Search:love is

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In honour of the 40th anniversary of David Lynch's 1986 masterpiece Blue Velvet, Varèse Sarabande is excited to present a new vinyl edition of Angelo Badalamenti's music for the film. Lynch and Badalamenti, who both passed away in 2025 after decades as one of cinema's most iconic creative collaborators, forged a singular sonic world from Twin Peaks to Mulholland Drive. This new edition presents the soundtrack composed and conducted by Badalamenti in a special collectible Rainbow Foil jacket.

SOFIA RUBINA – "Soul Morning" b/w "Truth About Love"

LRK Records is proud to announce the beautiful new 7" single from internationally acclaimed Estonian soul singer Sofia Rubina.

A-side "Soul Morning" is an uplifting slice of modern soul, blending warm melodies, rich musicianship and timeless grooves. On the flip, "Truth About Love" delivers a heartfelt performance that perfectly showcases Sofia's soulful voice and effortless style.

Pressed on 7" black vinyl and housed in a stunning full-colour picture sleeve, this release is strictly limited to just 250 copies worldwide.

A must-have for collectors of modern soul and quality independent releases.

Limited to 250 copies worldwide

The most beautiful thing we’ve ever released?

It is virtually impossible to describe with mere words how emotionally powerful this work of art is. Just listen. Listen, listen, listen...

A blissed-out 80-minute epic, Hatchback's Phaser For The Ocean, Chorus For The Moon is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Moving, hypnotic and deeply meditative, it's FFO Mike Brooks, Deuter, Klaus Weiss, Innovative Communication, Harmonia, Cluster, Ashra's New Age of Earth, Stomu Yamashta, Haruka Nakamura, Yoshimura, Hosono, the works.

A record truly deserving of the deluxe Be With treatment, the vinyl was specially cut at Abbey Road Studios whilst the original stunning artwork has been pleasingly expanded. Now, an eye-catching holographic-foil layer moon is set against the original tones, wrapped up in a sumptuous double-gatefold jacket.

Soaked in Californian consciousness and limited to a run of just 500 copies for the world, this release is a treasured balm like no other for these troubled times.

Hatchback is the atmospheric, melodious ambient alias of California-based artist Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs.

"When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like Quadrophenia and The Lamb Lies Down on Broadway, as well as epic pieces that took up an entire side of a record: Pink Floyd’s Echoes, Yes’ Close To The Edge, Klaus Schulze’s Nowhere Now Here, Miles Davis' Shhh/Peaceful and He Loved Him Madly. In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title - Yes’ Tales From Topographic Oceans and Tangerine Dream’s Zeit being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural - if indulgent - goal. From there, each new piece followed sequentially. Four songs. My fourth album." - Sam Grawe

Phaser For The Ocean Chorus For The Moon is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI. These are songs for the sunrise and the sunset - and every colour in between.

William Onyeabor was born outside Enugu, a small, rural town in Eastern Nigeria, he created his own genre of African electronic funk in the late 70s and early 80s, making music completely unique for his time. Today, he is reaching cult status among a growing list of admirers, including everyone from Damon Albarn and Hot Chip to Carl Craig and Madlib, with some likening him to the Kraftwerk of West Africa, or a precursor to LCD Soundsystem.

Among the crate-digging few that knew of him, he is considered a complete myth. While he has never performed live and almost never given interviews, his fantastical biography is scattered and has to this day not been verified. And he refused to speak about anything regarding the past.

According to various rumors, he left home following the Biafran War and went to study cinematography in the Soviet Union, returning in the mid-70s to start his own film company and record label, Wilfilms. He then self-released eight remarkable records from 1978-1985. He wrote and produced everything on his own, and possibly played every instrument himself. Then, at some point of his life, he became born again and denounced his earlier music, deciding it is something he would never speak about.

