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This compilation took almost four years to come together. For the residency, the band Alexander Flood composed three new pieces, which they developed with the ensemble over two rehearsal days before performing them across three concerts. The core ensemble - Lucy Liebe, Franka Fairy, Tara Sarter, Raffaelo Visconti and Nonny Smith - remained together throughout the summer of 2024, growing into something far greater than just a band. This compilation not only documents the music played by the Residence Band, but also captures the wider story of the other bands that we recorded while they were on tour and who came to the studio with me the following day. Kai appears here after performing at Holidays in 2024. Sonic Interventions recalls a special milestone: the band's first concert outside Berlin, which took place at Holidays in 2023. Sasha Berliner performed at the Jazz Klub, which is illustrated throughout the comic included in this booklet. Benedikt Montiel Mathews joined the Jazz Montez project through a year-long internship and a record we released together. Hind Ennaira led the successor to the Residence Band during a weekend at El Barrio in 2024. However, her recording was not made in Frankfurt, but in Essaouira, Morocco, during a spontaneous late-night session.

Inlcuding: Pressed on high quality 150g vinyl, the record comes packaged in a beautiful cover, designed by artist Verena Mack. It features a 20 page booklet that includes a fictional comic on the making of a Jazzklub.

Includes unlimited streaming of Jazz Montez Presents Vol. III via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

'Everyone' was Recorded in Tokyo, Japan over two days in late September 2025. The album musically chronicles Greg Foat's first tour of Japan. The album was commisioned by Tokyo based clothing Label 'Everyone' and is a fantastic mix of Ambient, Jazz and Electronic music genres

Each track celebrates a special memory of the tour, from the opener 'Shirahama Beach' home to the wonderful FFKT festival to the playful 'Lake Haruna Boat Ride'.

The album also features Tokyo based jazz musicians Kensuke Miyaki on Baritone Saxophone and Bass Clarinet and Yoshihiro Kaneko on Double Bass. Limited to 700 vinyl copies only with obi strip.

**LTD 500 ONLY COPIES ON CRYSTAL CLEAR VINYL**


Time to turn on and turn it up, theres a brand new Carlton Melton in the offing… its been a good couple of years since the West Coast space/sike travellers have dropped new music.


‘Phantomize beyond the window, into the portal, the panes of eternal returns, wooden spirals, roots into the realms of everything and nothing, the reason beings’


With Anthony Taibi fully ensconsed in the metaphorical Melton Dome, this four piece is ready to soar, go deeper and wider into the sike psyche than on previous recordings, now fully recording live with drums, bass, guitars and keys...recorded at 3D Light in Freshwater, CA by Anthony Tiabi in 2025, and mastered by the inimitable John Mcbain in 2026.


We have a single LP of 40+ minutes spanning 4 tracks, that have textures, and waves and patterns to lull you into some fever dream of motorik psych! Touchstones like Träd, Gräs Och Stenar / Kandodo / Guru Guru / Eno & Fripp / Birds of Maya / Parson Sound come into view.


There are moments of gentle ambience bordered by speaker shredding guitar soloing, whole passages of Krautrock inspired jams that have form and focus.. you blink and your live flashes before you, the record ends, you want more..


There are moments of gentle ambience bordered by speaker shredding guitar soloing, whole passages of Krautrock inspired jams that have form and focus.. you blink and your live flashes before you, the record ends, you want more.. Carlton Melton masterfully blend hypnotic, long-form psychedelic jams with drone and Krautrock influences.


Band:

Rich Millman
Andy Duvall
Clint Golden
Anthony Taibi


Announced to celebrate summers solstice.. released on the Autumn equinox.. with a full UK tour to boot..


Come fly / fry with us…

Fishtailing across a trimmed sod lawn, the parking lot of a box-store strip mall, a fast food drive-thru––it’s a hyperreal Americana fantasy that calls Caroline Rose (she/they) home on 'Gentling the Horse at the Walt Whitman Mall'. The release doubles as the debut of SUCK records, the LA based artist’s own imprint—a fitting next form for an enigmatic musician whose work resists settling into one shape.

'Gentling the Horse at the Walt Whitman Mall' stretches the ordinary into the uncanny. The record pairs sharply observed, memoiristic songwriting with expansive guitar textures that render the everyday with violent clarity and mythic scale. Beneath its melodic sweep and signature hooks runs a current of violence and American dream leakage.

It’s Ennio Morricone with an AR15: surf guitars, spaghetti westerns, and suburban dread colliding until they become their own sharp vernacular. Reality is unstable, so we’ll keep telling stories—and for Rose, the sinister slickness of the everyday grows a new head.

Working with producer John Congleton, Rose built the record through humor, layering, and instinct rather than polish. Songs like “Conversations with Shiv,” “Goddamn Train,” and “Everything in its Right Place” were recorded in studio for the first time, with sessions that prized first impulses over perfection. The result is panoramic but never precious—songs that feel meticulously constructed while always threatening to mutate.

Over the last six years, Rose’s music has evolved alongside their work organizing around stronger labor protections and collective bargaining rights for musicians and crews. Creative and political practice have increasingly become the same project as Rose’s career has taken on its hyper-independent form. Those concerns echo throughout 'Gentling the Horse'. Its landscapes are populated by inherited systems that feel absurd yet inescapable, where humor becomes a survival tactic and satire reveals the quiet violence embedded in everyday Am

Kay Slice’s music is more than meets the ear. He channels a movement. His sound moves beyond borders, blending highlife rhythms and poetic verses into a sonic force that connects the soul of Africa with its scattered children across the globe. Slice is rooted in legacy but speaks to the now. Bold, layered, and deeply aware.

This isn’t fusion. It’s ancestral alignment with a futuristic edge.

From the electrifying grooves of West Africa to the sharp truths of hip-hop, Kay’s music isn’t merely entertainment; it’s a cultural awakening. His performances are highlights: Ghanaian drums, balafon chants, and rhythmic prophecy shaking stages to their core. His storytelling is vivid, raw, and intentional. The immigrant experience reimagined through sound and soul. And as Kay says about this new single, “Moving with purpose, driven by the will to put in the work. The time is now to raise Mother Africa.”

Following his powerful debut From Back To Back (2022), Kay is stepping into full artistic clarity. In 2026, it all comes to a head with Kay’s next album, scheduled for autumn 2026, forged across borders, driven by the spirit of his Ghanaian ensemble and a love letter to highlife, elevated with modern energy.

No longer bound by survival, Kay is moving like a general of sound. Leading with grace, grounded in legacy, but always forward-moving. His shows? Think rituals. Think liberation. Think sweat, spirit, and rhythm. Kay Slice isn’t finding his voice. He is the voice of diasporic pride, ancestral rhythm, and future Africa.

