The album is a live recording of the concert that took place on March 13th, 2026, in Church in Church under the invocation of Saint Stanislaus in Bielsko-Bia?a Poland to mark 30th anniversary of Krzysztof Kie?lowski passing.
Performers:
Edyta Krzemie- soprano
Robert Crowe- male soprano
Jakub Burzyski- counter-tenor
Daniel Domarecki- tenor
Lukasz Konieczny- bass
Rados?aw Pujanek - concertmaster
Beata Ogryzek - violin
Katarzyna Jawor - violin
Aleksander Daszkiewicz - violin
Kamila Jakubowska - viola
Magdalena Pluta - cello
Jan Jerzy Koacki - double bass
S?awomir Berny - gongs, tubular bells
Organ: Jan Szypowski
(Original recording from album "Requiem for my Friend," Warsaw 1997)
under direction of Zbigniew Preisner
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.
Mit "Intoxicated Man" widmet sich diese umfangreiche 2LP-Edition den fruhen Jahren von Serge Gainsbourg und dokumentiert die Entstehung eines der einflussreichsten Kunstler der franzosischen Musikgeschichte. Lange bevor Gainsbourg mit seinen provokanten Pop-Produktionen internationale Bekanntheit erlangte, entwickelte er aus Jazz, Chanson und literarischen Einflussen eine unverwechselbare musikalische Handschrift. Die Sammlung vereint zentrale Aufnahmen seiner fruhen Karriere, darunter Klassiker wie "Le Poinconneur des Lilas", "La Chanson de Prevert", "L'Eau a la Bouche" und "Black Trombone". Begleitet von hochkaratigen Musikern wie Alain Goraguer, Marcel Zanini und Hubert Rostaing zeigen diese Aufnahmen bereits den scharfsinnigen Texter, stilistischen Grenzganger und musikalischen Innovator, der Gainsbourg spater werden sollte. Eine sorgfaltig kuratierte Retrospektive eines pragenden Kapitels franzosischer Musikgeschichte.
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
For their eagerly awaited third album, the Parisian trio Howlin' Jaws have teamed up with Swedish producer Kalle Gustafsson Jerneholm (bassist with The Soundtrack Of Our Lives and producer for Foals, The Hives, Jose Gonzalez and Junip) and have taken a major step forward, affirmingthe universal appeal of their explosive yet elegant psych-rock. This new album, Living The Dream, crystallises just about everything we'd ever dreamt of hearing from Howlin' Jaws. Here, more than ever, their dreams take the form of unifying choruses, transforming grief ("Troubled Mind") or separation ("Do What You Gonna Do", "So Sorry") into genuine bursts of hope. Rich in texture (with the Omnichord and Mellotron featuring on the spellbinding "Miss You" and the twilight-tinged "Up On The Roof" respectively) and in wit (led by the biting "Living The Dream"), the eleven-track album is equally diverse in its range of influences. Disco looms large on "Terminal Buzz", country creeps in on "Sunset Laundromat", whilst the fiery "Maximum Speed" is a joyful reminder of King Gizzard & The Lizard Wizard's trippy flights of fancy. The trio are stunning when they're in full swing, but just as impressive when they slow the tempo down. Behind its layers of cosmic keyboards, "Time Has Come" immediately sets the scene and subtly invites introspection. Like an echo at the end of the journey, "That Kind of Pain" rubs shoulders with the stars of the French Touch (the Air school), letting the strings of the Stockholm Philharmonic Orchestra burst forth amidst its melancholic swells. All in all, whether he simmers his albums like an omelette or a beef bourguignon, Howlin' Jaws proves he's never short of imagination.
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!
For their eagerly awaited third album, the Parisian trio Howlin' Jaws have teamed up with Swedish producer Kalle Gustafsson Jerneholm (bassist with The Soundtrack Of Our Lives and producer for Foals, The Hives, Jose Gonzalez and Junip) and have taken a major step forward, affirmingthe universal appeal of their explosive yet elegant psych-rock. This new album, Living The Dream, crystallises just about everything we'd ever dreamt of hearing from Howlin' Jaws. Here, more than ever, their dreams take the form of unifying choruses, transforming grief ("Troubled Mind") or separation ("Do What You Gonna Do", "So Sorry") into genuine bursts of hope. Rich in texture (with the Omnichord and Mellotron featuring on the spellbinding "Miss You" and the twilight-tinged "Up On The Roof" respectively) and in wit (led by the biting "Living The Dream"), the eleven-track album is equally diverse in its range of influences. Disco looms large on "Terminal Buzz", country creeps in on "Sunset Laundromat", whilst the fiery "Maximum Speed" is a joyful reminder of King Gizzard & The Lizard Wizard's trippy flights of fancy. The trio are stunning when they're in full swing, but just as impressive when they slow the tempo down. Behind its layers of cosmic keyboards, "Time Has Come" immediately sets the scene and subtly invites introspection. Like an echo at the end of the journey, "That Kind of Pain" rubs shoulders with the stars of the French Touch (the Air school), letting the strings of the Stockholm Philharmonic Orchestra burst forth amidst its melancholic swells. All in all, whether he simmers his albums like an omelette or a beef bourguignon, Howlin' Jaws proves he's never short of imagination.
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
Third time’s a charm, or possibly an anomaly. Johannes Volk returns to Running Back for another five exercises in perception, memory and dance-floor physics.
Following Extra Dimensions and Lightweave, this third instalment finds Volk continuing his particular way of making machine music feel strangely human and vice versa.
Shining Force starts somewhere above ground. Gliding across an unfamiliar planetary surface, optical illusions and physical anomalies slowly interfere with the senses. Unknown landscapes,
peculiar vegetation, nature behaving unnaturally: techno as field research. Switching From Bicycle to Spaceship does exactly what it says on the tin, more or less: trading pedal power for propulsion as a deceptively simple groove gathers speed, sheds gravity and quietly leaves the atmosphere behind.
Hidden In Dark belongs to a more immediate kind of archaeology: fog, strobes, bodies and those inexplicably intense emotions that only seem to exist on a dance floor at the right (or wrong) hour.
Back Alley Dancers turns the telescope around and looks backwards. Vocal fragments, pitched, delayed, reversed and removed from their original meaning trigger half-memories of youth, and of
encountering music and culture before you quite understood what any of it meant. Familiar feelings in unfamiliar shapes.
Finally, Drumatury dispenses with introspection and gets down to elementary forces. Morphing bass drums meet a Chicago jacking snare-roll massacre. Drama becomes drumaturgy. Or the other way around.
Five tracks, several states of consciousness, one Johannes Volk. No protective equipment supplied.
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…
Cipo delivers 4 deep minimal cuts. Blending dubby textures with hypnotic atmospheric layers, the EP strikes a precise balance between intricate sound design and driving dancefloor energy. Anchored by immersive sub-frequencies and evolving modular rhythms, each track unfolds as a captivating microhouse journey perfectly tuned for late-night sound systems.
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.
Mit ”Muse” präsentiert EGOT-Gewinner und Multi-Platinum-Artist John Legend am 23. Oktober sein
neues Studioalbum – vollständig produziert und co-written von Pharrell Williams, der als Produzent bereits
Hits für Künstler wie Jay-Z, Snoop Dogg und Justin Timberlake geprägt hat. Musikalisch verbindet das
Album Gospel, Soul, Doo-Wop und Hip-Hop mit modernen Afrobeats.
Aufgenommen und produziert wurde ”Muse” in den Louis Vuitton Studios in Paris. Auf den insgesamt 16
Tracks zeigt sich John Legend bewusst von einer neuen Seite. Weitere Album Highlights sind Features von
sowohl Pharrell Williams als auch Clipse.
Michael Kiwanuka veröffentlicht sein 5. Studioalbum ”Fudge”, welches von Druck, Erwartungen, Zweifeln
und dem spielerisch kindlichen Umgang damit handelt. Für Kiwanuka ist das Album eine höfliche Art zu
sagen: Egal was du davon hälst, Ich werde es einfach tun! Das Album markiert das erste Werk seit 13
Jahren in dem Kiwanuka ohne sein bewährtes Produktionsteam arbeitet. Die ersten Ideen zum Album
sind bereits in der Zeit des Lockdowns entstanden, besonders prägend war ein Interview auf Instagram mit
dem verstorbenen Jazzpianisten Chick Corea. Besonders das Zitat: ”Du musst herausfinden, was du schön
findest, und darauf vertrauen und daran glauben” hat den Entstehungsprozess nachhaltig geprägt.