Felix Walworth wurde in der Broome Street geboren. Bevor sie zu einer festen Größe in der New Yorker DIY-Szene der 2010er Jahre wurden, bevor sie ihr Markenzeichen - das auf einem Keyboardständer montierte BMSS-Schlagzeug - einführten, bevor sie eindringliche Reflexionen über Identität schrieben, die ihnen eine Kult-Anhängerschaft unter den Kids auf Tumblr einbrachten, waren sie ein Kind, das in den verschiedenen Stadtbezirken aufwuchs und eine Stadt liebgewann, die schließlich bis zur Unkenntlichkeit veränderte. ,What's Up" ist Walworths viertes Album als Told Slant, unter diesem Namen haben sie seit 2012 eindringliche Alben mit weitläufigem, nervenblanken Indie-Rock veröffentlicht. Das ist ihr New-York-Album: eine Sammlung von Songs darüber, wie man zusehen muss, wie sich die Heimatstadt verändert, und wie man spürt, wie sie einen im Gegenzug selbst verändert hat. Es ist ein Album über die Hingabe an ein prekäres Musikleben und all die Schönheit und Demütigungen, die damit einhergehen. Während es auf den ersten drei Told-Slant-Alben um Selbstreflexion und den Versuch ging, als Künstler zu überleben, handelt ,What's Up" davon, was passiert, wenn man sich ,fast schon manisch dem Projekt des Selbstausdrucks und der Subkultur in einer der feindseligsten Umgebungen der Welt" verschrieben hat und sich mit all den Menschen, Orten und Träumen auseinandersetzen muss, die auf diesem Weg verloren gegangen sind. In Songs wie ,Manhattan", ,Draw Blood", ,Three Anchovies" und dem Titeltrack fängt Walworth Trauer, Wut, Hingabe und flüchtige Momente der Verbundenheit ein und zeichnet das Verschwinden geliebter Stadtviertel, DIY-Räume, Freundschaften und Lebensweisen mit gleichermaßen schwerer und humorvoller Hand nach.,What's Up" ist zudem das bisher kollaborativste und abenteuerlichste Album von Told Slant. Es entstand über einen Monat hinweg in einem provisorischen Studio im Upstate New York und wurde größtenteils auf einem Acht-Spur-Spulenband aufgenommen - damit ist es die erste überwiegend analoge Veröffentlichung des Projekts, an der Hannah Pruzinsky, Jonny Baker, Ceci Sturman, Hellen Ballentine, Emily Sprague, Mari Maurice und Elijah Wolf mitgewirkt haben. Die Songs entstanden zum Teil aus Walworths Arbeit als Porträt- und Straßenfotograf während der Pandemie, als er die Straßen, Parks, Veranstaltungsorte und Ladenfronten, die sein Leben geprägt hatten, erneut besuchte - nur um festzustellen, dass viele davon verschwunden waren. Dieses Gefühl des Verlusts zieht sich durch das gesamte Werk, das mit ,Still Water" (2012) begann, sich über ,Going By" (2016) und ,Point the Flashlight and Walk" (2020) fortsetzte und seit langem von schmerzlich ehrlichen Songs über Selbstfindung, Freundschaft, Sterblichkeit und den langsamen Verlust der Verbundenheit mit der Gemeinschaft geprägt ist. Auf ,What's Up" richtet Walworth diesen Blick nach außen und dokumentiert nicht nur ihre eigene Beziehung zu New York, sondern auch die Kosten des Bleibens, des Schaffens und des Glaubens an eine Stadt und eine Musikkultur, die sie mitgeprägt haben.

Mara TK, a golden voiced, Maori-Scottish world-wandering citizen of Aotearoa (New Zealand) announces his debut solo album 'Bad Meditation', released 7th May on Extra Soul Perception. Stepping out on his own, Mara TK is the former frontman of the acclaimed Kiwi future soul trio Electric Wire Hustle. Written and produced by Mara himself, 'Bad Meditation' is his 13 track opus, a deeply personal account of heritage, love, loss and healing.

An alumnus of Red Music Academy in Toronto, Mara TK's work beyond Electric Wire Hustle has seen him collaborate with critically lauded names including Om'Mas Keith of Sa-Ra Creative Partners, Detroit producer and J Dilla collaborator Waajeed, and Steve Spacek.

Extra Soul Perception is a collaboration and community music platform that started life between the UK, Kenya and Uganda but is now continuing to grow and connect independent musicians worldwide. Now with Mara TK added to the roster, Extra Soul Perception has released music by Lex Amor, K15, Maxwell Owin, Lynda Dawn, Hibotep, Karun, Labdi, Faizal Mostrixx and more.

*Nb: The solo version of 'Met At The River' is a digital exclusive only.

With S.I.K. (Sociedad Internacional de la Kumbia), Conjunto Media Luna maps a constellation of sounds, friendships, and underground connections stretching across Colombia, Mexico, the United States, and beyond.
Produced in Bogotá between 2024 and 2026 by Iván Medellín, the album draws energy from rebajada culture, low-end frequencies, vinyl obsession, rap, and the hypnotic pull of cumbia. Accordion melodies, sampled fragments, drum machines, and sound system pressure intertwine throughout the record, creating a world where tradition is constantly reimagined through contemporary urban culture.
Featuring contributions from artists such as La Gallo 3:20, Turbo Sonidero, Amantes del Futuro, Mextape, León Pardo, Mismo Perro, and Hito de Piedra, S.I.K. unfolds as a dialogue between scenes that have spent years exchanging records, ideas, aesthetics, and frequencies.
The artwork comes from Mateo Rivano, one of the key visual architects of Bogotá's experimental tropical underground, whose imagery perfectly captures the album's blend of street mythology, sonic futurism, and tropical psychedelia.
Part sound system manifesto, part love letter to the global kumbia underground, S.I.K. is dedicated to everyone expanding the culture from their own corner of the map, through music, dance, graphics, fashion, and noise.

