrehen. 11 Songs inklusive der Singles "Not Her Fate" und "Tout Les Nuits"

By 2004, dub had a history stretching back more than thirty years. This remarkable longevity can easily be explained by the evolving nature of this musical genre, which is constantly changing both artistically and technically, from Kingston to London, New York, and more recently Berlin, Paris, Lyon and Saint-Étienne. For example, it is worth noting that for some years now, in France and elsewhere, a good number of artists have been thinking in terms of dub from the outset, breaking free from the original Jamaican model, which involved drawing inspiration almost systematically from an existing vocal track. Thirty years on, with the release of their second album, Brain Damage aim to reconnect with this tradition. Recent collaborations with the two vocalists, Learoy Green and Black Sifichi, have indeed provided the ideal source material for the creation of five tracks, each rendered in their respective dub versions, thus forming an album with a symmetrical, even geometric character - from its very structure right down to its title: 'Ashes to ashes / Dub to dub'. At the heart of the project lies the astute choice of two guests, each operating in diametrically opposed spheres yet brought together for the occasion, thereby emphasising a certain 'unity of the circle': 'the unity of the circle'. Born of a genuine artistic vision, this geometric, symmetrical aesthetic-omnipresent in every detail of the album, both auditory and visual-complements Brain Damage's 'square' and robotic side, with its three-dimensional evocations. Always working in close collaboration with the very latest digital technologies. This brings to mind 'the balance of the cube'. Finally, the title itself, 'Ashes to ashes / Dub to dub', should be understood as a reference to the transience of all things in this world, against a backdrop of widespread, globalised, international, national and local crises_

"The grass is greener_ elsewhere_" Brain Damage told us with their debut album, released in 2002. Yet here, they've reached full maturity. Rarely has a "made in France" dub album strayed so far from the Jamaican model while still harboring, in every detail, so many references and tributes to the inventors of the style (King Tubby / Lee Perry), as well as to many of the key figures in its evolution (Tikiman / Rhythm & Sound, Dub Syndicate, etc.). The recording studio, 7/11 Laboratory, is used here as a true musical instrument. The optimal use of three-dimensional stereo effects will immerse the listener in soundscapes ranging from classic space echoes and Mont Blanc tunnel-style reverberations to crackles, electronic interference, exogenous samples, and other parasitic noises coming straight from Babylon. For this album, continuing in the vein of his previous collaborations with the international dub scene (Zion Train, Alpha & Omega, Disciples, Spectre, Lab°_), Brain Damage traveled to London to record two tracks at Conscious Sounds Studio with Jamaican-born singer Tena Stelin. With the melancholic "Spirit World," one is reminded of the fruitful collaborations between Massive Attack and Horace Andy, while on "Genetic Weapon," the tone becomes more overtly assertive. Two vocal tracks, then, woven into these ten compositions, where the emotional moods and atmospheres will shift with each listen. "Always Greener (On the Other Side)" emerges as the manifesto of music conceived as cinema for the ear...

Bilal Hassani, aged 25, a singer-songwriter, actor and producer, shares his daily life with over 3 million loyal fans around the world. He is the symbol of a new generation and champions the values of tolerance, acceptance, self-love and respect for all. Bilal is ranked among the world's 20 most influential LGBTQ+ figures by Vanity Fair. Regarded as a pop icon by Les Inrockuptibles magazine, Bilal Hassani has three albums and one mixtape to his name. With *Bonsoir Paris*, Bilal Hassani has released a twelve-track album entirely dedicated to partying, nightlife and the freedom to be oneself. Produced by himself and Sutus, the record revives the unapologetic pop and French Touch of the likes of David Guetta, Bob Sinclar, Daft Punk and Martin Solveig - that 90s house music that shaped his childhood - which he blends with bolder electro sounds and even a touch of Romanian pop. The album is mainly mixed by Nathan Boddy, whose work features on tracks by New Jeans, Mura Masa, Oklou, Olivia Dean and Shygirl, guaranteeing a production that is both pop and resolutely contemporary. In 2019, after representing France at Eurovision with his song "ROI" - a powerful message of self-acceptance - he released his debut album, KINGDOM, and won the NRJ Music Award for "Francophone Breakthrough Artist of the Year". In 2022, his third album, *Théorème*, was released, produced by the king of French pop, GrandMarnier of the group Yelle. With an average tempo of 124 BPM, the new album is made for dancing, conceived as a breath of fresh air for himself and his audience.