Für die Deluxe-Edition ihres zweiten Albums hat dodie neue Songs und Neuinterpretationen einiger ihrer
Songs aufgenommen. Die britische Singer-Songwriterin hat sich vom YouTube-Phänomen zur international
erfolgreichen Indie-Pop-Künstlerin entwickelt. Mit knapp zwei Millionen Abonnenten und rund 460 Millionen YouTube-Views verfügt sie über eine große, loyale Fangemeinde.
Ihr zweites Album „Not For Lack Of Trying“ erschien 2025 und wurde von ihr gemeinsam mit dem
Grammy-nominierten Produzenten Joe Rubel (Maisie Peters, Griff, Sigrid) produziert. Für die DeluxeEdition kommen mit „Fruit In The Sun“ und „As Far As We Know“ zwei neue Stücke hinzu, außerdem
erscheint „Maybe, Finally“ erstmals auf einem physischen Tonträger. Vier Songs aus „Not For Lack Of
Trying“ wurden zudem in den Middle Farm Studios mit Freunden und musikalischen Weggefährten komplett neu interpretiert.
Die Deluxe Edition mit sieben zusätzlichen Songs erscheint als transparente/graue 140g Eco-Doppel-LP
sowie als CD.
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
Flamingo Pier, the New Zealand–born, London shaped trio of Luke Walker, Dominic Jones and Brad Craig, step confidently into a new chapter with the announcement of their second album ‘Woven Together’ arriving in October. Long celebrated as one of the southern hemisphere’s best kept dancefloor secrets, the group now move firmly into global view with a record written, produced and released entirely on their own terms. Since first emerging with their Kitsuné debut in 2015, Flamingo Pier have carved out a distinctive space in contemporary dance. Their 2019 Soundway EP earned international acclaim was played on BBC Radio 1 and KEXP, with their 2021 debut album featuring jazz icon Nathan Haines.
Further releases on Razor 'N' Tape and Soundway included collaborations with Nigerian disco legend Steve Monite.
The first glimpse of ‘Woven Together’ arrives with lead single ‘Cool Nights’, a modern, playful take on 80s Italo Disco - powerful on the dancefloor yet built for top down drives along the Italian coastline. A late night story of connection and possibility, the track sets the tone for an album that brings Flamingo Pier’s melodic warmth, rhythmic precision and global influences into sharp, confident focus.
Celebrating 50 years of dancing, Amnesia represents the heart and soul of electronic music in Ibiza. Telling a story that spans five decades, the 50th anniversary vinyl/CD compilation is a window into a legendary venue that has helped establish some of the world's biggest tracks.
From the iconic piano riff of Eric Prydz' 'Pjanoo' to the laid-back groove of 'Benediction' by Hot Natured. A club that spans eras and genres - the disco of Chic's 'Good Times', the synth-pop of New Order's 'Blue Monday', or the gritty electro of Alter Ego's 'Rocker'.
The soundtracks of 50 summers are represented across 50 tracks spanning 10 vinyl/5 CDs. A hand-picked selection that reflects the incredible breadth of Amnesia's cultural influence, featuring music from Calvin Harris, Donna Summer, Paul van Dyk, Candi Staton, Fred Again.., Robert Miles, Laurent Garnier, Binary Finary, and many more.
Underoath reinvents the balance between chaos and harmony with each successive release. Their compositions, conjured from creative tension, become iconoclastic anthems. Even when the band almost combusts, the crackling energy coalesces into something deeply resonant for millions.
Each time they have a chance to do something safe, Underoath challenges themselves instead, with integrity and attitude. Their pair of gold albums and three Grammy nominations stand in stark defiance of the idea of commercial compromise. The Underoath catalog weaponizes noise, aggression, and ambiance as skillfully as melody.
This year the band celebrates 20 years of their album Define The Great Line. Coming on the heels of 2004’s They’re Only Chasing Safety, Define The Great Line saw Underoath pivoting towards a more aggressive sound. The record’s unconventional – and, at times, jarring – intensity served as a stark contrast to the pop-leaning trends that were taking over heavy music at the time.
Featuring fan favorites like “Writing On The Walls”, “In Regards To Myself”, and “You’re Ever So Inviting”, Define The Great Line defied expectations when it debuted at No. 2 on the Billboard 200. It is widely regarded as one of the definitive heavy records of the early 2000s, solidifying Underoath’s legacy as one most influential bands of the genre.
The heart of their sound, which delivers naked vulnerability with thrilling force and cinematic lushness, can be heard in generations of bands who’ve pursued their trailblazing spirit. But Underoath refuses to sit still. Walking an artistic tightrope between immersive access and isolationist otherness, Underoath owns the space between huge choruses and forward-thinking heaviness, both on record and onstage.
Amazing house anthems! The debut release, FD001 quickly gained international attention for its lowslung, dirty house groove, catching the attention of Claude VonStroke and the Dirtybird camp, with the track selected for Claude’s Live @ Movement mix. Since launching the label, Freak Division has continued to build momentum with a growing catalogue of original releases while also maintaining a strong presence on respected house labels worldwide. Drawing inspiration from their US house influencers, the duo’s recent productions have evolved to incorporate the warmth, swing and character of classic 90s house. The new direction has also seen the emergence of their latest moniker, House Monsters, showcasing a deeper connection to timeless house music while pushing their sound into new territory.
Tauchen Sie ein in eine faszinierende Welt voller mystischer Klänge, sphärischer Melodien und geheimnisvoller Atmosphären. „Mystic Spirits“ entführt den Hörer auf eine musikalische Reise zwischen Meditation, Mystik und entrückten Klanglandschaften.
Sanfte elektronische Sounds, eindrucksvolle Arrangements und geheimnisvolle Stimmen verbinden sich zu einer außergewöhnlichen Klangwelt, die zum Träumen, Entspannen und Abschalten einlädt. Die Compilation vereint
stimmungsvolle Titel, die eine ganz besondere Atmosphäre zwischen Spiritualität, Fantasy und New Age schaffen.
Mit dabei sind hochkarätige Künstler wie Mike Oldfield, Lesiem und Angelzoom, deren charakteristische Sounds perfekt in das mystische Konzept dieser Zusammenstellung passen. „Mystic Spirits“ – eine musikalische Reise in geheimnisvolle Klangwelten für alle, die außergewöhnliche Musik mit Tiefe und Atmosphäre lieben.
Following the success of the inaugural all-Jiri Jiri edition, Batov Records returns with the second instalment of its Give Me Disco series, once again curated by label co-founder and globe-trotting selector DJ Kobayashi. Rather than revisiting familiar disco classics, Give Me Disco Vol. 02 digs deeper, bringing together four dancefloor discoveries from across Europe and Asia, including two previously unreleased tracks available here for the first time.
Spanning Portuguese jazz-funk, Norwegian cosmic oddities, Japanese-inspired psychedelic disco and cinematic groove, the EP reflects the breadth of Kobayashi's record bag - a carefully assembled selection of tracks that have soundtracked his DJ sets for years alongside exclusive material rescued from the vaults.
Opening the record is The Bam Jam Band's brilliantly understated "Theme", a soaring slice of jazz-infused disco from Portuguese musicians Sérgio Alves and Pedro Tenreiro. Originally released only as a now long-sold-out 7 inch on Mad About Records, the track has become one of Kobayashi's trusted secret weapons, championed by discerning selectors including Darryn Jones and Red Greg. Built around Alves' dazzling synthesiser work, "Theme" finally gets the wider audience it deserves. The EP's first exclusive arrives courtesy of D. Apal, instrumentalist and member of Norway's Flammer Dance Band. His only solo release, issued on the band's Lysketrekk Records, has become a cult favourite among adventurous record collectors. Batov now unveils the previously unreleased "60 Meter'n (Rytme)", an extended instrumental dub that strips away the vocals to let the handclaps, cavernous bassline, dub effects and wonderfully eccentric synthesisers breathe, transforming an underground favourite into an irresistible dancefloor weapon.
