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Intentions, the debut of LA-via-Chicago beat maker, composer, and multi-instrumentalist megiapa, is a 40 minute master class in synth-heavy, jazz-informed Neo-soul. megiapa"s lush and emotionally layered album, feels less like a collection of songs and more like a living archive of transformation. Across its warm synths, fluttering basslines, meditative voice notes and spiritual grooves, the Los Angeles based producer, vocalist and composer maps the uncertain terrain between heartbreak, healing, fear, and surrender. Featuring: Ahmad Muhammad (aka Kafari), Mekala Session, Blvck Spvde, Aankha Neal, Telemakus, Aisha Mars, 10.4 ROG

Space Afrika, das in Manchester und Berlin ansässige Duo aus Joshua Tarelle Reid und Joshua Inyang, schafft rohe, detailreiche und eindringliche Musik mit Anklängen an Ambient, Trip-Hop, Techno und moderne Klassik, wobei es aus den Konturen seiner Stadt weitläufige urbane Dub-Landschaften entwirft. ,Quiet Storm" erweitert ihren Klang und ihre Bandbreite zu einer weitläufigen, kollaborativen Vision, die mit tiefer Geduld und Absicht geformt wurde und ihre eigene Coming-of-Age-Geschichte in eine bewegende Suite kathartischer Abstraktion einbettet. Die Songs spielen auf Spiritualität und die conditio humana an, auf die Spannung zwischen Kühnheit und Sanftheit, Ehrgeiz und hartnäckigen inneren Dämonen. ,Quiet Storm" ist eine Antwort auf den Werdegang des Duos seit der Veröffentlichung von ,Honest Labour" im Jahr 2021. ,Wir haben uns selbst und unsere eigenen Vorstellungen von Identität herausgefordert, insbesondere in Bezug auf Klasse und Diaspora, und wie dies in verschiedenen Musikgenres dargestellt wird. Wir wollten die Charakteristika unseres Projekts durch die Menschen zeigen, mit denen wir zusammenarbeiten wollten", sagt Reid. Inyang merkt an: ,Bei der Entstehung dieses Albums haben wir keine Kompromisse gemacht. Die Idee begann als eine Hommage an die Kunst der Schwarzen. Unsere Kooperationen waren sehr bewusst gewählt, als wir die Grundpfeiler der Geschichte entdeckten." Von der multidisziplinären Natur des Projekts zeugt die Beteiligung des gefeierten Künstlers Glenn Ligon, dessen Werk sich mit schwarzer Identität und Queerness befasst. Ligon, der zu Beginn der Aufnahmen eine zentrale Inspirationsquelle darstellte, stellte sein Werk ,Figure #30" (2009) für das Cover-Artwork zur Verfügung und erklärte sich nach Abschluss der Aufnahmen bereit, dem Projekt seinen Namen zu geben - eine beispiellose Geste dieses wegweisenden Künstlers. Beim Anhören der endgültigen Fassung dachte Ligon an ,Quiet Storm", das Radioformat der 1970er Jahre, das für seine sanfte Late-Night-Programmgestaltung mit Themen rund um Leben und Liebe bekannt war. ,Quiet Storm" führt den Hörer durch verschiedene Szenen, Zwischenspiele und Handlungsbögen, geprägt von dem Gefühl, dass seine Bewegung fließend und seine Figuren flüchtig sind. Monologe vor dem Spiegel setzen sich mit dem Existentiellen und dem Unmittelbaren auseinander: Überleben, Autonomie, Sinn. Das Album beginnt mit dem explosiven, von Streichern begleiteten ,Vanity", bei dem die Grammy-Preisträgerin Axelle Fanyo zu hören ist. Zunächst auf die Spalten eines stillen Raumes fixiert, entfaltet sich ,Vanity" unter Fanyos ausdrucksstarkem Sopran und durchläuft ein breites emotionales Spektrum von erhabener Kontemplation bis hin zu ergreifendem, herzzerreißendem Schmerz. Auf dem gesamten Album werden gesprochene und gesungene Worte sparsam eingesetzt, um eine kraftvolle Wirkung zu erzielen. Die Schönheit und Katharsis von ,MLN" ist ein kollektiver, langsamer Marsch, bei dem der britisch-nigerianische Künstler Tony Njoku mitwirkt, begleitet von Gabriel Evans an Gitarre und Lead-Bass, PIKE aus London am Schlagzeug und GB aus Kopenhagen an Keyboards und Streichern. Der letzte Satz verleiht ,Quiet Storm" seinen krönenden Höhepunkt. ,If This Is Hell" ist in einem einzigen Take als Bewusstseinsstrom des New Yorkers Deuén aufgenommen, dessen nachvollziehbare Spirale geistiger Aktivität von jazzigen, frenetischen Percussion-Klängen begleitet wird. Das Druckventil öffnet sich, als die phasenverschobenen Drums und die scharf beobachtenden, dialogartigen Phrasen abrupt nach der Zeile ,I wonder if that's what heaven's like?" abbrechen. Wir bleiben in der Behaglichkeit des Album-Closers ,Regards" zurück. Regentropfen treffen auf Orgel, Drone, Streicher und Keyboards, während das Nachladen von Waffen dem ruhigen Summen gegenübergestellt wird. Schwer und doch hoffnungsvoll erinnern Joshua Tarelle Reid und Joshua Inyang an ihre bisherige Reise. Als passend geheimnisvolles und mitreißendes Outro für ihr offenes Opus ist ,Quiet Storm" ein Meilenstein: selbst produziert, selbst finanziert und aus purer Tatkraft und Überzeugung entstanden. Durch verzerrte Zeit und schummrigen Dunst ist Space Afrika zweifellos angekommen