Tropical East Asian folk fused with psychedelic electronic rock and noise driven by a winding and jagged Sanshin guitar, shape forming vocals, odd percussion and spacey sounds. A Sgt. Peppers tour through the folklore of Okinawa. Amamikyu is the creation Goddess of the colourful Island of sound visited by Phil MFU ( formerly Vanishing Twin ) on his journeys through expanding his scope of experimental electronic music effortlessly locking style in with master Sanshin player and vocalist Yuko Tsubame to create a psychedelic trippy island of sound, revisiting classic folk songs in a new far out funky light. Amamikyu are a London based band of Phil MFU ( ex Vanishing Twin ) and Okinawan electric Sanshin player and singer Yuko Tsubame, with an expanding group of live musicians.

Baltimore's End It is telling it like it is on their debut album, Wrong Side Of Heaven, set for release this summer. The hardcore band has built a reputation through being unapologetically outspoken, playing fast, ripping songs, and putting on an electrifying live show. Now they're ready to enter their next era. Formed in 2017, the band consists of vocalist Akil Godsey, drummer Chris Gonzalez, guitarist Ray Lee, and bassist Patrick Martin. Signed to Flatspot Records, End It came out strong with the release of their self-titled EP the same year they started, and followed it up with 2020's One Way Track EP. In the summer of 2022, the band took the hardcore world by storm with their Unpleasant Living EP, solidifying the Baltimore outfit as one of the most exciting acts in the genre. Following the release, End It embarked on a packed touring and festival schedule across North America and Europe, playing alongside No Warning, Terror, Cold World, Drain, Speed, Angel Du$t, Scowl, and many more. The band's reach goes even farther with breakout single "New Age Slavery" featured on the soundtrack for Tony Hawk's Pro Skater 3 + 4. No matter where they are and what they're doing, End It is true to keeping things authentically them and that shines through on the forthcoming Wrong Side Of Heaven. Entering Salad Days Studio with renowned producer Brian McTernan (Turnstile, Snapcase, Hot Water Music) the band came in with a few demos and wrote the majority of the album during the two month recording process in early 2025. Taking direction from classic hardcore, thrash, and soul music, End It has crafted a 15 song magnum opus centered on "Spreading awareness of the change that's coming to Americans, personal growth, and maintaining the ethics and integrity of hardcore."

First up in the series - Heavy Salsa and Latin Soul from Puerto Rico-born pianist Eddie Lebron and Orquesta Suave, the album that kickstarted Ghetto Records. Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

The word ‘Tystnad’ – literally translated – means silence. In this case, the Silence is less that of zen buddhism or that of John Cage, rather the name of the studio where Flowers Must Die – carriers of the torch of Swedish psychedelia for now nearly 20 years – retreated to make their most head-expanding album to date. Located near the Norwegian border in the verdant rural Värmland region, Silence Studios has been a countercultural hub for decades, attaining a legendary status as a residential outpost where bands can retreat to stretch out creatively and focus their psychic powers.
From just such origins, Flowers Must Die have crafted a collection of expansive and incandescent jams that maps out a lysergic trajectory between the idealistic, anything-goes mania of early ‘70s psychedelia and the 21st century. Tystnad is the sound of a band buoyed by the afterglow of their last Rocket release, 2017’s Kompost and its attendant touring, and expanding into extrapolations that marry the wildest free improv with haunting melody.
If Tystnad, as the band claim, is to be their last recording made in one room at the same time, then it displays a formidable escape velocity. Who’s to say whether Flowers Must Die have tapped into a Swedish continuum, one including the like of Pärson Sound, Dungen or Goat. What’s clear is that Tystnad is a timeless treatise, and a potent channeling of spirits –transcending genre in search of enlightenment anew.

For acclaimed folk artist Martin Simpson, this release reflects not just a remarkable 50-year recording career, but over six decades shaped by song, tradition, and continual artistic growth. Yet this is not a retrospective, it's a forward-looking work, carrying the depth, skill, and passion of a lifetime into the present. Marking 50 years since his debut album Golden Vanity, Simpson describes Some Kind of Jubilee as "my best work to date." To realise this landmark project, he brings together an exceptional group of collaborators drawn from across his long and distinguished career. Among them are renowned pedal steel guitarist Greg Leisz, guitarist Zac Hobbs, cellist Liz Hanks, guitarist Louis Campbell, and double bassist Ben Nicholls. Together, they create a rich and textured soundscape that honours tradition while embracing fresh perspectives. Recorded at Groovemaster Studio in Santa Monica and completed in Yorkshire, the album blends newly written songs with reimagined traditional material and inspired reinterpretations from Simpson's own catalogue. The result is a deeply rooted yet vibrant collection that reflects both heritage and innovation. As Greg Leisz puts it, "This music has some profoundly deep roots - so dig in." With Some Kind of Jubilee, Martin Simpson honours his past while continuing to shape the future of folk music, reaffirming his place as one of the genre's most respected and enduring voices.