Side B opens with YĪN YĪN's "Tokyo Disco", taken from the band's acclaimed third album Mount Matsu on Glitterbeat Records. Long-time admirers of the Dutch quartet, Kobayashi has championed them since first hearing the breakthrough pairing of "Dis ̄ kô Dis ̄ kô" and "Dion Ysiusk" on Bongo Joe. Since then, he has hosted the band twice on Soho Radio and supported them live in London. "Tokyo Disco" perfectly captures YĪN YĪN's distinctive blend of Japanese-inspired psychedelia, Southeast Asian influences, post-punk funk and shimmering disco grooves, making it a natural fit for the Give Me Disco series.
Closing the EP is another exclusive from Jiri Jiri, whose contribution helped launch the series on Vol. 01. Ahead of their forthcoming album later this year, the duo unveil the previously unreleased "Spaghetti Western", a wonderfully off-kilter fusion of Morricone-esque cinematic atmosphere, taut funk rhythms and the soulful modern groove of SAULT. Equal parts soundtrack and dancefloor curveball, it provides a fitting finale while offering another tantalising glimpse of what's still to come. With two exclusive cuts sitting alongside two carefully chosen modern classics, Give Me Disco Vol. 02 is another lovingly curated snapshot of DJ Kobayashi's musical universe: borderless, groove-driven and unapologetically built for adventurous DJs, discerning collectors and open minded dancefloors alike.
The songs of Jules de Corte are condensed, folky gems with an almost effortless charm. Poised between the intimate and the universal, between lightness and darkness, they touch on religion, love, loss, and the small dramas of everyday life. Yet they resist easy translation. Packed with wordplay, de Corte’s signature alliterations, humor, and local cultural references, the songs inevitably lose something in another language. Still, when a Belgian quartet of improvisers takes them on, joined by American songwriter Bonnie ‘Prince’ Billy, the songs are reborn rather than merely transposed: literal fidelity gives way to interpretation, and what is lost in words is often gained in spirit.
Even without tracing every change, their overall effect is fascinating. Songs are slowed down, often doubled in length, and filled with unexpected musical intrusions. They gain fuller arrangements and are placed in an entirely new context. Replacing de Corte’s piano with guitar can create a radically different vibe, as in “Mariska.” An added solo can heighten the contrast between childlike perspective and the almost matter- of-fact brutality of “Little Anita.” In “The Stranger,” another use of contrast unsettles the everyday harmony, transforming it with a subtle, disorienting twist.
Ultimately, these performances show that interpretation is not successful simply because it is literal. With the groundwork laid by Linus, Bonnie ‘Prince’ Billy further liberated the songs from their original versions. Lyrics and melodies become malleable, shaped by his recognizable cadences, timbre, and personal quirks. Like his collaborators, he allows himself the freedom to bend the material to his own approach. There is no radical break between this performance and his other records. Listeners familiar with the originals may be puzzled at first; for those new to de Corte, it is a wholly different experience.
Does it really matter that the original “Little Jesus, Mighty God” is a 100-second nugget combining playful naivete with biblical fervor? In the hands of these five explorers, the song becomes an intriguing contemplation, with subtle musical shades and a recitation in which every syllable carries a maturity that offers a new perspective. Then there is “The Outsider,” which feels as genuine as any original American folk song. The musicians’ process is more than reinterpretation—it is reimagination, bringing new musical compatibility and emotional depth. Whether that depth was there from the start, waiting to be uncovered, or created in the process is beside the point. What matters is that Linus and Bonnie ‘Prince’ Billy have made the essence of these songs their own, paying homage yet dancing to their own tune.
Linus is the Belgian duo of guitarist and banjo player Ruben Machtelinckx and reedist and synthesiser player Thomas Jillings. Across five previous albums — Onland (2014), Linus + Skarbø / Leroux (2015), Felt Like Old language at the crossroads of folk, jazz, minimalism, chamber music and free improvisation. Their music is adventurous, shaped by a particular sensitivity to texture, timbre and the subtle interaction between musicians.
What began as a duo gradually grew into a flexible musical world, bringing Linus together with musicians such as Nils Økland, Ingar Zach, Niels Van Heertum, Øyvind Skarbø and Frederik Leroux. Yet each new constellation has remained recognisably Linus: music in which carefully considered forms leave space for intuition, interaction and the unexpected.
For their sixth album, Linus takes a new step by moving into the world of song and text. Inspired by a shared love for the late Dutch songwriter Jules De Corte, the album is a reimagining of De Corte’s unique repertoire. More than simply interpreting De Corte’s songs, they absorb and reshape them, bringing them into dialogue with their own musical language. In keeping with this open approach, they are joined by celebrated vocalist Bonnie “Prince” Billy. With albums such as 1999’s I See a Darkness appearing on several greatest album lists, Bonnie “Prince” Billy is a cult figure in the alternative folk scene, and his highly intuitive way of singing seamlessly matches the subtle interplay Linus has developed over more than a decade.
IRST ALBUM IN 10 YEARS.
TOURING WITH TROPICAL FUCK STORM IN NOVEMBER (DATES BELOW).
PRODUCED BY DAN LUSCOMBE (THE DRONES) WHO IS ALSO PART OF THE LIVE BAND.
PREVIOUS ALBUMS ON HARDLY ART/SUB POP AND REMOTE CONTROL.
VERY LIMITED BLACK VINYL AND INDIES ONLY PINK VINYL . NON-RETURNABLE.
‘Jarrod Quarrell, creator of Lost Animal, is one of the most underrated songwriters in Australia and one of our all-time favourites. He creates poetic expressions. His work is very interesting in a highly original way and richly emotional. The songs reveal themselves more over many listens and always feel fresh. His powerful, beautiful, transformative, and unforgettable songs possess the vast depth of the human spirit.’ - GIMMIE GIMMIE GIMMIE ZINE
‘Quarrell has developed a collaged techne that embodies a heart-on-sleeve attitude. Lush melodic delays wash with an influx of lyrics that pierce with uncanny imagery and diction.’ - VICE
It’s not every day you hear about a new Lost Animal album. In fact, it’s been ten years between drinks. The debut Ex Tropical (Hardly Art/Sub Pop) was released in 2011, and followed by You Yang (Remote Control) in 2016. So what happened, and where’s frontman/mastermind Jarrod Quarrell been for the last ten years?
From the horse's mouth, “I don't give a fuck about productivity”. A humbling reply. It confirms Quarrell's MO: here’s an artist as a non-conformist. And when he does see fit to bless us with his unique vision of what music can sound like, it has the ability to completely charm and disarm. Amongst a sea of rock bands, LA is essentially a solo act. Simply put; LA is JQ. But on the other hand, amongst an ocean of solo acts, LA possesses the grandiosity of a full band, punk in spirit, but without being fast, or heavy.
Armed with keys and synths, timbres align more with what a toucan might listen to, as opposed to what's heard commonly throughout Melbourne's gig economy. Strings are gently plucked and horns are tenderly blown. These are the colourful brush strokes that decorate the upper frequencies. They’re the ticket to a far away land;exotic, and potentially very dangerous. If the crew from Hear My Eyes are reading this, consider Lost Animal performing Give Some Get Some as the soundtrack to the next time you screen The Hangover Part 2. Yeah, the one where shit gets super fried in Thailand.
The album examines the underbelly of what a ten year journey might rub up against. As one may expect, a lot of that action is below the belt. Tracks like Do That Thing, and In
Rewinding, a few things have happened in the past ten years that are worth illuminating. Shags is no longer commandeering the bass full time. Though he does make an appearance on a couple tracks. The main difference from present day to yesteryear LA is Dan Luscombe (The Drones). Luscombe has jumped into the role of producer (and also part of the live band). One could say he’s a producer of the Spector-ilk: playing a hands-on approach and assisting Quarrell's song crafting. He may have suggested to add a chorus or two, but the chord progressions remain distinctly Lost Animal. You'll recognise them easily by their beauty, combined with either fragility or rigidity. Luscombe is arguably the defining force that made this album happen. Perhaps he had Quarrell at gunpoint. Yet to be confirmed. Regardless, thank fuck for Luscombe because it may have been another decade.