Edition of 600 copies, not sealed

Made with Love by Little Beat More 2026
Published by Little Beat More

DESCRIPTION
Lone Bison / Nick Bonell lives by the sea in Ramsgate. Mainly a guitar player and pedal freak, Nick bought a used Korg MS20 and fell in love with synths. As one half of Stuntmen, Nick released the sample-heavy single 'You're the Beat Find' on the groovy Tummy Touch label, which led to him scoring three Ford adverts in the U.S and a few pieces of well-used production music - which paid for more synths and pedals!
An album, 'Transistor Memory' and single 'Drugs' came out via Dom Martin's brilliant Polytechnic Youth records in 2021. "Wave Construction" was released by Castles in Space in Autumn 2023. An album for the CiS Subscription Library entitled "Mechanical and Electrical" was released in late 2024.
Nick Explains: "After recording "Transistor Memory", "Wave Construction" and "Mechanical and Electrical" pretty much back-to-back, I wanted to change my sound palette a little. I started programming my Hydrasynth Explorer in obsessive detail and was also drawn to using my voice, in a sampling kind of way at first. Sampling my voice then shifted into recording more straightforward vocals and writing proper songs again. "Rise Up" started as a field recording in my local park and then some wonky piano loops with a cheap mic – somehow a song arrived. I’ve always really liked really concise records, so I got interested in packing lots of synth textures into a three-minute pop song. As the record progressed, I did less leaning on vocoders and harmonisers and developed the courage to just do more up-front vocal mixes. Things like Maths and Minimal / Maximal are more groove-based and came from recording 20 minute drum tracks then jamming bass guitar over it then editing it all down and adding loads of synths. Oh, and there’s a bit of James Williamson era Stooges at the end of Minimal / Maximal – I was a bit nervous about playing garage rock guitar on a Castles in Space record but Colin told me I would be ‘fucking mental’ if I didn’t end the record with it."
Lone Bison's music is influenced by Krautrock, electronica, post-punk, soundtracks, a splosh of modern classical/minimalism and post-rock. He's a hot genius.
The album is preceded with "The Power" which will be available on streaming platforms as well as on our Bandcamp for those who want to listen or pre-order the album. There's a fantastic remix from MAPS included as well.

Eden Samara grew up in the mountains of western Canada, writing folk songs and performing in the theatre. Following a trip to Europe where she had her first formative clubbing experiences, she relocated to London in 2019 where she’s become a consistent presence and voice in the city’s underground, collaborating with artists like Parris, Ciel and Loraine James and earning praise from The Guardian, Pitchfork, Rolling Stone, Crack and DJ Mag.

2022 saw Eden release her debut album Rough Night on Local Action, blending freaky club-pop, introspective R&B and more while collaborating with leading scene figures TSVI, Call Super and Shanti Celeste. Described by Dazed as ‘an embarrassment of riches’ and by Mixmag as one of the best albums of the year, in Eden’s words it was simply ‘a tragicomedy in seven scenes and an interlude’. She’s downplaying things: to us it was a rich tapestry that explored everything from fleeting moments in smoking areas to the Madonna-whore complex. Both, for better or worse, still make the world go round.

On her second album Odyssey, Eden brings more elements into her ensemble (jungle, choral singing, live harp) while honing her song-writing – it’s an expansion and a tightening at the same time. Inspired by epic literary works like Homer’s Odyssey, The Alchemist and The Picture of Dorian Gray, the album reimagines the archetypal quest through a personal lens: a healing journey amid the collapse of close relationships to addiction, mental illness, and the weight of codependency disguised as love. In Eden’s words: 'This work is a narrative and sonic expedition - part myth, part memoir - that traces my path through the emotional aftermath of watching loved ones struggle with drug addiction and mental health crises, and the impact it
had on my own mental wellbeing. The album addresses substance abuse, toxic relationships, and the internalised belief that love must come through sacrifice, even at the cost of one’s selfhood.'

For this special release, Barcelona’s Lapsus and London’s Local Action join forces for the first time in their respective journeys, reflecting the affinity between both platforms and their shared vision of contemporary electronic music.