Space Afrika, das in Manchester und Berlin ansässige Duo aus Joshua Tarelle Reid und Joshua Inyang, schafft rohe, detailreiche und eindringliche Musik mit Anklängen an Ambient, Trip-Hop, Techno und moderne Klassik, wobei es aus den Konturen seiner Stadt weitläufige urbane Dub-Landschaften entwirft. ,Quiet Storm" erweitert ihren Klang und ihre Bandbreite zu einer weitläufigen, kollaborativen Vision, die mit tiefer Geduld und Absicht geformt wurde und ihre eigene Coming-of-Age-Geschichte in eine bewegende Suite kathartischer Abstraktion einbettet. Die Songs spielen auf Spiritualität und die conditio humana an, auf die Spannung zwischen Kühnheit und Sanftheit, Ehrgeiz und hartnäckigen inneren Dämonen. ,Quiet Storm" ist eine Antwort auf den Werdegang des Duos seit der Veröffentlichung von ,Honest Labour" im Jahr 2021. ,Wir haben uns selbst und unsere eigenen Vorstellungen von Identität herausgefordert, insbesondere in Bezug auf Klasse und Diaspora, und wie dies in verschiedenen Musikgenres dargestellt wird. Wir wollten die Charakteristika unseres Projekts durch die Menschen zeigen, mit denen wir zusammenarbeiten wollten", sagt Reid. Inyang merkt an: ,Bei der Entstehung dieses Albums haben wir keine Kompromisse gemacht. Die Idee begann als eine Hommage an die Kunst der Schwarzen. Unsere Kooperationen waren sehr bewusst gewählt, als wir die Grundpfeiler der Geschichte entdeckten." Von der multidisziplinären Natur des Projekts zeugt die Beteiligung des gefeierten Künstlers Glenn Ligon, dessen Werk sich mit schwarzer Identität und Queerness befasst. Ligon, der zu Beginn der Aufnahmen eine zentrale Inspirationsquelle darstellte, stellte sein Werk ,Figure #30" (2009) für das Cover-Artwork zur Verfügung und erklärte sich nach Abschluss der Aufnahmen bereit, dem Projekt seinen Namen zu geben - eine beispiellose Geste dieses wegweisenden Künstlers. Beim Anhören der endgültigen Fassung dachte Ligon an ,Quiet Storm", das Radioformat der 1970er Jahre, das für seine sanfte Late-Night-Programmgestaltung mit Themen rund um Leben und Liebe bekannt war. ,Quiet Storm" führt den Hörer durch verschiedene Szenen, Zwischenspiele und Handlungsbögen, geprägt von dem Gefühl, dass seine Bewegung fließend und seine Figuren flüchtig sind. Monologe vor dem Spiegel setzen sich mit dem Existentiellen und dem Unmittelbaren auseinander: Überleben, Autonomie, Sinn. Das Album beginnt mit dem explosiven, von Streichern begleiteten ,Vanity", bei dem die Grammy-Preisträgerin Axelle Fanyo zu hören ist. Zunächst auf die Spalten eines stillen Raumes fixiert, entfaltet sich ,Vanity" unter Fanyos ausdrucksstarkem Sopran und durchläuft ein breites emotionales Spektrum von erhabener Kontemplation bis hin zu ergreifendem, herzzerreißendem Schmerz. Auf dem gesamten Album werden gesprochene und gesungene Worte sparsam eingesetzt, um eine kraftvolle Wirkung zu erzielen. Die Schönheit und Katharsis von ,MLN" ist ein kollektiver, langsamer Marsch, bei dem der britisch-nigerianische Künstler Tony Njoku mitwirkt, begleitet von Gabriel Evans an Gitarre und Lead-Bass, PIKE aus London am Schlagzeug und GB aus Kopenhagen an Keyboards und Streichern. Der letzte Satz verleiht ,Quiet Storm" seinen krönenden Höhepunkt. ,If This Is Hell" ist in einem einzigen Take als Bewusstseinsstrom des New Yorkers Deuén aufgenommen, dessen nachvollziehbare Spirale geistiger Aktivität von jazzigen, frenetischen Percussion-Klängen begleitet wird. Das Druckventil öffnet sich, als die phasenverschobenen Drums und die scharf beobachtenden, dialogartigen Phrasen abrupt nach der Zeile ,I wonder if that's what heaven's like?" abbrechen. Wir bleiben in der Behaglichkeit des Album-Closers ,Regards" zurück. Regentropfen treffen auf Orgel, Drone, Streicher und Keyboards, während das Nachladen von Waffen dem ruhigen Summen gegenübergestellt wird. Schwer und doch hoffnungsvoll erinnern Joshua Tarelle Reid und Joshua Inyang an ihre bisherige Reise. Als passend geheimnisvolles und mitreißendes Outro für ihr offenes Opus ist ,Quiet Storm" ein Meilenstein: selbst produziert, selbst finanziert und aus purer Tatkraft und Überzeugung entstanden. Durch verzerrte Zeit und schummrigen Dunst ist Space Afrika zweifellos angekommen

One more year and our annual compilation 'Hate & Tenderness' is back. This time in its fifth edition, where we have agreed a group with some of our favorite artists from the last years to create a wonderful compilation full of love.

Being faithful to our philosophy based on contrasts, legendary artists such as DJ Shufflemaster, Truncate or DJ Dextro join youngsters such as Gene Richards Jr, Phil Berg, Mathys Lenne, Kashpitzky, Nicolas Vogler or Damian Vargas to name a few, all of them accompanied by the label heads Fixon & Dig-It, to leave a release that moves us indescribably and that we want to share with everyone!
credits

Es war ein Coup, als Gründer und Bassist Lee Payne vor drei Jahren ankündigte, dass Harry „The Tyrant“ Conklin, der nach Griechenland gezogen war, seiner Band Cloven Hoof beitreten würde. Der ehemalige Jag-Panzer-Frontmann war der perfekte Nachfolger für Russ North, der für die Fans bis dahin als der ultimative Cloven-Hoof-Sänger galt – leider weilt er nicht mehr unter uns. Daher waren die Reaktionen auf das erste Album der Band mit Harry Conklin am Mikrofon herausragend. »Heathen Cross« wurde 2024 bei High Roller Records veröffentlicht.
Nun folgt Cloven Hoofs zehntes Studioalbum mit dem Titel »Never A Prophet In Your Own Land«. Wieder einmal ist die Gesangsleistung vom „Tyrant“ absolute Weltklasse. Lee Payne grinst: „Das Lob gebührt einzig und allein Harry. Wir können uns glücklich schätzen, einen so brillanten Sänger und Frontmann in der Band zu haben.“
Kontinuität ist für jede Band wichtig, und Cloven Hoof hatten in der Vergangenheit mehr als einen Besetzungswechsel zu verzeichnen. Diesmal nicht, wie der Bassist nicht ohne Stolz erklärt: „Wir haben dieselbe feste Besetzung wie auf »Heathen Cross«, das kann ich mit Freude sagen. Am Gesang der einzig wahre Harry Conklin und an den Gitarren Luke Hatton sowie Chris Coss. Dazu Ash Baker am Schlagzeug. Luke, Chris und Ash sind nun seit über zehn Jahren bei Cloven Hoof; sie kennen ihre Rollen in- und auswendig. Ich selbst bin seit 1979 in der Band, also sollte ich inzwischen eine Vorstellung davon haben, was ich mache (lacht).“
„»Never A Prophet In Your Own Land« ist keine direkte Fortsetzung von »Heathen Cross«“, fährt Payne fort. „»Heathen Cross« hatte seine eigene schwere und düstere Atmosphäre. »Never A Prophet In Your Own Land« ähnelt eher »A Sultan‘s Ransom«, doch diese Ähnlichkeit war weder konstruiert noch geplant. Es ist einfach so gekommen.“

Radically exploratory, Raphael Loher’s Figuren is an album shaped by process and experimentation. Guided by intuition, listening, and a deliberate distancing from his primary instrument—the piano—, the LP marks a decisive step in the Swiss pianist and composer’s artistic development, expanding his sonic vocabulary while maintaining a distinct and personal language.

Figuren draws on ten intimate concert recordings from Keemuun—Loher’s debut for Three:four Records—created during the pandemic and performed in his studio for just one or two listeners. This source material was subsequently developed during a residency in the Blenio Valley, where Loher deconstructed melodic elements, isolated individual tones, and extracted resonances, reassembling them into new configurations. The process generated around 30 initial pieces and also informed his sophomore album, Hug of Gravity, released by Hallow Ground in 2025.

In a further stage of transformation, Loher processed these fragments through a Revox B77 tape machine, subtly altering their pitch before digitizing and reshaping them once again. This iterative cycle of manipulation and recombination forms the core of Figuren’s sonic language.

Departing from the more structured frameworks of his earlier work, Figuren foregrounds experimentation as both method and aesthetic. The compositions range from finely layered rhythmic microstructures to sparse, evolving melodic fragments, each unfolding with a precise sense of restraint.

Modi Bardo, an alumnus of Moonshine Recordings, is another who on the surface appears to be at the nascent era of their sound experiments, but in truth is a longtime explorer of outer realms of Dub.

There is much to mention here which can be uncovered with the correct keywords, but one of the early bright points would be Spacelings and Bassheads, the Detroit-based Psych duo Modi Bardo was half of, who although seemingly limited in the realms of recorded output (with only a compilation appearance each via the Electro visionaries Interdimensional Transmissions and Booty bass / Techno orientated Intuit-Solar) where in fact not-so-limited in the era in the way of public performance, even performing at the renowned Packard Plant renegades in the 90's with UR on occasion.