But the album's defining feature is arguably Quarrell's lyricism. He may not cross-examine where he's been, but his voice does unmask where he is: absolved and reincarnated. The decade-long journey has resulted in him looking inwards and unlocking himself. The album's many mantras suggest that he may be a bird (I'm a Bird Now), or that he is living on another planet (Never is Forever). Whatever and wherever he may be,
Give Some Get Some invites the listener to reflect on their own journey over the past decade. Because the game's got a price. So ask yourself what have you taken, and what have you given? Life ain't a box of chocolates. It's a bowl of berries. And when fruit symbolizes temptation, get some.
IRST ALBUM IN 10 YEARS.
TOURING WITH TROPICAL FUCK STORM IN NOVEMBER (DATES BELOW).
PRODUCED BY DAN LUSCOMBE (THE DRONES) WHO IS ALSO PART OF THE LIVE BAND.
PREVIOUS ALBUMS ON HARDLY ART/SUB POP AND REMOTE CONTROL.
VERY LIMITED BLACK VINYL AND INDIES ONLY PINK VINYL . NON-RETURNABLE.
‘Jarrod Quarrell, creator of Lost Animal, is one of the most underrated songwriters in Australia and one of our all-time favourites. He creates poetic expressions. His work is very interesting in a highly original way and richly emotional. The songs reveal themselves more over many listens and always feel fresh. His powerful, beautiful, transformative, and unforgettable songs possess the vast depth of the human spirit.’ - GIMMIE GIMMIE GIMMIE ZINE
‘Quarrell has developed a collaged techne that embodies a heart-on-sleeve attitude. Lush melodic delays wash with an influx of lyrics that pierce with uncanny imagery and diction.’ - VICE
It’s not every day you hear about a new Lost Animal album. In fact, it’s been ten years between drinks. The debut Ex Tropical (Hardly Art/Sub Pop) was released in 2011, and followed by You Yang (Remote Control) in 2016. So what happened, and where’s frontman/mastermind Jarrod Quarrell been for the last ten years?
From the horse's mouth, “I don't give a fuck about productivity”. A humbling reply. It confirms Quarrell's MO: here’s an artist as a non-conformist. And when he does see fit to bless us with his unique vision of what music can sound like, it has the ability to completely charm and disarm. Amongst a sea of rock bands, LA is essentially a solo act. Simply put; LA is JQ. But on the other hand, amongst an ocean of solo acts, LA possesses the grandiosity of a full band, punk in spirit, but without being fast, or heavy.
Armed with keys and synths, timbres align more with what a toucan might listen to, as opposed to what's heard commonly throughout Melbourne's gig economy. Strings are gently plucked and horns are tenderly blown. These are the colourful brush strokes that decorate the upper frequencies. They’re the ticket to a far away land;exotic, and potentially very dangerous. If the crew from Hear My Eyes are reading this, consider Lost Animal performing Give Some Get Some as the soundtrack to the next time you screen The Hangover Part 2. Yeah, the one where shit gets super fried in Thailand.
The album examines the underbelly of what a ten year journey might rub up against. As one may expect, a lot of that action is below the belt. Tracks like Do That Thing, and In
Rewinding, a few things have happened in the past ten years that are worth illuminating. Shags is no longer commandeering the bass full time. Though he does make an appearance on a couple tracks. The main difference from present day to yesteryear LA is Dan Luscombe (The Drones). Luscombe has jumped into the role of producer (and also part of the live band). One could say he’s a producer of the Spector-ilk: playing a hands-on approach and assisting Quarrell's song crafting. He may have suggested to add a chorus or two, but the chord progressions remain distinctly Lost Animal. You'll recognise them easily by their beauty, combined with either fragility or rigidity. Luscombe is arguably the defining force that made this album happen. Perhaps he had Quarrell at gunpoint. Yet to be confirmed. Regardless, thank fuck for Luscombe because it may have been another decade.
But the album's defining feature is arguably Quarrell's lyricism. He may not cross-examine where he's been, but his voice does unmask where he is: absolved and reincarnated. The decade-long journey has resulted in him looking inwards and unlocking himself. The album's many mantras suggest that he may be a bird (I'm a Bird Now), or that he is living on another planet (Never is Forever). Whatever and wherever he may be,
Give Some Get Some invites the listener to reflect on their own journey over the past decade. Because the game's got a price. So ask yourself what have you taken, and what have you given? Life ain't a box of chocolates. It's a bowl of berries. And when fruit symbolizes temptation, get some.
UK techno lynchpin James Ruskin celebrates 30 years of Blueprint with a remastered edition of his 'Further Design' LP, releasing 4th September 2026. Founded by Ruskin and Richard Polson in 1996, the infl uential label has spent three decades documenting uncompromising techno through releases from the likes of Rommek, Kr!z, Truncate, and many more, with 'Further Design' originally landing in 1998. The anniversary celebrations have already seen Mark Broom revisit seminal Regis recordings on the 'Power Is Neutral' EP, with further releases from Kerrie, Nastia, and more to follow, alongside a merchandise run later this year.
James Ruskin has been a constant presence in techno for over three decades. He defi ned the sound of British techno through his DJ sets, productions, and the releases on his infl uential Blueprint label. His stripped-back, functional, and forward-thinking sound has remained utterly uncompromising, with performances at clubs and festivals around the world while never straying from underground ideals. Substance over trends has always been his MO, through a catalogue spanning Blueprint, Tresor, and numerous collaborations that remain timeless.
The purposeful titles of the tracks on this essential album hint at the minimalist approach to sound. This is bold, linear techno with 'Enter', 'Below', and 'Indirect World' kicking off with rolling low ends and smart sound designs that even now sound futuristic. The likes of 'The Divide' bring spangled synths and crunchy percussive textures that jerk you into motion, while 'Time And Place' is an immersive cosmic odyssey and 'Unknown Destination' melts the mind with liquid synth work that loops around hypotonic rhythms. 'Work' is another perfectly calibrated cut with meticulous percussive placement and the shimmering of bells that dissolve space and time.
It is testament to Ruskin's original vision that 'Further Design' remains as evocative today as it was upon its release, full of otherworldly imagery and grooves that continue to move dance fl oors around the world.
Having mysteriously re-emerged from the Croydon smog back onto London’s underground scene, Daniel Poli joins the Brixton Row catalogue with a four-track EP.
Reminiscent of his early 2000s sound, the record also touches on a more emotive flavour he’s experimented with recently. Rolling tech-house paired with a more mellow, electro-inspired B2.
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.
Underground heroes to worldwide pioneers. Deep cuts from the world's largest archive, pressed on heavyweight, collectible vinyl. Here is a list of names that defined techno, afrobeat, minimal, tech-house and alternative electronic music - all still top of their game.
The A-side features a typically robust Ricardo Villalobos remix of Beck, made accessible by the vocal lead and distinguished by an astonishing 14 minutes of playful drums and sound design that only Villalobos could create.
The AA-side opens with three pioneers co-creating a bass-heavy tech-house banger, with a tinge of guilty pleasure. Katy B on vocals, with Four Tet and Floating Points on production duties. Two further pioneers, Jeff Mills and Tony Allen, follow it up with a deep, brooding organ jam built on layers of intricate, varied percussion. To close, we hear a different side of Villalobos in collaboration with Max Loderbauer of the experimental jazz and electronic music scene. Built on original acoustic recordings, it is reframed with serene delicacy.
This is our deepest release yet.