Zur Feier des 25-jährigen Jubiläums ihres siebten Albums aus dem Jahr 2001 (ihres letzten mit Brant Bjork) veröffentlichen Fu Manchu die California Crossing 25th Anniversary Edition. Das Album, das von der Band gemeinsam mit Matt Hyde (Deftones, Slayer, Monster Magnet) in den legendären Sound City Studios in Los Angeles aufgenommen wurde, ist die kommerziell erfolgreichste Veröffentlichung der Band. Die aus 11 Songs bestehende Sammlung enthält "Mongoose" (bekannt aus einem Toyota-Super-Bowl-Werbespot sowie aus Sons of Anarchy, The Hot Chick, Boondock Saints II u.a.), "Squash That Fly" (ihre erfolgreichste Radio-Single), "Bultaco" (mit Gesang von Keith Morris von den Circle Jerks) sowie die Fan-Favoriten "Separate Kingdom", "Hang On" und den Titelsong. Diese auf 1.000 Exemplare limitierte Ausgabe erscheint als El Camino Sand Splatter-farbiges Vinyl im Gatefold-Jacket. Für die optimalste Klangqualität wurde das Audiomaterial des Albums nun neu gemastert. "a strangely nihilistic celebration of all things Cali." - The Guardian "Fu Manchu are the stoned Ramones, a matey Motorhead: a band who can rewrite that album into the infinite future and rule perpetually." - NME

With NIGHTS AFTER VAMP, Magnolia Park have spun an electrifying mix of hard rock, punk, nu-metal, hip-hop and metalcore into a dizzying, multisensory experience. Throughout its 17 songs, the record soundtracks an ominous journey through the fictional world of Nocturne Nexus; where rulers and rebels battle with the future hanging in the balance. Heavily inspired by the band's love of anime, horror and fantasy, the album's narrative was spurred by the long-running Vampire Hunter D, iconic works like Star Wars, Dracula and Joseph Campbell's legendary monomyth. Produced by the band's in-house producers alongside Andrew Wade (A Day To Remember, Wage War), Hiram Hernandez (blessthefall) and Andy Karpovck (408, Taylor Acorn) and mixed by Zakk Cervini (Bad Omens, Bring Me The Horizon) - Magnolia Park soundtrack this dramatic tale of crimson blood and chrome-plated courage through their own mix of man and machine, stacking whirring electronics and industrial undertones alongside sledgehammer breakdowns, walls of detuned guitars and Roberts' seam-splitting vocals.

REPRESS of LOS NATAS album El Hombre Montaña This release is an epic slice of doom-laden pie fresh from Argentina, as the first fuzz-a-licious track "El Bolsero" proudly testifies. Waves of riff lick at the shores of melody as the vocals dive in and out of the mix, quite delicately so for this style of music. The production job was handled by one of the stoner scene's greatest recording affeciandos Billy Anderson, who has worked with The Melvins, Neurosis, Acid King, Fantomas and High On Fire previously, to name but a few! The production job is really quite superb, effectively capturing all the elements of the Los Natas sound and bringing each instrument to the fore in turn. - Roadburn Magazine

Blue vinyl, limited to 300 copies. REPRESS of LOS NATAS album El Hombre Montaña This release is an epic slice of doom-laden pie fresh from Argentina, as the first fuzz-a-licious track "El Bolsero" proudly testifies. Waves of riff lick at the shores of melody as the vocals dive in and out of the mix, quite delicately so for this style of music. The production job was handled by one of the stoner scene's greatest recording affeciandos Billy Anderson, who has worked with The Melvins, Neurosis, Acid King, Fantomas and High On Fire previously, to name but a few! The production job is really quite superb, effectively capturing all the elements of the Los Natas sound and bringing each instrument to the fore in turn. - Roadburn Magazine

SPIKE & THE GIMME GIMMES sind zweifellos die unterhaltsamste Coverband aller Zeiten. Die Band, die bis letztes Jahr noch unter dem Namen ME FIRST AND THE GIMME GIMMES umherreiste, hat sich den Titel Supergroup redlich verdient: Jedes der fünf Gründungsmitglieder konnte bereits auf eine ernstzunehmende Musikkarriere zurückblicken. Ursprünglich fanden Spike Slawson (Swingin' Utters), Fat Mike (NOFX), Chris Shiflett (Foo Fighters), Joey Cape (Lagwagon) und Dave Raun (Lagwagon) durch ihre gemeinsame Liebe zum Punk zusammen. Mittlerweile tritt die Band in wechselnder Besetzung rund um Sänger Spike Slawson auf. "Shit the Bed", das Debüt von Spike and the Gimme Gimmes, bietet genau das, was man von einer Veröffentlichung der Gimmes erwartet: sofort eingängige Songs und herausragendes musikalisches Können - ihre Versionen deiner Lieblingslieder musst Du einfach lieben. PUNKt. Alle Einnahmen aus der hochkarätig besetzten Version von "We Are the World", die hier als Abschluss des Albums enthalten ist, gehen an den Sweet Relief Musicians Fund, du bist also moralisch dazu verpflichtet, mindestens ein Exemplar zu kaufen. Falls die Unterstützung notleidender Musiker als Grund nicht ausreicht: Die fantastische Gruppe von Sängern, die für dieses Projekt zusammengekommen ist, besteht aus den Gimmes mit Spike, CJ, Swami, Pinch and Jake as well as Milo, Nikki Corvette, Tony Reflex, Har Mar Superstar, Dani Miller, Dickey Barrett, Robert "El Vez" Lopez, Stacey Dee, Greg Antista, Johnny Bonnell, Joe Principe, Jolie Holland, Darius Koski, Jesse Wagner, Eva Walker, Chaki Funk Wizard, Jim Lindberg, Efram Schulz, Matt Caughthran, Jon Snodgrass, Blag Dahlia & Miss Guy! Auf Europatour im Oktober/November 2026. EU exklusive braune Vinyl-LP sowie CD mit Falt-Booklet erhältlich.

SPIKE & THE GIMME GIMMES sind zweifellos die unterhaltsamste Coverband aller Zeiten. Die Band, die bis letztes Jahr noch unter dem Namen ME FIRST AND THE GIMME GIMMES umherreiste, hat sich den Titel Supergroup redlich verdient: Jedes der fünf Gründungsmitglieder konnte bereits auf eine ernstzunehmende Musikkarriere zurückblicken. Ursprünglich fanden Spike Slawson (Swingin' Utters), Fat Mike (NOFX), Chris Shiflett (Foo Fighters), Joey Cape (Lagwagon) und Dave Raun (Lagwagon) durch ihre gemeinsame Liebe zum Punk zusammen. Mittlerweile tritt die Band in wechselnder Besetzung rund um Sänger Spike Slawson auf. "Shit the Bed", das Debüt von Spike and the Gimme Gimmes, bietet genau das, was man von einer Veröffentlichung der Gimmes erwartet: sofort eingängige Songs und herausragendes musikalisches Können - ihre Versionen deiner Lieblingslieder musst Du einfach lieben. PUNKt. Alle Einnahmen aus der hochkarätig besetzten Version von "We Are the World", die hier als Abschluss des Albums enthalten ist, gehen an den Sweet Relief Musicians Fund, du bist also moralisch dazu verpflichtet, mindestens ein Exemplar zu kaufen. Falls die Unterstützung notleidender Musiker als Grund nicht ausreicht: Die fantastische Gruppe von Sängern, die für dieses Projekt zusammengekommen ist, besteht aus den Gimmes mit Spike, CJ, Swami, Pinch and Jake as well as Milo, Nikki Corvette, Tony Reflex, Har Mar Superstar, Dani Miller, Dickey Barrett, Robert "El Vez" Lopez, Stacey Dee, Greg Antista, Johnny Bonnell, Joe Principe, Jolie Holland, Darius Koski, Jesse Wagner, Eva Walker, Chaki Funk Wizard, Jim Lindberg, Efram Schulz, Matt Caughthran, Jon Snodgrass, Blag Dahlia & Miss Guy! Auf Europatour im Oktober/November 2026. Die goldige Vinylversion ist nur dem Indie-Handel vorbehalten!