Forward to now, and Modi Bardo has created something that reaches for unknown territory in Dub. With an establishing A side that is deep and primordial in tone, a' la Challenger Deep and Babe Roots releases, this proves to be merely a fantastic tone setter for the B side, which seems to find a zone where Dub Techno, Half Time, and Autonomic DnB have not quite gleaned yet. Truly a record unlike any other, while somehow being an invaluable tool for DJ's exploring the links between the aforementioned sounds and even Dancehall and Jungle in the mix.

A must for all those chasing the evolution of dub reflective arts, and the adventurous DJ in general.

Recorded in Los Angeles over the course of a single day at a studio in the Eagle Rock neighborhood, Dois Desertos was produced by Mario Caldato Jr. and emerged without a predetermined plan or schedule. The project took shape during Portuguese musician João Pimenta Gomes' stay in Los Angeles with his family. During that time, through Rodrigo Amarante, João met Mario and Samantha Caldato, as well as musicians Abe Rounds (drums and percussion) and Gabe Noel (bass and cello). From those encounters, the album began to unfold organically.

Working from simple scores—some containing little more than chord progressions—the sessions left plenty of room for improvisation. Every performance was captured live, in a single take, with no overdubs. The mixing process, also carried out live by Mario Caldato Jr., followed the same philosophy: effects and level adjustments were performed in real time and printed directly to the final two-track master.

At the heart of the album's sound is the Cristal Baschet, a rare instrument played by rubbing glass rods with the hands, causing metal resonators to vibrate and produce an ethereal, resonant tone. João describes its sound as "a trace, almost like a shadow." Rather than taking the lead, the instrument serves as a textural foundation, while the bass and cello carry the melodic lines. Some of these melodies are original compositions, while others draw from traditional Portuguese fado, reimagined through an open and exploratory approach.

The album has a dreamlike atmosphere, reflecting the perspective of someone experiencing Los Angeles from the outside—not in a rush to belong, but fully receptive to the city's unique energy. Two films helped shape this imaginary landscape: Model Shop (Jacques Demy, 1969), in which the French filmmaker uses Los Angeles as a pretext to simply observe and inhabit the city, and Thom Andersen's Los Angeles Plays Itself. The result is Dois Desertos, an album that, in João's own words, "could never have been made anywhere else."

With Dois Desertos, João Pimenta Gomes invites listeners into a deeply immersive experience, revealing a more exploratory side of his artistic practice while reinforcing Amor in Sound's commitment to releasing original works that engage with the many languages of contemporary music.

Mutant und Paramount Pictures präsentieren stolz eine Vinyl-Neuauflage von Lorne Balfes Soundtrack zu „Mission: Impossible – Dead Reckoning“, dem siebten Teil der beliebten Spionageserie des Schauspielers und Produzenten Tom Cruise. Gepresst auf 2x 140 g Gold Key-Vinyl, mit Begleittexten des Komponisten und Co-Autors, Regisseurs und Produzenten Christopher McQuarrie sowie einem Verpackungsdesign von Mo Shafeek. Lorne Balfes Filmmusik zu „Dead Reckoning“, dem siebten Teil der beliebten Spionageserie des Schauspielers und Produzenten Tom Cruise. Die fortwährende Neuerfindung der einst formlosen Franchise durch den Drehbuchautor und Regisseur Christopher McQuarrie – der unterschiedliche Stile und Themen geschickt in einen zusammenhängenden und überzeugenden Mythos einbettet – hat den Komponisten Lorne Balfe dazu veranlasst, dasselbe zu tun. Lornes Filmmusik, die im Laufe der dreijährigen Produktionszeit komponiert wurde, ist nichts weniger als ein Wunder. Sie ist zugleich eine Ode an das Vermächtnis der gesamten Serie und führt die musikalischen Motive fort, die bereits in seinem vorherigen Teil sowie im bei den Fans beliebten „Mission: Impossible – Fallout“ begonnen wurden; die Musik dieser Serie klang noch nie so grandios.

Originally released in 1978. A Classic Reggae album re-released on 180 gram vinyl and produced by Linval Thompson with extensive sleeve notes.
Recorded at Channel One Recording Studio & Harry J's Recording Studio.
Cornell Campbell is one of an elite group of Jamaican reggae singers who has weathered the changes throughout the music's development - in his case, from the ska era to right up to date - whilst retaining their relevance. Witness his recent alliance with UK Afrobeat/reggae band The Soothsayers or Jazmine Sullivan's R & B hit Need U Bad, which sampled his classic 'Queen Of The Minstrel' -a song that still sounds fresh more than thirty years later.
Sweet Baby was pressed on bright red vinyl, which only added to the excitement when you saw the selector position it carefully on the deck.
On the LP cover was a painting of Cornell wearing an emerald green shirt and framed by a lurid sky, which might have left some people wondering if it was a soul album. It wasn't, although there is certainly soul in the grooves, and especially on R&B covers like Gonna Take A Miracle - first recorded by the Royalettes -and Darling You Send Me, which Sam Cooke had introduced to the US Billboard charts some twenty years earlier.
Both are among the highlights but then the whole album is good in truth, and a heartfelt I Need Somebody and My Sweet Baby, plus the two-step favourite Just Enough were regularly played on sound system. Blinded By Love, I Didn't Know and Can't Hide My Love are tinged with melancholy and like the seductive Whenever You Need Me, display all the hallmarks of a classic Cornell Campbell side -swooping vocals, a driving rhythm and seductive lyrics included.

Nearly forty years later, it is gratifying to know there is still no mistaking him when his records are played in a dance. That relaxed vocal style draws you in but it's his falsetto, quivering with understated emotion that hooks you and turns you into a lifelong fan.

Soulful, future-leaning house & hip hop distilled into wax form. Standout cuts by AKA ZEB & LIL DAVE 215, with appearances from J-LIVE, BLU and BLOOMY MEADOWS, bridging the gap between classic andy with contemporary with warmth and depth. Support from CRACKAZAT

A reggae cover of the classic track by Pharoah Sanders and War is being released on 7"!

Two legendary reggae covers from the album 『Drag'N Fly』, released in 2024 by the popular French reggae band The Dynamics, are now available on 7-inch vinyl!!

"You've Got To Have Freedom"is a bold reggae arrangement of the iconic track by spiritual jazz master Pharoah Sanders. It’s a standout cover with a powerful, dubby texture that really grabs you. The B-side features a reggae cover of"Low Rider,"the signature song released in 1975 by the legendary funk band War. With both sides sounding absolutely fantastic, this is an absolute must-have!

Although Shoot Your Shot sits slightly under the radar compared to Divine’s signature anthems such as You Think You’re A Man, I’m So Beautiful, Walk Like A Man and Native Love, this remix stands proudly alongside them. Liebrand injects the track with a driving Hi-NRG pulse, unmistakable Italo-disco flourishes and a powerful club groove, while Divine’s larger-than-life vocal performance and the unforgettable spoken-word alphabet breakdown remain front and centre.

On the flip, Liebrand delivers an inspired bonus, seamlessly blending the music from Divine’s worldwide club classic Native Love with the vocals from Shoot Your Shot, one of the artist’s biggest European hits. The result is a brilliantly executed hybrid that captures the excitement and creativity of the late-’80s remix scene while celebrating two of Divine’s most enduring recordings.

A rare glimpse into a golden era of European dance music and a testament to Ben Liebrand’s reputation as one of the most innovative remixers of his generation.

A classic album recorded in 1976, featuring a superb lineup including Sam Jones, Kazumi Watanabe, and Fumio Karashima, with expansive cello solos. Highlights include an exhilarating duo number with the seasoned bassist Sam Jones, as well as Kazumi Watanabe’s hip guitar solos throughout.