Limited run. Follow the sound.
a A1: Beck - Cellphones Dead (Ricardo Villalobos Remix) 14:36
b B1. Four Tet, Katy B, Floating Points - Calm Down 4:04)
c B2. Jeff Mills, Tony Allen - Locked And Loaded [7:47
[d] B3. Ricardo Villalobos, Max Loderbauer - Recat [7:15]
[a] A1: Beck - Cellphones Dead (Ricardo Villalobos Remix) [14:36]
[b] B1. Four Tet, Katy B, Floating Points - Calm Down [4:04)
[c] B2. Jeff Mills, Tony Allen - Locked And Loaded [7:47]
[d] B3. Ricardo Villalobos, Max Loderbauer - Recat [7:15]
[a] A1: Beck - Cellphones Dead (Ricardo Villalobos Remix) [14:36]
[b] B1. Four Tet, Katy B, Floating Points - Calm Down [4:04)
[c] B2. Jeff Mills, Tony Allen - Locked And Loaded [7:47]
[d] B3. Ricardo Villalobos, Max Loderbauer - Recat [7:15]
[a] A1: Beck - Cellphones Dead (Ricardo Villalobos Remix) [14:36]
[b] B1. Four Tet, Katy B, Floating Points - Calm Down [4:04)
[c] B2. Jeff Mills, Tony Allen - Locked And Loaded [7:47]
[d] B3. Ricardo Villalobos, Max Loderbauer - Recat [7:15]
[a] A1: Beck - Cellphones Dead (Ricardo Villalobos Remix) [14:36]
[b] B1. Four Tet, Katy B, Floating Points - Calm Down [4:04)
[c] B2. Jeff Mills, Tony Allen - Locked And Loaded [7:47]
[d] B3. Ricardo Villalobos, Max Loderbauer - Recat [7:15]
[a] A1: Beck - Cellphones Dead (Ricardo Villalobos Remix) [14:36]
[b] B1. Four Tet, Katy B, Floating Points - Calm Down [4:04)
[c] B2. Jeff Mills, Tony Allen - Locked And Loaded [7:47]
[d] B3. Ricardo Villalobos, Max Loderbauer - Recat [7:15]
Für manche zu gewagt, für andere unwiderstehlich - Twin Temple haben sich zu kulturellen Provokateuren und zu einer der meistdiskutierten Crossover-Bands der Musikszene entwickelt. Entstanden in einer der dunkelsten Phasen im persönlichen Leben der Bandmitglieder, ist ,DOOMED LOVERS" ihr bisher intimstes und emotional offenstes Werk. Das Album erweitert die filmische Bandbreite ihres unverwechselbaren Sounds und bleibt dabei doch verwurzelt in den zeitlosen Traditionen des frühen Rock 'n' Roll; es gilt als das bislang ambitionierteste und am besten umgesetzte künstlerische Statement der Band. ,DOOMED LOVERS" markiert das bisher kühnste Kapitel von Twin Temple. Produziert vom GRAMMY-preisgekrönten Produzenten Shooter Jennings im legendären Studio 3 bei Sunset Sound in Hollywood, setzt das Album das Bekenntnis der Band zur klassischen analogen Aufnahme fort und erweitert gleichzeitig ihre Klangpalette durch üppige Orchesterarrangements, die von einem 37-köpfigen Orchester eingespielt wurden.
Für manche zu gewagt, für andere unwiderstehlich - Twin Temple haben sich zu kulturellen Provokateuren und zu einer der meistdiskutierten Crossover-Bands der Musikszene entwickelt. Entstanden in einer der dunkelsten Phasen im persönlichen Leben der Bandmitglieder, ist ,DOOMED LOVERS" ihr bisher intimstes und emotional offenstes Werk. Das Album erweitert die filmische Bandbreite ihres unverwechselbaren Sounds und bleibt dabei doch verwurzelt in den zeitlosen Traditionen des frühen Rock 'n' Roll; es gilt als das bislang ambitionierteste und am besten umgesetzte künstlerische Statement der Band. ,DOOMED LOVERS" markiert das bisher kühnste Kapitel von Twin Temple. Produziert vom GRAMMY-preisgekrönten Produzenten Shooter Jennings im legendären Studio 3 bei Sunset Sound in Hollywood, setzt das Album das Bekenntnis der Band zur klassischen analogen Aufnahme fort und erweitert gleichzeitig ihre Klangpalette durch üppige Orchesterarrangements, die von einem 37-köpfigen Orchester eingespielt wurden.
Der 20-jährige in Pretoria lebende Produzent Sam Austin Audebe alias DJ BLACK LOW schickt sich mit seinem Debütalbum "Uwami" an das beliebte Tanzmusikgenre Amapiano aufzumischen. Der Hybrid aus Deep House, Jazz und Kwaito-Musik eroberte sich in den letzten fünf Jahren zunehmend einen Platz in der westlichen Global-Pop-Fangemeinde, während er in Südafrika bereits an jeder Straßenecke allgegenwärtig ist. Der Sound von DJ BLACK LOW ist im Vergleich zu anderen Amapiano Produktionen etwas roher und direkter und basiert auf verzerrte Samples und Synthies. Mit dabei sind auch Gäste wie DJ La Bengwa und DJ Saxo Boy.
This compilation containing both super limited and sold out EPs "Naehe & Flackern" and "Es laesst nicht los, mich jedoch laengst" on one 12" Vinyl. The band Nidare presents their EP "Naehe und Flackern", a collection of three powerful songs that thematically deal with the feeling of hate. The singer's lyrics paint a vivid picture of hate in different facets: the hate towards society, the hate the singer faces in his life and the hate the singer himself carries outward. "Naehe und Flackern" is an EP that takes listeners on an emotional journey while also being a profound emotional exploration. Nidare manages to channel the darkness in her lyrics and music. The EP is an expression of pain, anger and despair, but also a call for self-reflection and understanding of the complex nature of human emotions. "Es laesst nicht los, ich jedoch laengst" is a visceral, unapologetic journey through the emotional landscape of a fractured world. Built around themes of political disillusionment, mental health struggles, and the crushing weight of existential dread, this EP serves as both a cry for help and a reflection of the suffocating atmosphere of modern life.
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.
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.
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.
He makes his debut with us with Love & Learn, a 3-track EP where romantic and emotional elements meet a more driving, electronic and techno-infused sound.
Warm, hypnotic and full of feeling, the three tracks move between intimacy and the dancefloor, each carrying its own atmosphere while sharing BOBBY.’s distinctive touch.
Long Distance Operators (LDO) is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race, singer, songwriter, producer and author, has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists to his origins in the 80's Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge, violinist and composer, is known for her solo work and collaborations with International artists such as Iggy Pop, John Parish, Pascal Humbert (16 Horsepower), Simon Huw Jones (And Also The Trees). She also plays and composes for theater and cinema. The music of LDO is an intensely atmospheric dreamweave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context.
Long Distance Operators (LDO) is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race, singer, songwriter, producer and author, has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists to his origins in the 80's Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge, violinist and composer, is known for her solo work and collaborations with International artists such as Iggy Pop, John Parish, Pascal Humbert (16 Horsepower), Simon Huw Jones (And Also The Trees). She also plays and composes for theater and cinema. The music of LDO is an intensely atmospheric dreamweave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context.
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.
At the foot of the mountain. Our gaze is inclined toward the summit.
Toward the ascent. The destination that awaits us.
From the valley, we look up at the summit: our destination. But also the path: the true destination.
We can already trace our route, and we are already imagining ourselves walking up there. Along the small ridge, just above the tree line. There, we take a short break and look for the exact spot in the valley where we were standing earlier. It is strange to grasp that we have actually climbed this mountain. To look down from up here at the place where we were just moments ago – the same place we looked up from, toward the place where we are standing now.
And now, knowing what it is like to be up here, we remember what we imagined it would be like back then. What we believed it would mean to stand here.
Along the way, our gaze wanders back and forth. Up toward the mountain, down into the valley, sometimes only at our shoes. We keep walking, one step after another. Our thoughts detached. Our body functioning purely mechanically.
Step left. Step right. Step left. Step right.
Our mind has completely detached itself, and our thoughts race at an immense speed. They summon the most different moments. Moments from our lives. Moments that shaped us, that made us who we are. Or are we perhaps simply trying to understand who we are and how we got here?
It is strange that reaching the summit and looking down could make us believe that we have finally reached, or are striving toward, some superior, triumphant position. When in fact, it is really only about looking at the path we inevitably have to take. Processing impressions from a certain distance. Reconsidering what we have experienced, without losing sight of what lies ahead.
Our gaze turns back toward the summit.
Is there a destination?
An ascent? A summit? A descent? The return?
Or is it only about the insights we encounter along the way?