Originally released in 2014, Tales from the Realm of the Queen of Pentacles is now being reissued on limited-edition gold vinyl.

The album tells a story of the intersection of the material world and the world of the spirit. Includes fan favorites "I Never Wear White" and "Crack in the Wall,” plus "Song of the Stoic" and “Don't Uncork What You Can’t Contain,” and "Horizon", written for Vaclav Havel.

Produced and arranged by Gerry Leonard, the album features an illustrious group of musicians including longtime Vega bass player Mike Visceglia and drummer Doug Yowell, bass player Gail Ann Dorsey and drummer Zachary Alford (David Bowie), bass player Tony Levin (Peter Gabriel), drummer Jay Bellerose (T-Bone Burnett), and Larry Campbell (Bob Dylan) who plays banjo, mandolin, and cymbal throughout the album. Additional contributions feature drummer Sterling Campbell (David Bowie, B52s) and Alison Balsom, the virtuoso principal trumpet for the London Chamber Orchestra. Catherine Russell, known for her work with David Bowie and Paul Simon, adds background vocals.

The strings were recorded in the Czech Republic with the Smichov Chamber Orchestra. The album was mixed by Grammy Award-winning engineer Kevin Killen.

Fishtailing across a trimmed sod lawn, the parking lot of a box-store strip mall, a fast food drive-thru––it’s a hyperreal Americana fantasy that calls Caroline Rose (she/they) home on 'Gentling the Horse at the Walt Whitman Mall'. The release doubles as the debut of SUCK records, the LA based artist’s own imprint—a fitting next form for an enigmatic musician whose work resists settling into one shape.

'Gentling the Horse at the Walt Whitman Mall' stretches the ordinary into the uncanny. The record pairs sharply observed, memoiristic songwriting with expansive guitar textures that render the everyday with violent clarity and mythic scale. Beneath its melodic sweep and signature hooks runs a current of violence and American dream leakage.

It’s Ennio Morricone with an AR15: surf guitars, spaghetti westerns, and suburban dread colliding until they become their own sharp vernacular. Reality is unstable, so we’ll keep telling stories—and for Rose, the sinister slickness of the everyday grows a new head.

Working with producer John Congleton, Rose built the record through humor, layering, and instinct rather than polish. Songs like “Conversations with Shiv,” “Goddamn Train,” and “Everything in its Right Place” were recorded in studio for the first time, with sessions that prized first impulses over perfection. The result is panoramic but never precious—songs that feel meticulously constructed while always threatening to mutate.

Over the last six years, Rose’s music has evolved alongside their work organizing around stronger labor protections and collective bargaining rights for musicians and crews. Creative and political practice have increasingly become the same project as Rose’s career has taken on its hyper-independent form. Those concerns echo throughout 'Gentling the Horse'. Its landscapes are populated by inherited systems that feel absurd yet inescapable, where humor becomes a survival tactic and satire reveals the quiet violence embedded in everyday

Stockholm-based duo Dött ljus are back with *Sjunka*, the follow-up to their acclaimed debut *Bottna* (supported by the BBC, KEXP and Headphone Commute). Released via Fauxpas Musik, *Sjunka* delivers immersive, rhythm-driven tracks built on flickering soundscapes, reflecting themes of movement, chaos and hope. Recorded in the catacombs of Södermalm, this long-awaited release is about letting go of control and allowing yourself to sink.Available digitally and on physical vinyl, including a strictly limited run on coloured vinyl.
Vinyl Tastes Better…

Zur Feier des 10-jährigen Jubiläums veröffentlicht LP eine erweiterte Deluxe-Edition ihres vierten Albums,
mit dem ihr der große Durchbruch gelang. Neben dem klassischen Titelsong „Lost on You“ – der kürzlich in
den renommierten „Billions Club“ von Spotify aufgenommen wurde – enthält die neue, erweiterte DeluxeAusgabe den bislang unveröffentlichten Track „Strange (Live at Harvard and Stone)“. Darüber hinaus sind
bisher unveröffentlichte Remixe von „Lost On You“ enthalten, die von DJ Pantelis, DiPap, MANSTA und
Lolos stammen.

Despite the widespread popularity of reggae music in the UK, following its explosion onto the international music scene in the late 1960s, many of these in charge of Britain's mainstream media were reluctant to give the exciting new sound coverage, wither in print or over the airways.

In an attempt to counter this prejudice, Trojan Records took the bold step of embellishing recordings from Jamaica with sophisticated orchestration, with the resultant ‘commercial reggae’ sound immediately finding favour with the country’s reggae fans.

Consequently, the company not just maintained, but in fact extended the procedure, employing producers to record the country’s finest British-based reggae acts. The result was the release of an abundance of superbly crafted recordings, the production values of which rated with the best that British pop had to offer.

Live ist sie unschlagbar! Sechs GRAMMYs, eine der herausragenden Jazzstimmen ihrer Generation – und
eine Künstlerin, deren ganze Klasse sich besonders live entfaltet: Mit “Live at the Blue Note L.A.” veröffentlicht Samara Joy eine neue EP, aufgenommen während ihrer ausverkauften Konzertserie im April 2026
im Blue Note Los Angeles. Im intimen Clubsetting treffen Joys außergewöhnliche stimmliche Souveränität,
Wärme und Spontaneität auf die eingespielte Chemie ihres Septetts.
Klassiker wie “’Round Midnight”, “Yesterdays” und “Lush Life” werden dabei nicht nur interpretiert,
sondern neu zum Leben erweckt. Mit dem Bossa “No More Blues” schließt sich der Bogen zu ihrem
GRAMMY-prämierten Album “Portrait”. “Live at the Blue Note L.A.” bringt einem Samara Joy so nah wie
selten zuvor: unmittelbar, dynamisch und ganz im Moment

In 2014, to mark 20-years since the release of their landmark album The Holy Bible, Manic Street Preachers embarked on a sold-out tour playing the record in full. More than a decade later, The Holy Bible Live captures an unforgettable show at London’s Roundhouse, documenting a band revisiting a defining chapter of their history. Out on 23rd October, this deluxe edition features the complete live show on CD and 2LP Blue Marble vinyl, including a special Side D etching, as well as the Director's Cut of Kieran Evans' acclaimed live concert film Be Pure – Be Vigilant – Behave on Blu-Ray. The package also includes a brand-new Steven Wilson mix of the original album on CD, an exclusive 16-page book and a Pennie Smith photo print; making it an essential addition to any Manics collection. Pre-order yours now.