East Wind was a groundbreaking jazz label established in 1974 through the full cooperation of Ai Music, as it was then known, and Nippon Phonogram, as it was then known. Over a period of about five years, the label produced albums not only by Japanese musicians such as Masabumi Kikuchi, Sadao Watanabe, and Terumasa Hino, but also by musicians who were engaged in creative activity on the global jazz scene at the time. In addition to the quality of the performances, the artwork, created with leading designers and photographers, brought a fresh new image to jazz albums and had a major influence on later record production.

The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation – fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 – morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.
Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light.
The album begins with “Cogs”, a taunting inquisition from within. As McKeown stages a fight between his id and ego, the tension heats up between conversational guitar lines and minimalist repetition; threatening sing-song melody and real, palpable menace. The band members are forced in tandem only to break apart, sustaining a genuine sense of just-hidden danger throughout the whole record – except, arguably, “Headphones”, a looser moment which sees McKeown make an existential something out of nothing while waiting for someone in the car (“I should have brought a book.../My ears are bleeding from the compression on your album”)
The songs are riots of reference: “Unity Over Europe” is a slyly complex two act play about the Mitford sisters – Diana, Unity, and Nancy, in a wink to the YF canon – smashing tragic biographical detail together with allusions to Thomas Pynchon and Francis Bacon. Pynchon is also lifted to serve “Blue Sunshine”, a collision of school shooters, serial killers and fictional fuck-ups (“Fast forward to Compton/Fast forward to Pynchon/Fast forward to Columbine'”) whose buzzy guitar lines are taunting and confrontational like a smarmy teenager. The innocuous title of “My Lasagne” belies a song that exists in several time periods at once: a visit to see Guernica, 50 people with their backs to the portrait of Dora Maar; the time that Picasso painted from; the Reina Sofia and the dirty streets of the Malasaña; myth-making musicians and the myths they’re riffing off overlapping and leering at each other.
All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened. Susan Sontag's essay Against Interpretation accompanied McKeown as he wrote this album, and she’s paraphrased in “Semolina Ballerina”, the album’s justification of artistic ambiguity. Thomson’s motorik beat leads a gathering of back-and-forth instrumental phrases – including a wiry contribution on saxophone – embodying the futility of trying to parse something definitive from repeated action. “Listen to the very first thing that’s in your head,” Sontag-via-McKeown commands directly, then slinks sideways: “Interpretation is a conversation in an unmade bed”
The album features two more focused portraits, or at least The Yummy Fur’s version of such a thing. “Wanda” merges the life of filmmaker Barbara Loden and the title character of her semi-autobiographical 1970 feature film, with Loden’s then-husband Elia Kazan joining the fray of no-good men in her film. It’s a mix of adaptation and avant-criticism, with McKeown’s wordplay and mannered pronunciation mirroring the way that non-fiction and fiction twist around each other in the song. The title track is a series of vignettes and impressions from the lives of the band’s ‘90s inner circle, positing painter Mac McNaughton as a kind of Falstaffian ringleader. As with Piggy Wings and the recent single “New T-Shirt”, McNaughton painted the cover of Everybody Talks About The Weather – like the album’s music, the image of a coy girl in a white dress is an uncanny amalgamation of styles, suggestions and references just out of reach, as though seen in an art museum in a dream.
The album ends with two reads of the same frustration. “King of Nothing” is the closest The Yummy Fur will ever get to sludge-rock: the band melts together into a dusty, dreary haze as McKeown drowns in a drudgery of personal struggle (“Two jumpers on in Babylon/And only cats to talk to”) and the rhythmic toppling of heroes (Rowlands, Duvall, Munro). The majority of visible dirt is cleaned off for “Say Hello”, an uncharacteristic depiction of throwing the windows open after a dark night of the soul. Here, the situation is still cold and hard (“When the sun burns gold, but the heat never reaches your fingertips”) but it feels surmountable. Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise. - Claire Biddles (2026)

The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation – fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 – morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.
Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light.
The album begins with “Cogs”, a taunting inquisition from within. As McKeown stages a fight between his id and ego, the tension heats up between conversational guitar lines and minimalist repetition; threatening sing-song melody and real, palpable menace. The band members are forced in tandem only to break apart, sustaining a genuine sense of just-hidden danger throughout the whole record – except, arguably, “Headphones”, a looser moment which sees McKeown make an existential something out of nothing while waiting for someone in the car (“I should have brought a book.../My ears are bleeding from the compression on your album”)
The songs are riots of reference: “Unity Over Europe” is a slyly complex two act play about the Mitford sisters – Diana, Unity, and Nancy, in a wink to the YF canon – smashing tragic biographical detail together with allusions to Thomas Pynchon and Francis Bacon. Pynchon is also lifted to serve “Blue Sunshine”, a collision of school shooters, serial killers and fictional fuck-ups (“Fast forward to Compton/Fast forward to Pynchon/Fast forward to Columbine'”) whose buzzy guitar lines are taunting and confrontational like a smarmy teenager. The innocuous title of “My Lasagne” belies a song that exists in several time periods at once: a visit to see Guernica, 50 people with their backs to the portrait of Dora Maar; the time that Picasso painted from; the Reina Sofia and the dirty streets of the Malasaña; myth-making musicians and the myths they’re riffing off overlapping and leering at each other.
All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened. Susan Sontag's essay Against Interpretation accompanied McKeown as he wrote this album, and she’s paraphrased in “Semolina Ballerina”, the album’s justification of artistic ambiguity. Thomson’s motorik beat leads a gathering of back-and-forth instrumental phrases – including a wiry contribution on saxophone – embodying the futility of trying to parse something definitive from repeated action. “Listen to the very first thing that’s in your head,” Sontag-via-McKeown commands directly, then slinks sideways: “Interpretation is a conversation in an unmade bed”
The album features two more focused portraits, or at least The Yummy Fur’s version of such a thing. “Wanda” merges the life of filmmaker Barbara Loden and the title character of her semi-autobiographical 1970 feature film, with Loden’s then-husband Elia Kazan joining the fray of no-good men in her film. It’s a mix of adaptation and avant-criticism, with McKeown’s wordplay and mannered pronunciation mirroring the way that non-fiction and fiction twist around each other in the song. The title track is a series of vignettes and impressions from the lives of the band’s ‘90s inner circle, positing painter Mac McNaughton as a kind of Falstaffian ringleader. As with Piggy Wings and the recent single “New T-Shirt”, McNaughton painted the cover of Everybody Talks About The Weather – like the album’s music, the image of a coy girl in a white dress is an uncanny amalgamation of styles, suggestions and references just out of reach, as though seen in an art museum in a dream.
The album ends with two reads of the same frustration. “King of Nothing” is the closest The Yummy Fur will ever get to sludge-rock: the band melts together into a dusty, dreary haze as McKeown drowns in a drudgery of personal struggle (“Two jumpers on in Babylon/And only cats to talk to”) and the rhythmic toppling of heroes (Rowlands, Duvall, Munro). The majority of visible dirt is cleaned off for “Say Hello”, an uncharacteristic depiction of throwing the windows open after a dark night of the soul. Here, the situation is still cold and hard (“When the sun burns gold, but the heat never reaches your fingertips”) but it feels surmountable. Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise. - Claire Biddles (2026)

“Man has such a predilection for systems and abstract deductions that he is ready to distort the truth intentionally, he is ready to deny the evidence of his senses only to justify his logic”
Fyodor Dostoevsky - Notes from Underground (1864)

The Intermittent Signal is the sound of resistance.

In the year since The Sick Man Of Europe’s debut album was released, the world has moved on. Steady hands have slipped from the levers of power, logic has shifted underground and the message grows more urgent with every passing day.