Am Fuß des Berges. Unser Blick ist zum Gipfel geneigt.
Auf den Aufstieg. Das Ziel, das uns erwartet.
Vom Tal aus blicken wir auf den Gipfel: unser Ziel. Aber auch den Weg: das wahre Ziel. Unsere Route kann man jetzt schon abstecken, und wir stellen uns bereits vor, wie wir dort oben laufen. Über den kleinen Grat, leicht oberhalb der Baumgrenze. Dort machen wir eine kleine Pause und suchen genau die Stelle im Tal, an der wir vorhin noch standen. Es ist verrückt, zu begreifen, dass wir diesen Berg tatsächlich hinaufgestiegen sind. Von hier oben auf den Ort hinunterzusehen, an dem wir eben noch waren – an denselben Ort, zu dem wir hinaufgeblickt haben, als wir noch dort unten standen. Und jetzt, da wir wissen, wie es ist, hier oben zu sein, erinnern wir uns daran, was wir uns damals darunter vorgestellt haben. Was wir geglaubt haben, es würde bedeuten, hier zu stehen.
Unterwegs wandert unser Blick hin und her. Hinauf zum Berg, hinunter ins Tal, manchmal nur auf unsere Schuhe. Wir gehen weiter, einen Schritt nach dem anderen. Unsere Gedanken losgelöst. Unser Körper funktioniert rein mechanisch. Schritt links. Schritt rechts. Schritt links. Schritt rechts.
Unser Geist hat sich völlig losgelöst, und unsere Gedanken rasen mit einer ungeheuren Geschwindigkeit. Sie rufen die verschiedensten Momente herauf. Momente aus unserem Leben. Momente, die uns geprägt haben, aus denen wir geworden sind, wer wir sind. Oder versuchen wir vielleicht einfach nur zu verstehen, wer wir sind und wie wir hierhergekommen sind?
Es ist schon seltsam, dass das Erreichen des Gipfels und der Blick nach unten uns glauben lassen könnten, dass wir endlich eine überragende, triumphale Position erreicht haben oder anstreben würden. Dabei geht es doch eigentlich nur um den Blick auf den Weg, den wir zwangsläufig beschreiten müssen. Eindrücke mit etwas Abstand zu verarbeiten. Erlebtes noch einmal Revue passieren zu lassen, ohne den Blick nach vorne zu verlieren.
Unser Blick wendet sich wieder dem Gipfel zu. Gibt es ein Ziel? Einen Aufstieg? Einen Gipfel? Einen Abstieg? Die Rückkehr? Oder geht es nur um die Erkenntnisse, die uns unterwegs begegnen?
'When Southern Lord picked up and re-released their 2010 debut LP Unsilent Death after its smaller first pressing sold out, they offered a comparison of 90s AmRep bands and early Cro-Mags going faster than either. That sort of works. So does Eyehategod's songbook played by 2013 Converge. This music is more suffocating than it is Suffocation; it also pulls largely from hardcore and comes with plenty of raw emotion attached to it.'' PITCHFORK
NAILS is beyond brutality. These grindcore tyrants of the American underground have triumphantly returned with their 2nd full length “ABANDON ALL LIFE”! Like the band's debut album: “Unsilent Death", was recorded with CONVERGE’s Kurt Ballou.
These 10 tracks of barbaric rage have no resemblance to the laughable retro party metal that passes as extreme music in today’s world. Abandon All Life viciously carpet bombs the listener with a horrifying brand of Death/ Grind/ Hardcore chaos.
Bludgeoning beatdowns, grinding blasts, hyper-distorted vocals, hard-hitting metallic chugs and early death metal riffs intensifies to a climatic end where the guitars wail and militant drum breakdowns send us marching. With profound hatred, the howling war cry of ABANDON ALL LIFE shows NAILS as a band without equal in their class.
''A swirling, savage and harrowingly sincere listen from start to finish, the record introduced the world to the band in the most brutal and brilliantly harsh manner possible. The new version of the album also features tracks that were never released from the sessions over a decade ago and completes the story of one of the most influential and affecting crossover releases of the century so far.'' ROCK SOUND
'When Southern Lord picked up and re-released their 2010 debut LP Unsilent Death after its smaller first pressing sold out, they offered a comparison of 90s AmRep bands and early Cro-Mags going faster than either. That sort of works. So does Eyehategod's songbook played by 2013 Converge. This music is more suffocating than it is Suffocation; it also pulls largely from hardcore and comes with plenty of raw emotion attached to it.'' PITCHFORK
Born 2 Be Free label head Azaad has been kicking out his twist on UKG for a few years now, and in that same time he has also been beavering away on his debut album. Ahead of that drop, he teases us with a sampler from it that covers plenty of ground. 'Isthisluv (feat Elias Mazian)' is a deep one with an expansive comic backdrop and cool grooves. 'Dubble Lively' is more tightly coupled and punchy, kick-driven garage house, then he remixes 'Lost Worlds' into something dubby but kicking. Two B-side cuts roll deep with deft sampling. Bring on the album!
Bristol innovator Addison Groove has long been reshaping footwork and bass music, but now steps into an entirely new world as Astel. Shards is an album in which he explores ambient frontiers with a sense of space, emotion and hints of nostalgia on Biofield Records, a new label from Darwin designed for deeper listening. There is a weightlessness to the music, with 'Cosmic Affinity' casting you adrift in the deep unknown with smeared pads and gentle flutters of hope way off in the distance. 'Starlight Shards' is all shifting tones and feathery lines, while 'Astral Radiance' has a sandy texture as well as long, sweeping synth arcs. It's an escapist world that provides plenty of prompts for your own endlessly deep reflection.
Seven years after the haunting resonance of Voids, electronic pioneer Martyn returns to the album format with Music For Existing. Arriving on 15 May 2026, the record is more than a collection of tracks; it is a profound exploration of what it means to remain devoted to a craft in an era of relentless noise.
The album’s announcement is heralded by the lead single "Heavy Sound." The track serves as the perfect bridge between Martyn’s past and present - a masterclass in tension and release that previews the album’s dialogue between the producer, the musicians, and the audience. We live inside a culture that has prioritised and monetised restlessness. The modern apparatus runs on the continuous production of "next," driven by algorithms that value novelty over depth.
Music For Existing serves as a love letter to the communal act of making music - something that is both healing and inherently defiant. For Martyn, a musician often finds solace in musical conversation with others; in the moment we press record, we simply exist together. This record is an invitation to build human infrastructure around what we love, leaning into the fluid nature of community and seeing exactly where the music takes us when we choose to listen.
The album is a sprawling, "off-the-grid" tapestry that echoes Martyn’s profound appreciation for jazz - free, instinctive, and bursting in every sonic direction. This collection features an expansive cast of collaborators, including Duval Timothy, Dan Only, Lucinda Chua, and Mark Cisneros. The record is further elevated by the contributions of jazz talents Mischa Porte and Cees Bruinsma, alongside the evocative words of writer and poet Musa Okwonga.
While the acoustic textures and improvisational spirit of this record may feel like a departure, they represent a homecoming. Jazz has always been ingrained in Martyn’s work; even in his most stripped-back club tracks, the DNA of swing, syncopation, and free-form structure was always present, if not always visible.
Music For Existing marks the beginning of an exciting journey that will continue from the studio to the stage, celebrating the radical act of existing in the moment.
Shyam Anand is a long-term friend of Smallville and an MPC wizard with a wide-open heart. We are super happy to finally present a 12“ that is fully his own.
After an amazing contribution to Smallville 49 (check out Exerpts!), Snad aka Spandrel aka Shyam Anand presents a full 3-tracker on Smallville, packed with his irrisistible grooves, the usual unexpected twists and an overall magical atmosphere. Growing up near Philadelphia, then moving to Chicago and later exploring the global underground scenes of Berlin and Mexico City, among others, Snad is a busy man. He runs his own imprint Spandrel, co-runs We R The Aliens and has an impressive back-catalogue of contributions for several favourites like Running Back, Courtesy of Balance, Kimochi, Long Vehicle, 20:20 Vision, Phonica and many more.
On this 12" the A side belongs solely to Bubblescope - 14 and a half minutes of mesmerizing Ensoniq DP/4 Vocoder driven modular spheres, an endlessly deep bubbling piece of art that builds an intense feeling that could last for hours.