In 2014, to mark 20-years since the release of their landmark album The Holy Bible, Manic Street Preachers embarked on a sold-out tour playing the record in full. More than a decade later, The Holy Bible Live captures an unforgettable show at London’s Roundhouse, documenting a band revisiting a defining chapter of their history. Out on 23rd October, this deluxe edition features the complete live show on CD and 2LP Blue Marble vinyl, including a special Side D etching, as well as the Director's Cut of Kieran Evans' acclaimed live concert film Be Pure – Be Vigilant – Behave on Blu-Ray. The package also includes a brand-new Steven Wilson mix of the original album on CD, an exclusive 16-page book and a Pennie Smith photo print; making it an essential addition to any Manics collection. Pre-order yours now.

Put your hands together and please welcome Linda Lo to Shall Not Fade's Time is Now imprint. The LA producer/DJ's new 12" EP "Masa" drops 23rd Oct 2026 and f**k is it sick.

Linda Lo fuses* mambo, samba, and salsa with UK garage, dubstep, and club rhythms to make guaranteed rewind material that is gonna light up the dance…

* imma talk about this fuses sh*t in a minute.. First we need to get a bit philosophical. Cos rewinds and fusions aside, this EP is alive. It's part of something bigger and cyclical, without a start or an end. It is music. It was part of someone else's music before and it will be part of other people's music in the future. Right now though, it's Linda Lo's music.

Too esoteric? Let me elaborate and, let's talk about fusion. There is the fusion that is – steal a bit of genre X and culture Y, chuck it on the grid and strut about professing fusion – and then there's actual fusion: Music that is something "new" and real and genuine. Music that you end up describing excitedly as a "fusion of" things (even if it inevitably ends up doing it a disservice). Music that is simultaneously one thing and not that thing, and also something else and not that something else too. Music that is just "music" to the creator but is also part of the progression and evolution of music for others. Mala wasn't making "dubstep". Skream & Benga ended up not making Garage. Like many before and after they were making their music and Linda Lo is making her music so let's hear from her about it. Big up Linda. This is real.

Notes from Linda:

-----------------
“Like Croydon by way of Havana”

“Masa, or corn-based dough used to make tortillas and tamales, is a traditional staple food for many in Mexico and throughout LatAm. In the Maya worldview, people's flesh is made out of masa. In order to make masa, corn must be dried, nixtamalized, ground, and mixed (often by hand) to create the right textured dough. I find much of my music work is a collision and a mixing of many elements, all worked into one product. In this way, I've worked these songs, transforming raw rhythms and sub bass into hand-mixed tunes. ‘Masa - EP' presents four delicious heaters. The title track explodes with a fiery double-time dubstep groove. Mambo horn stabs bite through a bass inferno. ‘Cenote' looks down upon a subterranean pool of sound—still on the surface but impossibly deep. ‘Minifalda', pure flirt and gyration, calls in cuica and other voices from a samba bateria. Finally, claves stitch across ‘Mestiza', a fusion of blooming lush orchestration and jagged 2step rhythm.

Around 1960, my grandparents were regular dancers at the Palladium in Los Angeles: young, Mexican, and falling in love to dance music, specifically big band mambo. My mom, consequently, is a fantastic dancer, and her mambo collection along with my dad's exotica records formed the base of my own vinyl collection. When I first discovered garage and dubstep, there was something indescribably familiar to me, something mambo-like about the syncopated offbeat hits and drama. Later, as I began stitching together mambo claves and 2step drums, I assumed I was trying out something totally new. The farther I go, the more I see that I was wrong.

Dubstep, garage and jungle share a parental lineage back to dub reggae, originating from Jamaica. Mambo hails from Cuba, and sister genres of salsa to NYC & PR, and bachata and meringue to the Dominican Republic. Yet, these musical genres of the Caribbean have not developed in isolation. Reggae, mambo, dancehall, salsa, even son jarocho from Veracrúz, Mexico (where my family is from), all developed together, influencing each other fundamentally. Ultimately, all musics of the Caribbean have come from West African polyrhythmic musical heritages. Garage, mambo, dubstep, and salsa are points in time along one musical continuum.

I feel very honored to be a selector working in Los Angeles (and elsewhere!). I hope I can share some music for the next generation of young people to fall in love to. "

-----------------

I'm moved by what Linda writes here. #1 Doing what you love, and finding you are part of something bigger. Creating for yourself freely and hoping to inspire others with healthy amounts of care, humility, freedom, self awareness and enjoyment. (It is inspiring and I'm honoured we are now a part of sharing Linda's music). #2 There's something wonderful about finding connection and a sense of place. A place physical, spiritual and in time. Music can help us all find connection and be part of a place. Wheel it up wherever you are.

The Liber series was always about the dancefloor. Dark rooms, loud systems, repetition, pressure and the point where the machinery takes over. Liber Eleven continues that idea. The tracks have been remastered and are now available again on CD, vinyl and download.

This is The Black Dog in full techno mode. Hypnotic, physical and built for big systems, with enough strange corners to keep things interesting when the lights go down.

The Liber series started with Liber Kult, Liber Temple and Liber Nox, followed by Liber Dogma and Liber Chaos. Eleven picks up that thread and carries it forward.

No nostalgia trip. No archive dusting for the sake of it. Just The Black Dog making techno...

2026 Repress

Donato Basile AKA DJ Plant Texture always wants his music to tell a story, and with his debut EP on Tresor Records, entitled Life, he’s now trying to tell the biggest story there is. According to the artist, “Life is about the fear of growing up”; both the anxiety itself and acknowledging and moving past it.
This narrative seems to have struck a chord with those who have heard the track, “People want to reflect themselves in the music; something personal. Lots of people have been in touch after hearing it; I guess they feel something melancholic in it. Personally, I imagine the track is like the life of a person; going from being born through childhood and youth and onwards, so perhaps they hear this?”
Having used an MPC since the early 2000s, Basile feels an intuitive connection to the hardware he uses, and so the creative process is very spontaneous: “I know where everything is so the music is made immediately. I make everything in the first ten minutes; after that if it’s not right then I just abandon it and start something else.” This immediacy, and familiarity with his equipment is apparent on the A-side, where Basile’s previous life as a drummer comes to the fore and tracks like Cycles and Ripetivo display his native understanding of groove but also how to stir things up - the three A-side tracks find classic techno rhythms seemingly falling apart only to snap back into place even stronger. The B-side finds Donato exploring more of his melodic side with WTT and the aforementioned title track showing Plant Texture’s love of breakbeat and classic techno.
The three digital bonus tracks continue this exploration of melody and syncopated beats - The EXP Days echos the wistful feeling of Life, as Basile meditates on the times spent at EXP, his record shop in Bari, which functioned as a meeting place for electronic producers in the area.