Repetition has been relearned and the machine rhythms repurposed, this time with increased intensity. Arrangements have moved beyond the bare bones economy of the first record and there’s a newfound melodicism in places. Clarity and conviction ring true through the static and noise, while utopian ideas to remodel a broken system gain traction. This is a rejection of the attention economy and a call to reconnect through community and organisation. Those simple acts that were once commonplace have become increasingly radical as new fractures emerge.

“Through repetition the message has gained weight and become something more urgent,” The Sick Man Of Europe explains. “The vehicle for this message needed to evolve, grow to gain the strength to carry it. We’ve landed on something more expansive, immediate and immersive. Less is more. Until it isn't.”

“Man has such a predilection for systems and abstract deductions that he is ready to distort the truth intentionally, he is ready to deny the evidence of his senses only to justify his logic”
Fyodor Dostoevsky - Notes from Underground (1864)

The Intermittent Signal is the sound of resistance.

In the year since The Sick Man Of Europe’s debut album was released, the world has moved on. Steady hands have slipped from the levers of power, logic has shifted underground and the message grows more urgent with every passing day.

Repetition has been relearned and the machine rhythms repurposed, this time with increased intensity. Arrangements have moved beyond the bare bones economy of the first record and there’s a newfound melodicism in places. Clarity and conviction ring true through the static and noise, while utopian ideas to remodel a broken system gain traction. This is a rejection of the attention economy and a call to reconnect through community and organisation. Those simple acts that were once commonplace have become increasingly radical as new fractures emerge.

“Through repetition the message has gained weight and become something more urgent,” The Sick Man Of Europe explains. “The vehicle for this message needed to evolve, grow to gain the strength to carry it. We’ve landed on something more expansive, immediate and immersive. Less is more. Until it isn't.”

Meg Lui is a Northern California-born singer-songwriter, based in the Hudson Valley since 2015. In her songs, vivid lyrics and poignant melodies intertwine with a voice that feels both intimate and lasting. Through reflections on love, resilience, and the human experience, she offers listeners a window into her world.


A Californian by birth, Boston-educated at Berklee College of Music, musically raised in Brooklyn, and now settled in the Catskills, Meg has released music under the names M. Lui, Grover, and as part of the trio Ember Isles.
Her influences-ranging from Freddie Mercury, The
Cranberries, No Doubt, Sheryl Crow, and Bonnie Raitt-reflect her love for artists whose fearless individuality continues to shape her dynamic songwriting and performance.


Over the past two years, Meg has lent her voice to records including Sufjan Stevens' Javelin (2023), Sam Evian's Plunge, Denison Witmer's Anything At All, John Legend's My Favorite Dream, Keenan O'Meara's forthcoming record Bathe In The Everlasting Light, and Liam Kazar's Pilot Light. She performs regularly with Keenan O'Meara and Hannah Cohen and occasionally when the stars align, with the Hudson Valley country band Critter Bonus.

the iconic project returns late September with its milestone 10th studio album, ‘I Wrote You A Letter’.

Twenty-five years after his debut, M83 (Anthony Gonzalez) stands as a genuinely era-defining electronic act, renowned for pushing indie-electronic into the mainstream while maintaining absolute critical credibility. With a massive catalog compounding billions of streams—anchored by the timeless “MIDNIGHT CITY” (1.5B streams)—the iconic project returns late September with its milestone 10th studio album, I WROTE YOU A LETTER’.
Recorded between Los Angeles and Paris alongside BENOIT DE VILLENEUVE, this new record follows the highly acclaimed ‘FANTASY’ (2023) and features striking artwork by celebrated Australian photographer BILL HENSON. This release marks a historic chapter, encapsulating a quarter-century of sonic evolution.
Commercially, M83’s power lies in an unmatched ability to transcend generations. Synonymous with cinematic emotion, nostalgia, and immense scale, M83’s sound is virtually a genre of its own, heavily sought after for film, TV, and sync. Live, the act holds top-tier global status, proven by headlining slots at major festivals like Coachella, Glastonbury, and Primavera.
‘I WROTE YOU A LETTER’ delivers exactly what M83 does best: big emotional scale, breathtaking cinematic atmospheres, and sharp hooks, all pushed into a fresh, modern palette.

Fünfundzwanzig Jahre nach seinem Debüt gilt M83 (Anthony Gonzalez) als ein wahrhaft epochaler Elektro-Künstler, der dafür bekannt ist, Indie-Elektro in den Mainstream zu bringen. Mit einem riesigen Repertoire, das Milliarden von Streams umfasst – angeführt von dem zeitlosen „MIDNIGHT CITY“ (1,5 Milliarden Streams) – kehrt das ikonische Projekt Ende September mit seinem wegweisenden zehnten Studioalbum „I WROTE YOU A LETTER“ zurück.

Das neue Album, das gemeinsam mit BENOIT DE VILLENEUVE in Los Angeles und Paris aufgenommen wurde, knüpft an das hochgelobte „FANTASY“ (2023) an und besticht durch ein eindrucksvolles Cover des gefeierten australischen Fotografen BILL HENSON.
Diese Veröffentlichung markiert ein historisches Kapitel und fasst ein Vierteljahrhundert klanglicher Entwicklung zusammen.
Kommerziell liegt die Stärke von M83 in der unübertroffenen Fähigkeit, Generationen zu verbinden.
Als Synonym für filmische Emotionen, Nostalgie und immense Größe ist der Sound von M83 praktisch ein eigenes Genre, das für Film, Fernsehen und Synchronisation sehr gefragt ist.
Live genießt die Band weltweit Spitzenstatus, was durch Headliner-Auftritte bei großen Festivals wie Coachella, Glastonbury und Primavera unter Beweis gestellt wird.

„I WROTE YOU A LETTER“ liefert genau das, was M83 am besten kann: große emotionale Bandbreite, atemberaubende filmische Atmosphären und eingängige Hooks, alles verpackt in einer
frischen, modernen Klangpalette.

The debut vinyl release from New Jersey–born, Brighton-based alt rock weirdo Lonnie Gunn, a 7-track EP on flesh slice coloured vinyl strictly limited to 300 copies. Hip new music for gingers and children of divorce.

The Garden, a magical place where lost dreams don't fade, but grow like silent flowers. Each petal holds an unfulfilled wish, each scent a memory left behind. In this garden, those who enter rediscover parts of themselves they thought lost and understand that nothing should be forgotten if it has touched their heart. The garden is the image that recurs most frequently throughout the album. We chose it as a metaphor for "refuge," a place where we can choose to nurture our natural inclinations, let them grow and blossom, but where we can also keep our shadows and our lights hidden. Where our secrets, our most authentic truths, our aspirations and our dreams, can therefore remain guarded until we are ready to reveal them to those who can contain and appreciate them.

Magenta Coloured Vinyl, limited to 400 copies. The Garden, a magical place where lost dreams don't fade, but grow like silent flowers. Each petal holds an unfulfilled wish, each scent a memory left behind. In this garden, those who enter rediscover parts of themselves they thought lost and understand that nothing should be forgotten if it has touched their heart. The garden is the image that recurs most frequently throughout the album. We chose it as a metaphor for "refuge," a place where we can choose to nurture our natural inclinations, let them grow and blossom, but where we can also keep our shadows and our lights hidden. Where our secrets, our most authentic truths, our aspirations and our dreams, can therefore remain guarded until we are ready to reveal them to those who can contain and appreciate them.