After a brief disappearance into solo records and restless touring, Wolter siblings Jack and Lily resurface with 3: a record drenched in salt and sun, with the tide pulling at its edges 3 is a record of firsts for the Brighton-based band. The first as a true three-piece, with close friend Joe Taylor (Anna B Savage, Iona Zajac) joining on drums, and the first they've ever recorded live. Jack and Lily trade shimmering guitars and sunlit harmonies like shared secrets, while Joe Taylor anchors it all: falsetto drifting wistfully above, drums crashing below.

Released on Tip Top Recordings, the album features 10 songs that that brim with melody, wit and understated charm. After years of singing downbeat songs of melancholy & loss, after waving goodbye to a long-term relationship, after working at a care home during the Covid pandemic, after seeing people off from the platform of life in his role as a Funeral Celebrant, Pete Fij has decided to have a reset. Slinging back on the electric guitar, ditching the job, upping the BPMs, and falling in love again has resulted in Pete embracing his fuzzed up dream- pop past but also throwing in elements of pop and electronica.

Hypnos , a new collection of his own mesmerising compositions, enchants us with sublime, atmospheric guitar intricacies beautifully constructed over soul- drenched hammond sound-beds. "With Hypnos , I wanted to create something paired back and super simple. These pieces were initially written as etudes for solo guitar, and they reflect the wide range of influences found in the music I love to listen to. A life spent listening to Django Reinhardt and Philip Glass! The inclusion of the Hammond organ came from a desire to pair the nylon- string guitar with an instrument you don't usually hear alongside it. For me, the Hammond evokes gospel and the classic organ trios of Wes Montgomery - it's a soulful, funk sonic and very spiritual. It was a real blessing to have Nathaniel Ledwidge play Hammond on the record and to showcase the softer side of this iconic instrument. Hypnos is the Greek god of sleep, the father of Morpheus, the god of dreams. Is the music dreamy and hypnotic, a brief slumberous escape from the madness out there? I hope so." - Robin Katz It's available as a limited- pressing 180g vinyl 'Gearbox Cut' LP and gatefold CD digi sleeve with obi strip & photo insert.

Fans and headz worldwide have been clamoring for a follow- up, but all Emapea wanted to do was just 'zone out.' And that's what happened, with the release of Emapea's twenty song album Zoning Out, Volume 1. Emapea's cuts are meant for the listener to get lost in - but they're not only for chilling, or when deep in thought, but also for getting in that crucial head-nod zone, like when the DJ drops the dopest beat. Expertly crafted and sequenced, the album presents a boom-bap journey that's dreamy and spacey while remaining tough and jazzy. "Check It Out" exemplifies the mood with its smooth drums, chiming keys, subtle sax riffs, and hip hop shout-outs. The vibe expands on "Motion", adding an exotic, worldly flavor to the seductively loping rhythm. And "Classy" features a smokey saloon piano melody that cruises smugly out of jeep-beat speakers.

Released 50 years on from the bands' formation, the forthcoming Psycho Tornado features 10 blistering new tracks recorded in 2025. Psycho Tornado will be unleashed on coloured vinyl and CD, and will rumble into your home in September 2026. The Rezillos are a new wave/ punk band formed in Edinburgh, Scotland in 1976. Known for their colourful, retro-futuristic style and playful attitude, they stood out from the darker punk acts of the time. Their music blended fast punk rhythms with pop melodies, sci- fi themes and a sense of humor. Their debut album, Can't Stand The Rezillos (1978) is considered a classic of the era. The band initially split in 1978 and with some members going on to form The Revillos, with a similar name and sound. But The Rezillos later reunited in 2001 and continue to perform live, maintaining a cult following for their energetic performances and distinctive style.