Built with the immediacy that comes from limitation, iPhone Grime is almost exactly what it says on the tape case. Pulled directly from the portable communication device of Front Left Life's Louis Payne, iPhone Grime is the perfect distillation of raw ideas through a simple medium. When producers can drown in the infinite possibilities of the DAW vortex, a simple phone app can steer you swiftly to the sharpest results. Snippets of real world sound captured on the mic ground these quick-fire beats in a time and place, dynamic and street-level like grime and early dubstep was when it was being imagined on PlayStation games and filmed on ropey phone cameras.

Payne is undoubtedly bringing perspective to his sketches, having forged a connection with London's club scene through his part in the widely hailed Front Left Life parties in Catford, at Venue MOT and elsewhere. With a roll call of guests that cuts a sharp line through the best of bassweight club music right now, his taste and knowledge precedes his first steps into the production arena. Rather than puzzling out the path to a thousand likes for a hardware jam reel, he's opted for a direct line between his brain and the beat at the end of it.

You can hear the naivety behind vocal loops like the one nagging away on 'Follow That', calling to mind the first time you ever tried making a Fruity Loops beat. But these are no amateur throwaways — the technology has moved on and Payne's instincts guide him towards legit constructions that could easily do damage in the club. Sometimes they exist as no more than an eight bar loop, while others like 'Wind It Up (Dream Dealers Version)' or 'Extra Dimensional Being' stretch an idea out. Throughout it all, the looming throb of square wave bass glues the record together and anchors the grime dimension of Payne's job lot of phone jams.

Payne's work is all his own, and the snatches of real life around the beats anchor this music in his own London life. But, like previous shifts in technology and accessibility, iPhone Grime also raises an important prospect—that anyone with one of these apps, a Bluetooth speaker and an idea can bring music out of studios and into the world. History has already proven, when that happens the possibilities become thrillingly unpredictable.

KKYV10 is a four-track EP by Bulgarian producer Loopdeville, currently based in Spain. The release explores a flexible space between minimal, breakbeat and house, shaped by groove-led structures, textured sampling and a slightly twisted, off-centre energy. Built to move through different moments — daytime light, peak pressure, late fade. The EP opens with "The Bizz", a track built around jazzy elements, vocal cuts and a jackin low-end. Its warm, rolling groove sets a natural tone for the record, balancing playfulness with reflections. "Shmuck Norris" follows with a heavier, more direct approach. Driven by raw drums and a rolling bassline, the track leans into a big-beat aesthetic while maintaining a stripped structure. On "Rashford", the EP shifts into a breakbeat framework. The track carries a deeper, more introspective mood, with subtle background movement adding acid tension beneath it’s surface. The closing track, "Septimo", draws from UK-influenced minimal with garage elements. Focused on sub frequencies it is designed for systems that favour depth and clarity in low parts. Together, the four tracks form a cohesive yet varied release, reflecting Loopdeville’s recognisable sense of tension and detail while staying totally aligned with Kooky’s sonic direction.

This special 3LP clear vinyl collates the “Back To Black” era in a definitive package. Featuring the original studio album, 4x unreleased demos, rare B-sides and demos, alongside the notable live performance from Paradiso, Amsterdam (February 8th 2007) from the Back To Black tour, never released in full and on vinyl.

This edition features brand new alternative cover artwork, including Amy’s handwritten lyrics, and never-before-seen photos by original album photographers Mischa Richter and Alex Lake, plus brand new, exclusive liner notes from Mark Ronson and Salaam Remi.

2026 celebrates the 20th anniversary of the 5x Grammy award winning album “Back To Black”, universally regarded as one of the greatest, most important and influential albums in pop history.

DAYBREAKERS continue the journey through Fred Everything's archives with a second collection of previously unreleased recordings. If the last release captured the early years, this next chapter moves into the period between 2008 and 2015, uncovering more forgotten gems from one of Montreal's finest.

Fred Everything is one of those producers whose influence runs deep. From his early releases on 20:20 Vision through to decades of essential music on Lazy Days and beyond, he's built a catalogue that's earned the respect of DJs and dancers across the world, always staying true to his own sound.

Once again, Fred opened the vault, revealing another batch of unheard productions that had somehow escaped release. This time the sound leans a little further into the dancefloor, with warm grooves, rolling basslines and the kind of understated musicality that's become synonymous with his name.

These recordings may have been made between 2008 and 2015, but they've lost none of their spark. Timeless, understated and effortlessly classy, they remind you why Fred Everything remains one of deep house's most consistent voices.

Three more lost gems, finally finding their place.

Deeper than deep house.

Buy or cry.

Mack Loenz delivers his debut album From The Heart on Maceo Plex’s Lone Romantic imprint, expanding his razor-sharp, cinematic sound through analog synthesis and retro-futurist design.

Across its ten tracks, the album moves through a palette that is both nostalgic and forward-facing, with glistening arps, soaring pads and growling basslines shifting between physical club function and emotional extremes of melancholic yearning, romantic tenderness and futuristic intensity. ‘Follow Me’ opens with shimmering arpeggios and driving bass building to a euphoric crescendo, while ‘Switching My Flow’ pushes into heavier territory with gritty hoover synths, skittering vocals and chest-rattling subs. Elsewhere, ‘It’s Complicated’ brings a more tender, melancholic edge with rolling drums and expansive, symphonic synth work, and ‘Trust Issues’ leans into a nocturnal, romantic yet dystopian mood carried by sweeping leads and pitched vocal splicing. ‘Waiting Game’ moves into darker, industrial-leaning tension, before ‘Back To The Stars’ closes on a reflective, emotional resolve.

Shaped by a vision to push electro into a more expressive space, From The Heart carries a clear emotional core throughout. As Mack Loenz puts it, “In a time where there is a lot of darkness, this album is about bringing light, spreading positive energy, and creating moments that people can feel both on the dancefloor and within themselves.” That sentiment runs through the record, shaping a cohesive statement that balances club functionality with atmosphere, emotion and forward-facing electronic production.

Die EP ,PERFECT HOUSE" von MX Lonely ist der Nachfolger ihres hochgelobten Debütalbums ,ALL MONSTERS". Nach dem Erfolg ihres Albums (gelobt von Pitchfork, Stereogum, Alt Press, POST-TRASH und vielen anderen) kehrten sie zu den Songs zurück, die sie während der Arbeit an dem Album geschrieben hatten, und hauchten den Stücken Leben ein, die nicht auf die ursprüngliche Platte gepasst hatten. Sie haben einen schweren, düsteren Alternative-Rock-Sound entwickelt, der gleichermaßen von Schönheit durchzogen ist und von Stereogum als ,die Art von Indie-Rock, die wir in den 90ern als ,angular` bezeichnet haben und die in eine regelrechte Fuzz-Riff-Eruption ausartet" beschrieben wird. ,ALL MONSTERS" war ihre erste komplett selbst aufgenommene Veröffentlichung, auf der die Band - Synthesizer-Spieler und Sänger Rae Haas, Gitarrist Jake Harms, Bassist Gabriel Garman und Schlagzeuger Andy Rapp - einen lebendigen, unmittelbaren, analogen Sound eingefangen hat, der das Gefühl ihrer Live-Shows verkörpert und gleichzeitig ein länger andauerndes und nuancierteres Erlebnis schafft als je zuvor. Für die Zukunft wollen sie weiterhin auf Tour gehen und eine Community aufbauen, die auf gegenseitiger Katharsis basiert. Auch wenn sie sich der Selbstreflexion verschrieben haben, möchten MX LONELY letztendlich andere in ihre Welt einbeziehen.