The B side sees Snad staying deep – Lukewarm Lava explores the broken beat world before taking you on a ride. The beloved B2-spot goes to Tanni - an integral part of Julius' warmup-sets since forever and thus a special one to finally put on wax.
Bubblescope comes with a Full Cover Artwork by Stefan Marx.
Mit "Buddha-Bar 30 Years" feiert eine der weltweit bekanntesten Marken für Lounge-, Downtempo- und anspruchsvolle elektronische Musik ihr 30-jähriges Bestehen. Die hochwertige Jubiläumsedition vereint drei sorgfältig kuratierte Mixe von DJ Ravin, Kenneth Bager und Carlos Campos, die gemeinsam die stilistische Vielfalt und klangliche Identität von Buddha-Bar widerspiegeln. Zwischen Lounge, Balearic Sounds, Organic Grooves, Ethno-House und modernen elektronischen Klangwelten entsteht eine facettenreiche musikalische Reise, die den internationalen Erfolg der Marke eindrucksvoll dokumentiert. Ergänzt wird die Edition durch ein exklusives Artwork des zeitgenössischen Künstlers Yoons, das den Sammlercharakter der Veröffentlichung zusätzlich unterstreicht. Als musikalische Retrospektive und hochwertiges Lifestyle-Objekt richtet sich Buddha-Bar 30 Years gleichermaßen an langjährige Anhänger der Reihe, Sammler und ein internationales Publikum mit Interesse an stilvoll kuratierten Compilations.
WRWTFWW Records proudly announces the release of sfs/in vain (selected tracks) by UK jungle heavyweight and Future Retro London founder Tim Reaper, a limited-edition 3LP bringing together selected tracks from two previously digital-only albums, sfs and in vain.
An insane collection of slower 140 BPM wonders, sfs/in vain explores jungle, dubstep, UK garage, R'n'B, grime, liquid D&B and broken beats through Tim Reaper's fresh and informed approach. Deconstructed and reconstructed club music, rooted in tradition but looking forward, these tracks reveal another side of one of the key figures in the modern jungle revival.
The selection comes from 2 albums. sfs collects a body of slower material Tim Reaper worked on throughout 2025, stretching across various genres of UK electronic music. in vain comes from a much more personal place. Written during a period of instability, heartbreak, financial and professional uncertainty, the album became a way for Tim Reaper to process what was happening around him and find some kind of escape. The tracks were made at a point when the effort he had put into rebuilding his life felt as though it had all been "in vain" - hence the title. The result is warm, melancholic, soulful, simply very human.
Together, these selected tracks highlight the incredible range of Tim Reaper's production, proving that his understanding of jungle extends far beyond the traditional boundaries of the genre. From heavyweight bass music to delicate melodic passages, sfs/in vain (selected tracks) is a beautifully varied snapshot of an artist constantly pushing UK club music into new territories.
Tim Reaper has been leading the resurgence of jungle for years, with releases on AKO, Skeleton Recordings, 7th Storey Projects, Green Bay Wax, Dalston Chillies, Parallax, Myor Massiv, V Recordings, Deep Jungle and many more. He is also the founder of Future Retro London, one of the most respected labels and platforms in the contemporary jungle scene.
DJ support comes from Ferreck Dawn, ACRAZE, Nicky Romero, Oliver Heldens, Danny Howard, David Penn, Nicky Romero, Claptone, Steve Angello, Sonny Fodera, Martin Garrix, Fedde Le Grand, Adam Beyer, Oliver Heldens, Gorgon City, Claptone, CID, Swanky Tunes & more.
Toolroom Trax’s next Sampler showcases 4 big releases from CID, Dances, Audiojack, Low Steppa and Alaia & Gallo.
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.
Released by Polydor Records on April 1, 1972, Mandrill Is is the second album by Mandrill, the Brooklyn seven-piece led by brothers Carlos, Lou, and Ric Wilson.
Recorded at Electric Lady Studios during the winter of 1971?72, it finds the band refining the adventurous blend of funk, soul, jazz, rock, and Latin rhythms established on their acclaimed debut. With its powerful horn section, deep grooves, percussion-rich arrangements, and flashes of psychedelia and jazz-rock, Mandrill Is sounds both tighter and more ambitious than its predecessor. "Ape Is High" and the horn-driven "Git It All" deliver the album's most immediate funk, while "Cohelo" and "Kofijahm" explore Latin and Afro-diasporic rhythmic traditions. "Children of the Sun" and "Lord of the Golden Baboon" stretch further into expansive, progressive territory, revealing a band as interested in atmosphere, arrangement, and instrumental interplay as in the groove itself. The album's strength lies precisely in that refusal to settle into one category. Mandrill use funk as a foundation for moving freely between soul, jazz, rock, Latin music, and psychedelic textures, creating a sound that is unmistakably their own.
Mandrill Is captures the group at an important early peak: more focused and confident than their debut, yet still willing to follow the music wherever it leads. Pressed on 180g vinyl.
Lord Sko’s Sophomore Album ‘UNITED PALACE’ is a record chock-ful of homage, past & present pop culture references & youthful exuberance expressed with a vintage New York attitude. With contributions from Meyhem Lauren, Da$H, Wiseboy Jeremy, LIFEOFTHOM & Kuriousul references to the entire cityscape, this is an album that thoroughly represents both Classic & Modern NY culture through the eyes of a Young Uptown MC. With contributions from Meyhem Lauren, Da$H, Wiseboy Jeremy, LIFEOFTHOM & Kurious Jorge, UNITED PALACE could sonically & aesthetically fit anywhere from the Golden Age to the Blog Era & Far Beyond into the future.
FLOOD’s “Late Night Callin’“ has been making the rounds on dance floors for quite a while now, yet it was never released as an actual record. KROF is changing this now, making the galloping tune with its cheeky vocal available on vinyl.
Alongside the original mix, the record includes an updated version of the track which takes a more straight-forward direction and adds some old-school techhouse flavor to it.
With “Gotcha“ and “U Love Me?“ on the B-side, two dace floor-ready house tunes based around groovy basslines and playful percussion complete the package.
Phenomena begins with two artistic voices that seem to speak different languages. Barcelona-based producer R-010 (Lucas Rojo) approaches composition through rhythm, space and electronic transformation; Madrid-born vocalist and multidisciplinary artist Venerandi through texture, breath and the expressive possibilities of the human voice. By the time the album reaches its final moments, that distinction has quietly disappeared.
Rather than functioning as a meeting point between two individual practices, Phenomena gradually
becomes a third language—one that belongs to neither artist alone. Voice no longer sits above the music
but moves inside it, dissolving into layers of synthesis, percussion and guitar until performance itself
becomes another malleable sound source. Likewise, electronic production never behaves as a fixed
environment; it constantly adapts, absorbs and responds, allowing acoustic gestures and digital
manipulation to reshape one another in real time.
This continuous transformation defines the record more than any particular genre ever could. Echoes of trip hop, bass music, psychedelia and experimental electronics drift across its surface, yet they are never
presented as stylistic markers. Instead, they appear as temporary states within an ecosystem that remains
in constant motion, where dense rhythmic passages collapse into suspended atmospheres and moments
of stillness carry as much weight as those driven by pulse.
The presence of Matteo Caro (guitar and percussion), Pablo Gorostiaga (guitar) and Alessio Rodolico
(percussion) further expands this dialogue. Their contributions are not decorative additions but structural
ones, gradually dissolving the distinction between composition, improvisation and production. Instruments
emerge, mutate and disappear inside the same sonic fabric, making it increasingly difficult to distinguish
what was performed from what was transformed.
With Phenomena, Lapsus Records presents a work that feels less interested in crossing genres than in
questioning the borders between artistic identities themselves. The album never asks the listener to decide
where the human ends and the machine begins. Instead, it quietly suggests that, after enough careful
listening, the question itself may no longer matter.
Not many can match V.I.V.E.K when it comes to pushing sound system culture.
With over two decades worth of releases, dances and low-end pressure, the Southall-born, System Music label owner announces the imminent arrival of his debut album, ‘The Escape To Nowhere’.