Released 50 years on from the bands' formation, the forthcoming Psycho Tornado features 10 blistering new tracks recorded in 2025. Psycho Tornado will be unleashed on coloured vinyl and CD, and will rumble into your home in September 2026. The Rezillos are a new wave/ punk band formed in Edinburgh, Scotland in 1976. Known for their colourful, retro-futuristic style and playful attitude, they stood out from the darker punk acts of the time. Their music blended fast punk rhythms with pop melodies, sci- fi themes and a sense of humor. Their debut album, Can't Stand The Rezillos (1978) is considered a classic of the era. The band initially split in 1978 and with some members going on to form The Revillos, with a similar name and sound. But The Rezillos later reunited in 2001 and continue to perform live, maintaining a cult following for their energetic performances and distinctive style.

,Dead Meat" ist das Debütalbum der Londoner Band The Tubs, gegründet von den ehemaligen Joanna Gruesome-Mitgliedern Owen Williams und George Nicholls. Musikalisch verbindet die Band Jangle Pop, Post-Punk und britischen Folk-Rock zu einem eigenständigen Sound, der ebenso von Fairport Convention, Richard Thompson und der Canterbury-Folk-Szene geprägt ist wie von modernen Indie-Bands wie The Goon Sax oder Twerps. Charakteristisch sind die hell klingenden, treibenden Gitarren, eingängige Pop-Hooks und die Verbindung von traditioneller britischer Folk-Melodik mit der Energie des Indie-Rock. Über diesen Klangteppich legt Owen Williams seine scharf beobachteten, oft melancholischen Texte, die zwischen Selbstironie, Enttäuschung und emotionaler Verletzlichkeit pendeln. Mit Songs wie ,Round The Bend", ,Duped" und ,I Don't Know How It Works" gelingt The Tubs eine faszinierende Mischung aus Folk-Rock, Jangle-Pop und Post-Punk, die gleichermaßen zeitlos und modern wirkt und ,Dead Meat" zu einem der bemerkenswertesten Gitarrenalben seines Jahrgangs macht.

The method is instability.

— Violeta Garcia & Hora Lunga

Violeta García & Hora Lunga return with 4ever, their second album and the follow-up to I’ll Wait For You In The Car Park. Released in 2025 on -ous, their debut received airplay on BBC and NTS and was selected for Bandcamp’s Best Experimental Music year-end list. 4ever picks up where that record left off: in ordinary moments, small scenes and the strange emotional weight of being somewhere between places. But here, these moments are stretched across a much larger, darker screen. A night flight, a terminal, a bad connection. When too many feelings are carried from one place to another, everyday situations begin to feel epic, empty, or apocalyptic.

Built from García’s cello and Hora Lunga’s synths, samples and field recordings, the album pushes further into emotion, letting fragile melodies, orchestral cello gestures, heavy low-end and compressed noise melt into something both dystopian and strangely familiar. Its warmth is not meant to be an escape from this world, but something that appears within it. Acoustically, the album lives through the closeness of the materials, the way sounds stay with each other, and in the feeling that even the most unstable moments are being carried together. The album presents itself in scenes that fade into each other: quiet melodic fragments that are interrupted and restarted, unpredictable changes of direction, held together by an inevitable melody, a bright synth harmony unfolding into an almost orchestral cello arrangement. Later, a broken organ-like sample turning in circles, cello melodies appearing as if they were trying to remember a song that never belonged to one voice alone. An endless loop that is placed under changing lights, briefly opening into emotional chords, then slipping back into emptiness.

It is this instability that Violeta García and Hora Lunga place at the center of their collaboration. They do not decorate the cello with production, or place electronics around an acoustic centre. They explain: “On 4ever, we become part of the same unstable surface. What holds the record together is not resolution, but the trust in staying together as things distort, overload, disappear and return.”

Violeta García, an Argentinian cellist known for her solo work and for her role in the punk band Blanco Teta, brings the instrument close to the body, as melody, pressure, texture, noise and sudden emotional weight. García has brought her distinct musical voice to KEXP, Rewire, Le Guess Who?, Bad Bonn Kilbi, Silent Green, TransMusicales, Roskilde and more.

Hora Lunga, a Zurich-based producer and composer working across unstable song forms, treats electronics less as a frame than as a weather system: something that can hold a scene together, distort it or make it disappear. In recent years, his compositions have ranged from experimental song forms, sound performances, ensemble compositions and film music. His ensemble WIRREN consists of up to fifteen performers.