Montréal-based sound artist Steve Bates expands his strategies and stylistic influences on An Infinite Antenna, his second solo album for Constellation, giving freer reign to melodic components and textural dynamics: leftfield synth work, deconstructed drum machine, pointillist electric guitar, and radiostatic blur are all part of the new brew swirling around his bruitist signal-bending and field-recording sensibility. Arguably a more ambient album than his acclaimed 2022 Constellation debut, An Infinite Antenna is at the same time more densely packed with ideas, dynamics, evocations and earworms. Coming out of the anarcho-punk scene of the Canadian Prairies in the 1990s, Bates founded Winnipeg’s experimental sound festival Send + Receive in 1998 before moving to Montréal to become Sound Coordinator at Hexagram (Concordia University), delving further into sonic research and theory, tape-based composition, and installation work. Alongside the curatorial arc of his own sound art label The Dim Coast, Bates released several solo and collaborative albums on ORAL_records leading up to All The Things That Happen, the 2022 Constellation debut praised by Boomkat for its “grittily iridescent ambient billow rendering maximalist panoramas” and by Backseat Mafia as “extraordinary soundscapes of unstable, destructive cacophony and tender calm, echoes of the threat of power.” Where that album was noisier and single-minded, made with the self-imposed limit of a Casio SK-1, Bates plays more widely with instrumentation and atmospheres on An Infinite Antenna, also drawing on his post-hardcore roots in seeking a sort of track-by-track concision nonetheless driven by the album’s coherence as a seamless work. “I was trying to set durations I associate with punk rather than the longer, sprawling music coming from more ambient styles (that I very much love), and while I wasn’t able to quite pare it down to Minutemen durations, I had that reduction to essential elements as a sort of whisper over my shoulder.” Incorporating source recordings made throughout 2023-2025, including at artist residencies and site-specific sound installation visits in Bosnia and Herzegovina (the album’s cover photo was taken in Sarajevo), Austria, Greece, and Saskatchewan, An Infinite Antenna combines Bates’ “idea of slowly scanning a radio dial” with a soundworld of recurring timbral and textural touchstones that forge an integrated whole.

The album’s 12 tracks work effectively as stand-alone pieces, replete with shifting undercurrents, buried melody, and stuttering kinetics, and as a sequential flow where the brief interstitial silences between them are like short pauses to flip the next page in a sketchbook of perspectival studies of a wide but singular tableau. The glistening atonal synth expressionism of opener “Pink pink pink pink…pink pink” drifts gently toward submerged ambience, darkened by the noised rumble and static interference of “Green as a ghost”, which introduces broken beats and piano chords in its denouement. Tracks like “Battles and sieges and street trees” and “Easier sad than done” work the foundations of low-end field-recording resonance, but dappled with lovely melodic droplets of treated guitar and synth. “Waste, songs of the world” and “Disaster loans” are among the album’s most explicit stylistic references to posthardcore, with distorted ambient bass and gently abrasive drum sampling. Closing track “Swamps and factories”, the album’s longest piece, is perhaps most reminiscent of Bates’ previous record with its sustained dissonant glimmer-drone, but the journey An Infinite Antenna traces to get there is Bates at his most dynamic, diverse, distinctive, and engaging. Thanks for listening.

Montréal-based sound artist Steve Bates expands his strategies and stylistic influences on An Infinite Antenna, his second solo album for Constellation, giving freer reign to melodic components and textural dynamics: leftfield synth work, deconstructed drum machine, pointillist electric guitar, and radiostatic blur are all part of the new brew swirling around his bruitist signal-bending and field-recording sensibility. Arguably a more ambient album than his acclaimed 2022 Constellation debut, An Infinite Antenna is at the same time more densely packed with ideas, dynamics, evocations and earworms. Coming out of the anarcho-punk scene of the Canadian Prairies in the 1990s, Bates founded Winnipeg's experimental sound festival Send + Receive in 1998 before moving to Montréal to become Sound Coordinator at Hexagram (Concordia University), delving further into sonic research and theory, tape-based composition, and installation work. Alongside the curatorial arc of his own sound art label The Dim Coast, Bates released several solo and collaborative albums on ORAL_records leading up to All The Things That Happen, the 2022 Constellation debut praised by Boomkat for its "grittily iridescent ambient billow rendering maximalist panoramas" and by Backseat Mafia as "extraordinary soundscapes of unstable, destructive cacophony and tender calm, echoes of the threat of power." Where that album was noisier and single-minded, made with the self-imposed limit of a Casio SK-1, Bates plays more widely with instrumentation and atmospheres on An Infinite Antenna, also drawing on his post-hardcore roots in seeking a sort of track-by-track concision nonetheless driven by the album's coherence as a seamless work. "I was trying to set durations I associate with punk rather than the longer, sprawling music coming from more ambient styles (that I very much love), and while I wasn't able to quite pare it down to Minutemen durations, I had that reduction to essential elements as a sort of whisper over my shoulder." Incorporating source recordings made throughout 2023-2025, including at artist residencies and site-specific sound installation visits in Bosnia and Herzegovina (the album's cover photo was taken in Sarajevo), Austria, Greece, and Saskatchewan, An Infinite Antenna combines Bates' "idea of slowly scanning a radio dial" with a soundworld of recurring timbral and textural touchstones that forge an integrated whole. The album's 12 tracks work effectively as stand-alone pieces, replete with shifting undercurrents, buried melody, and stuttering kinetics, and as a sequential flow where the brief interstitial silences between them are like short pauses to flip the next page in a sketchbook of perspectival studies of a wide but singular tableau. The glistening atonal synth expressionism of opener 'Pink pink pink pink_pink pink' drifts gently toward submerged ambience, darkened by the noised rumble and static interference of 'Green as a ghost', which introduces broken beats and piano chords in its denouement. Tracks like 'Battles and sieges and street trees' and 'Easier sad than done' work the foundations of low-end field-recording resonance, but dappled with lovely melodic droplets of treated guitar and synth. 'Waste, songs of the world' and 'Disaster loans' are among the album's most explicit stylistic references to posthardcore, with distorted ambient bass and gently abrasive drum sampling. Closing track 'Swamps and factories,' the album's longest piece, is perhaps most reminiscent of Bates' previous record with its sustained dissonant glimmer-drone, but the journey An Infinite Antenna traces to get there is Bates at his most dynamic, diverse, distinctive, and engaging. Thanks for listening

“Music for me, is rarely complete,” says GODFLESH mastermind Justin Broadrick, “but it has to reach a point where enough is enough. Creatively, there has to be self-discipline. One has to end it.” Broadrick is primarily referring to the nebulous process of writing and arranging songs into their various potential shapes, but he could just as easily be describing GODFLESH’s imminent conclusion. Just three years after the hypnotic crunch of Purge, 25 years after an uncertain hiatus that nearly scuttled the band, and 38 years since GODFLESH’s inception, Broadrick and bassist-at-arms Ben Green set out to mercilessly crush this cold world with their tenth and penultimate album, this year’s Decay. “Decay was born from the same sessions as Purge,” Broadrick declares of the new record’s six tracks. “It was one huge pool of songs. I picked what I felt was appropriate for what I wanted to achieve with Purge, with the intention of releasing the songs that didn't fit as a new album within a year of Purge being released. Unfortunately, two years passed whilst considering external labels, so that I didn't have to self-release GODFLESH anymore, but it took an awful lot of time to establish a comfortable home for me. The recordings were done, but as usual for me, I did change a lot of stuff once I came back to it.” Now, GODFLESH is ready to unleash an even bolder, bleaker series of sounds in Decay. These songs arrive shortly after Broadrick released a public statement about major abdominal surgery he underwent earlier this year.

Surprise EP drop from Knocked Loose ahead of their upcoming tour. EP will be accompanied by a full 16min animated video that takes you through each song.