2026 jährt sich die Veröffentlichung von Koop Islands, dem gefeierten dritten und letzten Studioalbum des schwedischen Duos Koop, zum 20. Mal. Mit seiner einzigartigen Verbindung aus Jazz, Swing, Electronica und filmischer Orchestrierung etablierte das Album Koop als international renommierten Act. Umfangreiche weltweite Tourneen und ein Katalog, der bis heute eine große globale Streaming-Hörerschaft begeistert, folgten.Mit Gaststimmen von Ane Brun, Yukimi Nagano von Little Dragon, Mikael Sundin und Earl Zinger enthält Koop Islands den internationalen Streaming-Hit ,Koop Island Blues", der inzwischen mehr als 100 Millionen Streams auf Spotify verzeichnet. Das Album bietet außerdem ,Strange Love", Koops zweiterfolgreichsten Song im Streaming, der hier als Bonustrack enthalten ist. Zuvor war der Titel nicht auf einer regulären europäischen Vinyl-Ausgabe erhältlich - nun erscheint er erstmals in diesem Format.





e 5STRANGE LOVE [BONUSTRACK]





[e] 5STRANGE LOVE [BONUSTRACK]

After almost twenty years of releasing music, Sven Tasnadi finds himself circling back to some of the sounds that first drew him into house music. Explorer was written at home following a longer break from producing and after moving out of his studio, a change of setting that coincided with a shift in priorities. "The tracks on this EP came together at home after a longer break from music and after I moved out of my studio," he explains. "Musically they are very deep and minimal, at times almost meditative. They were inspired by a new chapter in my life as well as my never-ending love and connection to artists like Lawrence from Smallville and Frank & Tony from Scissor and Thread."
That sense of returning to something runs through the whole record. For much of Tasnadi's career, producing and DJing were closely connected, with many releases naturally shaped by the club. Things have changed. "DJing is no longer my main focus, so I can dedicate myself to these deep and minimal sounds again, free from pressure or expectations," he says. "In a way, after almost twenty years of releasing music, things have come full circle for me."
"Atlas (Chapter 1)" and "Atlas (Chapter 2)" grew from the same initial idea but followed separate paths during production. Chapter 2 came first, while Chapter 1 emerged later from a variation Tasnadi discovered while the track was still essentially a loop. "I was still looking for the right theme for the original idea when another version suddenly opened up," he recalls. He saved that variation for later so he could stay focused on the first version. When he returned to it, the two had developed distinct enough identities to stand independently. Their shared DNA is still audible in the restrained rhythms, slowly shifting details and the way small changes carry much of the movement.
The title track moves further into dub techno, another longstanding passion for Tasnadi. "Explorer is almost a classic dub techno track," he says. "Subtle movements within a constantly repeating pattern create a particular atmosphere. It feels like the track could just keep going forever." It is a patient approach to repetition that he connects to artists such as Moritz von Oswald and his friend Daniel Stefanik.
"Megasektor", one of the first tracks Tasnadi made at home with a new equipment setup, brings the EP into deep house territory. "To me it's almost classic deep house, or at least how I define deep house for myself." Warm, compact and gently propulsive, it provides a natural closing point for a record that is ultimately less about changing direction than reconnecting with an instinct that has always been there.
Explorer captures Tasnadi at a point where making music has become more personal again. The four tracks come from following ideas for their own sake and from rediscovering the deeper, more minimal sounds that have stayed with him throughout his career.

As part of the 20 Years of BM anniversary celebrations, Bondage-Music proudly presents Bondage Games Pt. 11 — a special five-part vinyl series. Each release is named after a constellation, together forming a unique tribute to two decades of Bondage-Music.
With Bondage Games Pt. 11, the label's iconic vinyl series returns in its most ambitious edition to date. Created to celebrate 20 years of Bondage-Music, the series unfolds across five constellation-themed releases, each featuring four exclusive productions from artists closely connected to the label.
The first chapter, Ursus, brings together four exclusive tracks from Roger Gerressen, Sascha Dive, Rhadow and Lola Palmer. From Roger Gerressen's hypnotic groove-driven Patterned Shards and Sascha Dive's unmistakable deep house craftsmanship on Dub Chronicles #10 to Rhadow's atmospheric Ripples and Lola Palmer's warm and emotional Slow Down, the record perfectly reflects the timeless musical identity that has defined Bondage-Music since day one — deep, soulful, groove-focused and made for both intimate listening and late-night dancefloors.
Pressed on heavyweight 180g vinyl and housed in an individually printed sleeve, Ursus continues Bondage-Music's longstanding commitment to exceptional quality in both music and design. The artwork was created by BM's longtime Head of Artwork, Pete Bombart — a close friend and an integral part of the label since its earliest days. His unmistakable visual language has become inseparable from the Bondage-Music identity, earning a loyal following far beyond the music itself.
Whether collected as part of the complete anniversary series or enjoyed on its own, Bondage Games Pt. 11: Ursus is a celebration of the artists, the friendships and the unmistakable sound that have shaped Bondage-Music over the past twenty years.

With his last three records all landing within a calendar year (2024-25), enigmatic Swedish producer Civilistjävel! (aka Tomas Bodén) is on a hot streak of releases, his singular vision increasingly ambitious and expansive. There are few artists working at this level so consistently right now, reinventing, revising and continually developing their language. Following on from 2025’s radically re-worked ‘Versions’ (of Mayssa Jallad’s ‘Marjaa…’), Bodén returns to break further fresh ground with his new album, ‘Älvgång’. Featuring contributions from Soccer Committee, Carrier and guest (aka Jabu’s Jasmine Butt), ‘Älvgång’ foregrounds a more brittle and insistent rhythm-based sound, whilst comprising his most broad-ranging collection of material to date.


‘Älvgång’ grew out of a series of sketches made from late ‘24 and throughout the whole of ‘25 at Stockholm’s renowned EMS Studios, which gave Boden free rein to its extensive collection of vintage analogue equipment and rare modular synthesizers such as the Serge and Buchla systems. As a loose framework of tracks began to take shape, so did a reflection of sorts, on family and foundations, underpinned or influenced by sounds that drifted into Tomas consciousness around this time - ancient Swedish pastoral music, Georgian lithurgical chants, gongs, chimes. An idea settled into place, a dedication to his Grandfather, as the earlier release Fyra Platser (tr. ‘Four Places’) was to his Grandmother. Älvgång is grounded with the sense of time and place of an old family photograph, with the tracks over each side bearing one of two names that are more or less the same location - Strinne was the old name for a this loose collection of villages. These days it is more commonly known as Bjärtrå. Metaphorically speaking, the river runs through both.