Spanning eight deep and meditative tracks, ‘The Escape To Nowhere’ is a fully realised exploration of dubwise tradition, reimagined through V.I.V.E.K’s unmistakable expert approach and unbound from one specific genre
Drawing from a lifetime immersed in bassweight heritage and club-ready experimentation, the record distils his musical journey into a fully formed and immersive statement, featuring the haunting vocals of Dandelion and Dego Ranking, experimental percussion and a meticulously sculpted low-end design.
‘The Escape To Nowhere’ will mark the 50th release on System Music, a landmark that underscores both the label and artist’s enduring commitment to forward-thinking bass music firmly rooted in culture and craft.
,Bestiaria" ist das neue Album des mexikanischen Trios Karen y los Remedios um Sängerin und Songwriterin Ana Karen G. Barajas. Inspiriert von persönlichen Erfahrungen wie Mutterschaft, Krankheit und Neuanfängen erschafft das Album ein klangliches Universum aus mythischen Frauenfiguren, Göttinnen und Legenden, die für Selbstbestimmung, Stärke und Weiblichkeit stehen. Musikalisch verbindet die Band ihre charakteristische Mischung aus Cumbia rebajada, Trip-Hop und verträumtem Pop mit Einflüssen traditioneller lateinamerikanischer Musik. Die zwölf Songs wirken wie eine Tarot-Legung aus Symbolen, Geschichten und magischen Bildern, die zwischen Sehnsucht, Liebe, Fürsorge und Transformation schweben. Mit seiner atmosphärischen Klangwelt und Ana Karens ätherischem Gesang führt ,Bestiaria" den Weg des gefeierten Vorgängers ,Silencio" konsequent weiter.
Recommended. Compilation format, six producers, one shared idea of dub house done properly. Erratic and Nicola Brusegan open heavy on the low end, dubby without overdoing the effects. Nick Italy keeps the A side moving, no drama, just groove. Flip side goes warmer. Lorenzo Dada and Michura work more melody into the pulse, Peter Kir shuts it down slow and hypnotic. Nothing flashy, nothing filler either. Solid all the way through.
Early in 2018 he unveiled Zoning Out, Volume 1, an album intended for chilling while deep in thought, or for getting into that crucial head-nod zone, like when the DJ drops the dopest beat. With listeners ready for more rhythmic brain-food, Emapea provides with the anticipated next installment: Zoning Out, Volume 2. Developing the theme of Volume 1, Emapea takes his jazzy sensibilities and fresh drum patterns and ups the ante, delivering 18 mandatory cuts that swerve and shimmy while exhibiting pure dopeness. Take "Last Cypher," which is an infectious funk- hip- hop hybrid that flows with more than a few surprise embellishments. There's also the low-rider spy-hop of "Big Small Talks"; "Tantra" with its smooth, old school ride; the sensual boom bap of "Blue Almonds"; and the infectious, latin-lounge-tinged "Rainy Day". These are no- nonsense beat compositions, perfect for thinking, for grooving, for dreaming, for zoning out. Emapea and Cold Busted come correct once again.
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.
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.
Ossie lands back on Heist after his 2025 hit ‘Are U still smiling?’ with a 4 track EP featuring Miraa May.
How on earth do you follow up your debut when that record got dancefloors moving across the world and picked up radio & dj plays from dance music’s finest selectors?
Many producers would get instant writer’s block, but not Ossie. His new EP on Heist is full of joyous melodies, catchy vocals and euphoric dancefloor moments. Across 4 tracks, Ossie takes us on a trip through rolling electronics, catchy UK sounds and big room anthems.
His Heist debut in 2025 did not go by unnoticed, and Ossie kept a busy calendar since, with regular shows in London and Hï Ibiza with Skepta’s Mas Tiempo crew, his own Supercali imprint as well as his appearance alongside heavyweights Louie Vega, Kerri Chandler, Cinthie and more on Heist’s ‘House of House’ much celebrated compilation.
The Motivation EP kicks off with a bumpy UK track that somehow reminds us of Bicep early day hit ‘Vision of love’. Where the Bicep boys went for a big sample, Ossie landed a surprise studio session with Algerian born-London native Miraa May where they wrote ‘Motivation’ in a single session. The track is stripped back to its core with catchy scats and chants from Miraa May and keys that’ll stick with you far after the track is over. If you’d need any extra motivation for your daily routine, to get out of bed or to go out dancing, this is your jam.
‘Can it get any better’ is a loopy house affair with soulful vocal chants, hints of disco and a subtle piano theme that drives the track into big room territory. It’s energetic without ever getting over the top; a thin line Ossie navigates effortlessly on this record.
On the flip, we’ve got ‘Left side’; a deep groover built around a synth & disco loop and cleverly sampled vocals singing ‘I believe… oooh yes I do’. This one is definitely a lowkey banger, where Ossie turns that one simple loop into a powerful theme made to ignite dancefloors.
The EP closes with the heavy warehouse groove of ‘Don’t stop’. A cavernous low end, rough percussion and chopped synth stabs all come together on this beast of a track. Ossie cleverly plays around with vinyl backspins, vocal chops and small changeovers to keep things interesting, while the groove just keeps on going.
Ossie’s ‘Motivation’ EP has dancefloor written all over it and with all its forward energy, there’s no doubt you’ll be hearing this one a lot in clubs all over the world.
The Disco Express presents Best of 2026 - a deluxe, special edition 12" pink vinyl celebrating six of our favourite records from another landmark year on the label.
Showcasing the breadth of The Disco Express sound, the compilation journeys through funk-fuelled disco, jackin’ house, soulful grooves and peak-time dancefloor energy, bringing together some of the standout moments from our 2026 catalogue.
Featuring music from Make It Disco, Bustin’ Loose, MGR Mike, Ayce & Spirit of House, LEFTI, La Felix and more, Best of 2026 captures a label continuing to push forward while staying firmly rooted in the spirit of disco.
From the feel-good vocal energy of “What You Gonna Say” and the funk-driven swagger of “Less Struggle, More Hustle”, through to the 70's inspired “The Movers”, the soulful lift of “Stronger” and the irresistible drum rhythms of “Muchacho” and “Run It Up”, this is music made first and foremost for the dancefloor.
The music featured on Best of 2026 has already picked up support from some of the world’s most respected selectors, including Roger Sanchez, Danny Rampling, Marco Carola, Jamie Jones, Joseph Capriati, Paco Osuna, Claptone, Danny Krivit, Sam Divine and Arthur Baker, alongside many more.
Pressed on limited edition pink vinyl, Best of 2026 is a snapshot of The Disco Express in full motion.
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.
Following the acclaimed Milano Undiscovered, Italia Undiscovered and Italia Synthetica series comes Italo International: a new collection celebrating the enduring legacy of Italo Disco. Eight exclusive tracks by established European artists reimagining one of Italy's most influential musical movements with originality, respect, and a contemporary vision.
Italo International is a journey through the many shades of elegant and visionary electronic music, moving between Italo Disco, Synth Pop and dancefloor-oriented sounds. The talented and steadily rising Polish producer Rafał Lachmirowicz, aka Also Playable Mono; Hungarian artist Gianni Durante, aka Electro Potato, who for years has been bringing back the sound of early-Eighties Italo Disco with passion and a contemporary sensibility; Norwegian Tommy Holsen, aka DJ TinTin, who together with the Eighties band Go explores the classic sounds of Nordic Synth Pop; British producer Mark Wilkinson, aka Kid Machine, who for over fifteen years has been creating productions made for the dancefloor; Tyrell Corporation, the alias of Dutch producer Alden Tyrell, who joins forces with Italian duo Italoconnection to rework a track destined to set the dancefloor on fire; Swedish multidisciplinary artist Tobias Bernstrup, who for three decades has been reinventing the more sophisticated side of Italo Disco with elegance and a distinctive vision; the Dutch project Sfera Celeste Project, which blends Moroder-inspired sounds with a hypnotic minimalism reminiscent of Jeff Mills; and, closing the journey, British artists Heartbreak, Ali Renault and Sebastian Muravchik, with a poignant and slow-burning excursion into the melancholic world of Synth Pop.
“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