Debut album from Kentucky hardcore 5-piece Knocked Loose

Errands is the first duo recording from Marja Ahti, Swedish-Finnish sound artist and electroacoustic composer, and John McCowen, a native of Southern Illinois, now residing in Iceland, whose work centres on a radical exploration of clarinet multiphonics. Working without the aid of electronics, McCowen has spent years finessing performance techniques that allow him to layer beating patterns and split tones that belie their source in a monophonic instrument. Ahti, in contrast, has built up a stunning body of work in recent years using a classic electroacoustic palette of electronic, field recordings and instrumental sounds. Sharing a bill at the 2024 iteration of Stockholm’s Edition Festival, the pair discovered a sensibility shared across their different sonic means, beginning the collaborative process that would eventually result in the mercurial side-long pieces heard on Errands.

The word ‘errand’ suggests something purposeful but routine, and Ahti’s and McCowen’s work is suffused with the everyday. Meeting with McCowen to record in Iceland, Ahti used the opportunity to gather field recordings, capturing not the natural sublimity often associated with the country—think Chris Watson’s shifting glaciers—but everyday life in Reykjavik. Snatches of bustling streets and what could be humming engines thread between static sinewaves, stretches of clarinet resonances and fleeting textures, the latter often at once visceral and impossible to identify. Errands: we are a long way from the grandiose framing devices favoured by the pioneers of electroacoustic music, yet many of their principles are at work here. The gradual metamorphosis of one sound into another, the carefully achieved ambiguity between the acoustic and electronic, the treatment of the stereo field as a compositional element: all of these link Ahti and McCowen’s music to the electroacoustic tradition, yet their sensibility is radically different. The overall effect is a kind of stillness, but one at peace with continuous change. Like the unwieldy but somehow stylish everyday forms captured in the Hertta Kiiski photographs that adorn the record's sleeve, the music seems to prize a kind of deliberate awkwardness, interrupting static held textures not with an abrupt cut, but with a quick fade, suddenly revealing background as foreground.

Ahti and McCowen’s world is everyday and unornamented, but also shadowed by the numinous. Halfway through 'Chorales', we hear an arrangement for overdubbed recorders of an early motet of Messiaen’s, O sacrum convivium! Played on recorders, the piece shrinks into delicacy and dim memories of childhood music lessons, while at the same time its harmonies retain the grandeur of their liturgical origin. This double quality inflects much of what follows on Errands, including snatches of field-recorded water or air, which seem at once elemental and domestic. Enlivened with countless details that repay repeated relistening, Errands is a record that leaves the listener ready to open their ears anew to their own sound environment.

,Our Final Album - Vol. 1" ist das vierte Album von Glenn Morrow's Cry For Help und zeigt die Band aus Hoboken, New Jersey, auf dem Höhepunkt ihrer Kreativität. Obwohl der Titel einen Abschied suggeriert, präsentiert das Album eine lebendige und vielseitige Sammlung von elf neuen Songs, die von klassischem Gitarrenrock über gefühlvolle Balladen bis hin zu Bossa-Nova- und Soul-Einflüssen reichen. Angeführt wird die Band von Glenn Morrow, einer Schlüsselfigur der unabhängigen US-Musikszene, der als Musiker, Journalist und langjähriger Betreiber des Indie-Labels Bar/None Records bekannt wurde. Gemeinsam mit Bassist Mike Rosenberg, Gitarrist Ric Sherman und Schlagzeuger Ron Metz greift Morrow auf jahrzehntelange Erfahrung in der traditionsreichen Hoboken-Musikszene zurück. Aufgenommen wurde das Album erneut im Magic Door Studio von Produzent Ray Ketchem, der besonders das Gespür der Band für eingängige Melodien und starkes Songwriting hervorhebt. Unterstützung erhält die Band diesmal vom renommierten Keyboarder Andrew Burton, dessen Beiträge den Songs zusätzliche Tiefe und Klangfarben verleihen. Musikalisch verbindet ,Our Final Album - Vol. 1" kraftvolle Rocksongs wie ,That's That", ,Beatle Bones" und ,Into Something New" mit nachdenklicheren Momenten wie ,Stop Your Crying", dem Bossa-Stück ,Boom Boom" oder dem souligen ,Let's Stay In Bed". Dabei ziehen sich Glenn Morrows persönliche Geschichten, Lebenserfahrungen und eine leichte Melancholie durch das gesamte Album. Das Ergebnis ist ein abwechslungsreiches, warmes und zeitloses Rockalbum, das die Stärke einer Band zeigt, die auch nach vielen Jahren nichts von ihrer Leidenschaft verloren hat.

Life Creates Itself is the new album by Bill Baird, releasing September 25th, 2026 on Royal Oakie Records. After years of restless wandering that took him from the Bay Area to India to Abbey Road and back again, Baird has returned home to San Antonio, Texas. Inspired by Lone Star legends Doug Sahm and Roky Erickson, the album inhabits a world where outsider country, avant-garde pop, and psychedelic folk dissolve into one.


Produced by longtime collaborator Jasper Leach (Tony Molina, Color Green) and mastered by indie-rock legend KRAMER (Galaxie 500, Daniel Johnston, Will Oldham), Life Creates Itself was recorded at Sear Sound in New York City in a single remarkable day — fitting for an album as indebted to Arthur Russell and Captain Beefheart as it is to Sir Douglas Quintet and Townes Van Zandt. The sessions brought together a constellation of collaborators around Baird and Leach, including Pedrum Siadatian (Allah-Las, PAINT), Phil Carluzzo, Austin Day, Oliver O'Haver, Jordan Johns, Michael Vattuone, Clara Kennedy, and Carluzzo’s dog Ernie.


Lead single "Yanaguana" — the original Payaya name for San Antonio, meaning either "land of many waters" or simply "where I am right now" — serves as a thesis statement for the album, a restless soul reckoning with what it means to finally come home. Meanwhile, "Karma Loan" is a fuzzy, sprawling psych track that spilled out of Baird during a deep immersion in Bach that features cello by Clara Kennedy and closes with a sound collage of spiritual gurus hawking easy paths to enlightenment. Then there's "Horse Moon" — built around pedal steel that shimmers like rays of moonlight, drifting through vignettes from a late night walk across New York City, with Pedrum Siadatian's lead guitar lending the whole thing an unhurried, dreaming quality. The night they tracked it, Baird climbed to the roof of Sear Sound and watched a full moon wash the city in a warm glow.


Baird has never sounded more at home, and Life Creates Itself may be his most cohesive record yet – a songwriter record through and through that stands apart from the rest of his discography. Royal Oakie Records is proud to release Life Creates Itself on September 25th, 2026, available on vinyl LP, CD, and digital download/streaming worldwide.

Originally conceived as the solo project of Izio Orsini (Rancho Bizzarro), Bantoriak has evolved into a collective sonic ritual, bringing together an impressive cast of friends and collaborators from the Italian and international underground scene. Steeped in warm 70s inspired sounds, hypnotic grooves, expansive jams and heavy psychedelic atmospheres, Vol. II travels from the dusty landscapes of the Californian desert to more mystical and introspective territories. The album features special appearances by Sergio Ch. (Los Natas, Soldati) on "Blu Bus" and Dome La Muerte on "Ritualism" and "La Muerte". For fans of: Kyuss, Los Natas, Colour Haze, Yawning Man, Monster Magnet, Dead Meadow and Black Sabbath.

Blue Vinyl Repress

Die gefeierte schottische Band The Twilight Sad kehrt mit IT’S THE LONG GOODBYE zurück, ihrem lang erwarteten sechsten Studioalbum, das über Rock Action Records erscheinen wird.
Das Album ist eine Erzählung von Verlust und persönlicher Krise, verwurzelt in konkreten Erfahrungen. Mit dringlichen, gitarrenreichen Arrangements von Andy MacFarlane und dem unverwechselbar rohen, leidenschaftlichen Gesang von James Graham markiert IT’S THE LONG GOODBYE einen weiteren Höhepunkt im Werk der Band und unterstreicht ihre Fähigkeit, gelebte Erfahrungen in tief empfundene Musik zu verwandeln.