Civilistjävel! conjures so many adjectives and descriptors, ‘glacial’ and ‘ambient’ frequently among them - but while not altogether untrue, such terms belie the tension and drama so often present in Tomas’ music. Listening to ‘Älvgång’ is not a passive experience. The eight tracks here feel like a patchwork of memories that bathe in the same ethereal, otherworldly glow of Tarkovsky’s polaroids’.


The machine pulses that dominate this landscape are reigned in and tempered by a human hand; lithe, untethered coils, breathing in and out. ‘Strinne Ett’ sets out with purpose, sensing awe and wonder through the murk, but as the final tone unfurls like a question mark, another chapter begins, unfolding/building like a Tarjei Vesaas novel. These lyrical, abstract miniatures combine to reveal a wider context, fragile humanity standing alone against nature.


Guest appearances on Civilistjävel! records have become a regular occurrence (including recent collaborations with Mayssa Jallad, Laila Sakini, Cucina Povera, Thomas Bush, Eldon + Withdrawn), but are used sparingly and with increasing precision. On ‘Strinne Tre’ Mariska Baars’ (Soccer Committee) voice feels like a balm, a clearing. But as her simple, three-word incantation drifts further into fog, the meaning changes, and her words seem to curdle. Carrier’s beats widen the parameters on ‘Strinne Fyra’, a skittering promise that builds tension then refuses to release it; all false starts, Photek gongs, and trinkling modulars. Jabu’s Jasmine Butt pulls all the threads together for the final track, Thomas Tallis’ ghost walking over offset machine impulses, that work against their own symmetry.


Side two begins inquisitively, scanning bleached, alien surroundings, its sparse pads recalling Aphex Twin’s ‘Selected Ambient works Vol 2’. 'Bjärtrå Två’ picks up the baton from ' Strinne Fyra’ with a ruptured Simmons SDS200 analogue drum synth set free from its shackles, the rhythm eventually slotting into the spaces that were hiding in plain sight. What follows seems like an epiphany; ‘Bjärtrå Tre’ is achingly beautiful, a euphoric, winding ascent that leads to devotional plainsong. ‘Bjärtrå Fyra‘s final unheralded shift feels both tragic and haunting.

That's Life is the second album by Sham 69 and probably the first concept punk rock record. The first wave of punk was all about singles and there are two fine ones here: Hurry Up Harry and Angels With Dirty Faces. Anyone who can suffer through an episode of East Enders should be able to follow the "day in the life" narrative. A pretty great record that is anchored up by two great singles and a novel concept for an LP.

That's Life is now available again on black vinyl.

By the time Michael Nau completed Popfly, the songs felt less like compositions than companions. Arriving in fragments, notebook lines, and fleeting observations, these pieces kept company for years until taking their final form. The result is one of Nau's most openhearted, expansive records, both homespun and otherworldly at once. Radiant folk melodies, tape-warped textures, and flashes of everyday wonder coexist in perfect balance on Popfly. Nau has never been a songwriter who forces songs into existence. Instead, he follows them, trusting intuition over agenda and allowing songs to gradually reveal themselves. Writing and recording often blur together, with melodies evolving before lyrics are finished and stray recordings forming the basis for new songs. Popfly showcases these creative detours: thoughtful folk songs, sonic experiments, and accidental beauty transformed into fully realized compositions. Many songs began at home, growing in meaning. Since he entered the Vermont studio, Little Jamaica, with longtime friend and collaborator Benny Yurco, many of them had already lived several lives. "Studio recording feels like covering my own songs," Nau says. This idea flows throughout: performances are lived-in, feeling effortless, as if assembling itself. The title track carries a flicker of wonder in its simple observations. "New Slack" moves with the loose confidence of a song content to follow its own path. On "Lost Station Hideaway," soft static and fading signals become something strangely comforting, as if the song itself is being broadcast from somewhere just beyond reach. Family and friendship are deeply woven throughout the record. Nau's children contribute vocals, bringing warmth and spontaneity to the album's communal spirit, with longtime collaborator and wife Whitney McGraw lending her serene voice. The harmonies that drift from them extend the album's central impulse of people gathering to make something beautiful. Across Popfly, loose-limbed folk songs mingle with homespun psych-pop, porchside country-folk, dreamlike atmospherics, and quietly profound observations. The record moves with the ease of conversation among old friends, finding beauty in tiny revelations, strange coincidences, and everyday mysteries. The record is full of transmissions from different moments in Nau's life, stitched together by instinct, affection, and time. Taken together, they form a portrait of a life spent paying close attention to the world and its small miracles.

Budapest based concept label Blue Sun arrives with the 3rd edition of their annual VA series, showcasing a colorful taste of the local underground music scene, with some international sidenotes.

Following up on the label’s customs, the 19-track selection is not only released digitally, but also on a limited 200-piece cassette series. Curated by the label heads, the tracks follow Blue Sun's listening-oriented concept without genre restrictions with downtempo, trip-hop, jazz, dub, balearic, ambient, experimental, and electronica as highlights, with pieces that are more difficult to classify.

As before, instead of the usual A-B markings, the two sides are divided by the label's colors: “ORANGE” contains more organic and high-energy music, while “BLUE” contains more pensive and experimental tracks. Moreover, the selection has been carefully curated so that it can be listened to as an endless loop: the end of a side always resonates with the beginning of the other, wherever the listener begins.

The list of contributing artists this year are truly various and just as impressive. From uniqe debuting local artists to internationally recognised performers, it gives a taste of how the Hungarian underground scene sounds like atm. Important to note, that the release marks another debut: the label’s new visual identity by Blue Sun’s new designer, Péter Tóth.

“Slide in the party like three monkeys wearing a trench,” GDP says in the opening seconds of Cross Off Matthew, his first solo album in over a decade. The line is indicative of the New Jersey emcee/ producer’s relationship with music, one that’s ebbed and flowed throughout his career and eclectic discography. Entirely self-produced, Cross Off Matthew feels like a reintroduction as well as an expansion of what makes the cult rapper so beloved. GDP came up in the respective punk, hardcore, and skateboarding scenes of New Jersey, roots that inspired his DIY approach to making hip-hop. He applied a decidedly punk ethos to his brand of neo- boom bap on early releases like 2009’s Realistic Expectations and 2011’s Useless Eaters, albums that celebrated his youthful indiscretions but also signaled an old soul lying beneath the surface.
He opted to release them on punk/indie labels (including Run For Cover and Ride The Fury Records) instead of more traditional hip-hop outlets, and along with an ambitious touring schedule, he carved out a dedicated fanbase throughout the early 2010’s. Cross Off Matthew is a slow-cooked labor of love, born out of taking enough time away from something to understand the journey with greater perspective and appreciation.“I’m older, arguably wiser, but that creative fire stayed with me,” he says. “I wanted to make something that felt nuanced, something that I could feel proud of.” Throughout the album, the production toggles between foreboding and facetious just as deftly as his bars. Tracks like “Island In The Sky” and “Location Therapy” make rap confetti out of caustic guitars and glaring distortion, while “Seroquel” and “Rock For Light,” (the latter a nod to NJ rap royalty, The Outsidaz) embrace GDP’s signature blend of East Coast hip-hop and punk sensibilities, with lyrics that highlight the sharp wit and heady philosophizing that he made his name on. GDP examines vices, interpersonal relationships, the collective dread of late-stage capitalism as well as the pitfalls and rewards of trying to lead a creative life throughout it all. The wiseman that peaked out from beneath the shield of debauchery on his early releases has now come to the forefront, as GDP’s trademark humor and commentary feel refined by years of life lived experience