Die schwedische Künstlerin Sibille Attar kehrt mit ,Amor Fati" zurück, ihrem ersten englischsprachigen Album seit fünf Jahren. Attar, die bereits von Pitchfork, Stereogum, The Line of Best Fit, Clash und BrooklynVegan gelobt wurde, hat sich als eine der faszinierendsten und von Kritikern am meisten gefeierten Stimmen des alternativen Pop in Schweden etabliert. ,Amor Fati" - äußerst unabhängig und komplett in Eigenregie produziert - begann als Versuch, ein reines Liebesalbum zu schaffen - offenherzig, euphorisch und ungekünstelt. Doch während sich die Songs entfalten, beginnen sich emotionale Gewissheiten zu verschieben. Das Album, das in Schweden, Belgien, Deutschland und den Vereinigten Staaten entstanden ist, beschäftigt sich mit Intimität, Sehnsucht, Vertrauen und den seltsamen Wegen, auf denen sich Liebe im Laufe der Zeit neu formt. Es beginnt euphorisch, wird schnell kompliziert und weigert sich, sich für irgendjemanden der Einfachheit halber zu vereinfachen - vielleicht weniger beruhigend, aber dafür umso lebendiger. "madly wide-eyed, swooning songs" - Pitchfork "leaps out of the speakers so vibrantly that the band seems to be playing in the same room with you" - Stereogum "a masterpiece in artistic misery" - The Line of Best Fit "mournful and absolutely gorgeous" - BrooklynVegan ENG Swedish artist Sibille Attar returns with Amor Fati, her first album in English in five years. Previously praised by Pitchfork, Stereogum, The Line of Best Fit, Clash, and BrooklynVegan, Attar has established herself as one of Sweden's most fascinating and critically acclaimed voices in alternative pop. Fiercely independent and entirely self-produced, Amor Fati began as an attempt to make a pure love album -open-hearted, euphoric, and unguarded. But as the songs unfold, emotional certainties begin to shift. Written across Sweden, Belgium, Germany, and the United States, the album explores intimacy, longing, trust, and the strange ways love reshapes itself over time. It begins in euphoria, gets complicated fast, and refuses to simplify itself for anyone's convenience - less reassuring, perhaps, but far more alive. "madly wide-eyed, swooning songs" - Pitchfork "leaps out of the speakers so vibrantly that the band seems to be playing in the same room with you" - Stereogum "a masterpiece in artistic misery" - The Line of Best Fit "mournful and absolutely gorgeous" - BrooklynVegan

For the first time, Fakear has released an album that speaks primarily of humanity, emotions, and himself. Simultaneously imbued with nostalgia and hope, love and anger, loneliness and celebration, it takes the form of a sensitive autobiography rooted in the adolescence of an emo metalhead skater searching for his place in the world. Facing him, the adult writing these tracks tries to convince himself that he has found his balance. If we were to place this album within the current landscape, we would have to look towards the resurgence of bass music and emotional electronic music championed by artists like Fred again.., Four Tet, Bonobo, Sammy Virji, and Camoufly.

The late Matt Watts was an American songwriter/storyteller and performer from Montana residing in Antwerp and Brussels, Belgium. He ws the son of a catholic priest and mother with Cherokee roots in the Carolinas.

He first began using the electric organ to write songs and also recording them on cassettes when he was 11 years old. When he was 13 his mother bought him an electric guitar from a pawn shop in South Carolina. Using a karaoke machine as an amplifier, he began writing and performing and recorded his first album at age 15 in a small studio in Great Falls, Montana.In addition to writing and performing his own music, he began performing and touring with various local Punk & Noise bands.

In 2007 when he was 19, he moved to Antwerp, Belgium. Since his arrival he has worked and performed with Zita Swoon Group, become a member of Rudy Trouvé's I H8 Camera, translated Simon Allemeersch and Rudy Trouvé’s critically acclaimed piece SCREEN into English, formed The Calicos (now Humo’s Rock Rally winners under Quinten Vermaelen) as a one time backing band, worked with many artists and songwriters (including Emillina Torini & The Colorist, The Love Substitutes, ..) and toured and released various widely acclaimed solo albums and a duo album with Nicolas Rombouts on Starman Records.

Highlights for sure were “How Different It Was When You Were There” (2017 - **** De Standaard), produced by Nicolas Rombouts (ex-Dez Mona) and featured guest performances by Nathalie Delcroix and Bjorn Eriksson (Eriksson Delcroix) and Stef Kamil Carlens. Its excellent successor “Queens” (produced by Stef Kamil Carlens and Nicolas Rombouts) featured a.o. the late Sandy Dillon and Jim White.