Mit der furiosen Single „WAITING FOR THE PHONE CALL“ und einem Gastauftritt der legendären Robert Smith von The Cure wurde IT’S THE LONG GOODBYE in den Battery Studios in London mit Andy Savours (My Bloody Valentine) aufgenommen und von Chris Coady (Yeah Yeah Yeahs, Slowdive) gemischt.


Beloved Scottish band The Twilight Sad make their long-awaited return with IT’S THE LONG GOODBYE, their sixth studio album released via Rock Action Records. IT’S THE LONG GOODBYE is a cogent story of loss and personal crisis, rooted in specific experience. Set to urgent and guitar-rich arrangements from Andy MacFarlane, with James Graham’s distinct, raw and impassioned vocals, the result is a pinnacle for THE TWILIGHT SAD in a career of tremendous integrity and artistry, and a record that honours the band’s ability to turn lived experience into fully felt music.

Including the blistering single WAITING FOR THE PHONE CALL and featuring the legendary Robert Smith of The Cure, IT’S THE LONG GOODBYE was recorded in London’s Battery Studios with Andy Savours (My Bloody Valentine) and mixed by Chris Coady (Yeah Yeah Yeahs, Slowdive).

A superb Japanese lovers’ cover of Minnie Riperton’s classic track is now available on 7"!

SISTER KAYA, who has released numerous tracks as a reggae singer, covers Minnie Riperton’s classic ‘Lovin’ You’! The A-side features a ‘Lovers’ version sung with heart-warming Japanese lyrics, whilst the B-side includes a bossa nova version with the original lyrics. Built upon a romantic reggae rhythm, this superb track features SISTER KAYA’s powerful and warm vocals that truly resonate. A must-have for all reggae fans!

»Pipe Dreams II & III« presents two new, side-long organ works by Mary Jane Leach, extending the sonic investigations of her 1989 landmark »Pipe Dreams«. Recorded in Ghent and Cologne, the two side-long pieces use shifting stops, resonance and beating tones to turn the pipe organ into a vivid, physical field of sound.

When »Pipe Dreams« was issued on vinyl for the first time by Blume in 2017, it was effectively the first time many of us encountered Mary Jane Leach’s music, finally placing her work in its proper historical context amid the searching Downtown milieu of Julius Eastman, Arthur Russell, Arnold Dreyblatt, Ellen Fullman, Philip Corner, Daniel Goode, and Peter Zummo. Leach collaborated with most of these artists at one point or another, either in Downtown Ensemble or as a guest on their records.

Now »Pipe Dreams II« and »Pipe Dreams III« arrive, recorded in 2023 and 2024 at Miry Concertzaal in Ghent, Belgium, and Kunst-Station Sankt Peter in Cologne, respectively.

»When I was a young child, my family lived next door to a church, where my mother was the organist. I spent many hours lying on the floor of the sanctuary listening to the music, letting the sound of the organ envelop me. I also liked to play the piano loudly with the pedal down, producing clouds of sound, much to my family’s annoyance. These two organ pieces explore some of my earliest musical interests and aesthetics.

In 1989, I lived in a tower attached to St Peter’s Church in Cologne, where I had access to its organ. It had two sets of pipes, front and back, which could create antiphonal effects. I spent countless hours exploring the possibilities of all the permutations of notes, space, and the resulting sound phenomena. I wrote »Pipe Dreams« for that organ. Fast forward to 2023, when I was asked to create a piece for organ for a concert at the Miry Concertzaal in Ghent, Belgium: »Pipe Dreams II«. I had a few days to familiarise myself with the organ, its available stops, and the layout of the console. I choreographed stop changes for a volunteer, as I couldn’t reach them myself. Some amazing sounds began to happen, and at one point the sound was so visceral that I felt as though I were taming a wild beast.

»Pipe Dreams III« was performed in 2024 on the organ that I had spent so much time playing in 1989–90. One big difference, though, was that the console was totally new and computerised. Having access to the organ for only a few hours before the concert, I decided that I did not have enough time to feel comfortable with the console and should not attempt to recreate the piece I had written in 1989. I would instead use the same sequence of stops and perform an improvised piece. I loved the sounds that were being created, and I was having so much fun that at one point I even started to laugh quietly. I began to visualise the beating notes as if they were atoms, opening them up to expose their innards, with the beating, higher-pitched notes — neutrons and protons — shimmering at the top, and the lower notes — the electrons — throbbing away at the bottom. I was playing notes not so much for their pitch value, but for how they affected the notes and sound phenomena already being played. Instead of a time signature, I timed the entries by listening to the beating patterns, waiting for the right moment to enter. And no, I wasn’t hallucinating.«

Mary Jane Leach, 2026

Sciahri and Sublunar are proud to introduce the German duo Disguised and their new EP, Carcosa. Founders of INHERIT and fresh from the success of their recent release on Mutual Rytm, Disguised make their Sublunar debut with a seven-track journey that effortlessly bridges modern and classic techno, combining powerful club energy with a refined and deeply personal approach to sound. While producing the EP and shaping its titles, Disguised drew strong inspiration from the legendary and unforgettable first season of True Detective. The record opens with “Rust Never Sleeps”, a memorable and powerful cut built around an instantly recognizable melody, before moving into “Carcosa”, a tense and explosive track designed around constant anticipation and release. On the B-side, “Time Is A Flat Circle” delivers a highly infectious groove through captivating textures and subtle details, followed by “The Taxman”, where raw energy meets a sophisticated and carefully crafted production. Closing the vinyl is “Looking For Dora”, a deeply emotional and atmospheric piece that reveals a softer and more introspective side of the duo. With "Carcosa", Disguised demonstrate an impressive ability to move between different shades of techno without ever losing their identity, establishing themselves as one of the most exciting and distinctive duos emerging from the current scene.

Eversines, Dutch-based magician and Nous'klaer Audio, Kalahari Oyster Cult, Undersound and Slow Life alumni debuts on A Colourful Storm. Regularly trainspotted in the sets of the likes of Raresh and Ben UFO. Pleasant flavours appear only after initial bitterness. Focus on the finish.

Elderberry Jak was and is arguably the finest rock band to come out
West Virginia. It is certainly an arguable case if its single album is an accurate indicator, as the recording reveals a quartet as strong as any number of its more well-known, more commercially successful hard
rock contemporaries--bands such as Free, the James Gang, the
Guess Who, and Three Dog Night--all with which Elderberry Jak shared a variety of sonic attributes. The band came together in the fall of 1969, with bass player Dave Coombs and lead vocalist Joe Cerisano (Silver Condor, Trans-Siberian Orchestra) as its co-founders. The two had previously played together in Coombs' outfit J.B. and the Bonnevilles
. The Bonnevilles formed in 1965 and developed over the next few years into the most outstanding and popular group in the entire state of West Virginia. Upon the demise of J.B. and the Bonnevilles in 1969,
the duo formed a new unit called Kaboose, which lasted seven months. Then, with the addition of Tom Nicholas on guitar and Joe Hartman behind the drum kit, they became Elderberry Jak, named after the elderberry wine made by an uncle of Coombs. The quartet had soon become a powerful unit, mixing hard-driving rock with invigoratingly tight funk. The band traveled throughout their home states, Ohio and Pennsylvania, for performances, eventually earning a record deal with
Kenny's brother Leland Rogers in Memphis. The result was the first-
rate Long Overdue, released in 1970