2026 Repress
In the ever-expanding universe of deep house, Julius Steinhoff is far from being a stranger. Half of the dynamic duo Smallpeople, founder and one of the steersmen behind Hamburg's Smallville empire (record store/ label/ party curator around the globe) as well as a producer and DJ in his own right, Steinhoff is closely associated with a group of like-minded people that unite fresh ideas and individualism with a certain consciousness of tradition. That 'Flocking Behaviour' is well embodied in Steinhoff's debut album by the same name. After a string of 12-inches for the likes of Live at Robert Johnson, Geography or his own-brand Smallville and the very well-received Smallpeople long-player 'Salty Days", Julius Steinhoff makes a submission that is all his. Rooted in the elegiac variety of the big three (New York, Chicago & Detroit) and a romantic concept of house music that is at times utopian, the album gathers eight tracks that evoke late nights, hazy mornings and walks on thin air. But 'Flocking Behaviour' is by no means anachronistic: Tracks like 'Under A Waterfall' could be made in just the same manner by a puerile Baby Ford in 1989 as they represent a swaying dance floor in 2014. 'Treehouse' or the title track 'Flocking Behaviour' are experiences that make you feel like meeting new people who instantly greet you like old friends. With someone that works and lives in the here and now, Steinhoff seemingly has no interest in revisionism, complains or antagonism, his approach is welcoming and caring, embracing and mesmerizing. Along the way, his musical apparatus never makes use of cheap tricks or antique clichés.

No Home is the new album by Lane Hartley, releasing October 23rd 2026 on Royal Oakie Records. Produced in collaboration with David Hartley of The War On Drugs & Adam McDaniel (Animal Collective, Angel Olsen, Geologist), the album was recorded at Drop of Sun Studios in Asheville and features contributions from North Carolina’s tight knit music community–including Mary Lattimore, Seth Kaufman of Floating Action & Dream Sitch, David Hartley, Jack Victor Johnson, and more.

After recording his debut album Naming Horses, Lane left Los Angeles and returned home to the Carolinas, eventually landing in Asheville. It wasn’t too long until the songs started flowing and Lane found himself reaching out to Adam McDaniel at Drop of Sun Studios–a vaunted space that’s been at the heart of indie-rock the past few years, bringing to life recent albums from MJ Lenderman, Wednesday, Fust, and more. McDaniel introduced Lane to David Hartley, and what originally started with discussions to record one song quickly turned into a plan to track a whole album live with a six piece band. Once in the studio, co-producer McDaniel encouraged the group to lean on intuition–“All of the players on this record really brought it to life in such a cosmic way. They instilled so much childlike wonder and fun into the making of the album. It inspired me to keep going” says Lane.


Lyrically the album is a collection of vignettes about people who’ve become alienated from their deepest desires of connection, belonging, intimacy, and autonomy–inspired both by Lane’s own life and the lives of people he’s loved. The unique character of the album emerged when Lane made the decision to pair the dark lyrical content with bright & lush arrangements, inspired by Gene Clark’s No Other, Neil Young’s After the Gold Rush, and Amen Dunes’ Love. In Lane’s words, “The content of the songs got way darker, and my reaction was to make the songs catchier, and to lean harder into the music that influenced me. I wanted each song to feel like a room in a haunted house, with a beautiful garden growing outside”.

Album opener “I Am Not Ashamed” was inspired by the anti-memoir of actress Barbara Peyton, a 1950’s Hollywood starlet who met an untimely end; “It’s about knowing that whatever you’ve done to survive, you still deserve love” says Lane. “Mother” pairs lyrics about ancestral trauma with the sunshine-pop influence of Colin Blunstone, featuring backing vocals from Lane’s sister Barrett Hartley. “It's about coming to terms with the fact that the people meant to protect us are dealing with their own trauma…”

Meanwhile, “All Of This Is Yours” and “Tone Poem” form the spiritual center of the album, an attempt to transmute anger & pain to bittersweet acceptance in the wake of a breakup. “I feel like on the surface this is essentially a breakup album, a lot of these songs are about mourning the end of a relationship and reflecting on what went down. I was falling in love and getting my heart broken, then waking up and driving across the country and doing it all over again.” “Love Is Not A Song” was inspired by Margo Guryan’s Love Songs, pairing bright piano with playful lyrics about an old man who’s been beaten down by life but still believes his greatest love is yet to come. Last but not least, title track “No Home” sums up the album’s key theme of alienation, “It all goes back to this feeling of wanting to belong to someone or somewhere, wanting to belong in your own body.”

A seasoned DJ and producer with a long-standing presence in New York’s underground dance community, Olive T has steadily built a reputation through her genre-fluid sets, productions and affiliations with key institutions like The Lot Radio and Nowadays. With past releases on labels like Nervous Records, 2MR and Permanent Vacation, her sound is deeply rooted in classic house traditions while consistently pushing forward with contemporary flair.

Following her contribution to Creaked’s 20th Anniversary compilation in 2024 with the hypnotic track "Salt Reflection", New York-born, Geneva-relocated artist Olive T makes a full return to the label with a proper debut release, Light On. This 4-track EP encapsulates her deep understanding of house music’s rich lineage while illuminating fresh sonic perspectives, complete with a standout remix from Swiss luminary producer Deetron.

,Bands Like It When You Yell `YAR!' At Them" war ursprünglich eine Promo-EP von Minus the Bear, die 2002 als Vorgeschmack auf das Debütalbum ,Highly Refined Pirates" erschien. Was als einfache Werbe-CD begann, entwickelte sich schnell zu einem Fan-Favoriten und erscheint 2026 erstmals offiziell auf Vinyl. Die Veröffentlichung zeigt die Band in ihrer frühen Hochphase und vereint ihren charakteristischen Mix aus Indie-Rock, Math Rock, Funk, verspielten Gitarrenfiguren und elektronischen Elementen. Neben frühen Albumtiteln enthält die EP mit ,Drop It Like It's Hot" auch einen exklusiven Song, der die kreative Experimentierfreude der Band eindrucksvoll dokumentiert. Heute gilt ,YAR!" als wichtiges Zeitdokument der Anfangsjahre von Minus the Bear und als perfekte Ergänzung zu ,Highly Refined Pirates", einem der prägendsten Indie-Rock-Alben der frühen 2000er-Jahre. Von Bernie Grundman für Vinyl remastert und mit bei 45 U/min geschnittenen Lackplatten trägt diese limitierte Auflage von 1.000 Exemplaren auf "San Juan Sands" Vinyl dazu bei, die aufregenden Anfangsjahre einer der beliebtesten Bands des amerikanischen Indie-Rock zu dokumentieren und zu bewahren.