Sadly Matt Watts passed away too soon in June 2024. “Restless Kind” is the final album readied shortly before his death in a production by Bai Kamara Jr. Another astonishing collection of intimate Americana songs with lyrics as fascinating miniature novels.

In Thin Air, forms a musical companion piece to Robert and Jackie's book The Book of Birds - a book that is a love letter to the splendours and mysteries of birdlife, and a clarion call to halt the loss of birds from land, sea and sky. The music was created within the contemplative green oak roundhouse of Ty Sanctaidd (Sacred House) in the grounds of Ty Trefacwn in South West Wales, and recorded at Castle Sound Studio in Pencaitland, East Lothian. As with our other albums In Thin Airhas been recorded and produced by Andy Bell of Hudson Records. Throughout The Book of Birds there runs a gentle mantra - " Nest, Egg, Beak, Song, Feather, Flight, Migration -- these are the Seven Wonders that together conjure the miracle of Bird ". Intrigued by this concept, the seven musicians have created an intricate new album that has an overarching narrative, capturing the remarkable world of birds from birth to flight.

In Thin Air, forms a musical companion piece to Robert and Jackie's book The Book of Birds - a book that is a love letter to the splendours and mysteries of birdlife, and a clarion call to halt the loss of birds from land, sea and sky. The music was created within the contemplative green oak roundhouse of Ty Sanctaidd (Sacred House) in the grounds of Ty Trefacwn in South West Wales, and recorded at Castle Sound Studio in Pencaitland, East Lothian. As with our other albums In Thin Airhas been recorded and produced by Andy Bell of Hudson Records. Throughout The Book of Birds there runs a gentle mantra - " Nest, Egg, Beak, Song, Feather, Flight, Migration -- these are the Seven Wonders that together conjure the miracle of Bird ". Intrigued by this concept, the seven musicians have created an intricate new album that has an overarching narrative, capturing the remarkable world of birds from birth to flight.

“The first three are innocent in a way, because we didn’t have an audience when we were making them,” Oberst says. “But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash.” Those two albums came out simultaneously. And their lead singles – “Take It Easy (Love Nothing),” from the austere, remote Digital Ash, and “Lua,” from the warm, folky Wide Awake – debuted in the top two slots on the Billboard Hot 100. “First Day of My Life,” also from Wide Awake, would later be voted the Number One love song of all time by NPR Music’s reader’s poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band’s careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, “When The President Talks To God.” These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era’s releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of “harmonica and mandolins – folky vibes,” Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

Natalie Imbruglia ist Millionen von Menschen mit ihrem weltweiten Hit "Torn" bekannt, einer der bis heute prägendsten Songs der Neunziger. Damit begann eine außergewöhnliche Erfolgsserie, die u.a. 2 BRIT Awards, 3 Grammy-Nominierungen, 8 ARIA Awards und 7 Mio. verkaufte Exemplare ihres Debütalbums "Left Of The Middle" umfasst. In jüngerer Zeit stand sie durch Auftritte an der Seite von Olivia Rodrigo erneut im Rampenlicht. Jetzt ist der perfekte Moment für ein neues Kapitel: ihr neues Album Algorithm mit der Lead-Single "Upside Down".

Algorithm zeigt Natalie Imbruglia in einer neuen Ära – geprägt von Selbstermächtigung, Freiheit und kreativer Erfüllung. Das erste Album der australisch-britischen Pop-Ikone seit fünf Jahren ist eine echte Tour de Force: ein zutiefst persönliches Werk, das eindrucksvoll daran erinnert, warum wir uns ursprünglich in ihre Musik verliebt haben. Es erscheint in einer Zeit, in der sich der kulturelle Zeitgeist wandelt und Popmusik wieder stärker zur Tanzfläche tendiert – mit einer Ausrichtung, die sich an den eleganten Pop-, Disco- und House-Elementen von Robyn orientiert.

Nach dem UK-Top-10-Comeback mit Firebird (2021) meldet sich Natalie Imbruglia auf Algorithm voller Energie und Tatendrang zurück. Sie ist Co-Produzentin und -Autorin jedes Songs, neben namhaften Kollaborateur:innen wie MyRiot (London Grammar), David Sneddon (Lana Del Rey), Fraser T Smith (Adele, Stormzy, Sam Smith), Gary Lightbody von Snow Patrol, Anu Pillai (Lewis Capaldi), Tobie Tripp (George Ezra), Mark Crew (Bastille, James Arthur) und Dan Priddy (Rag’n’Bone Man, Bastille). Im Anschluss an die Veröffentlichung des Albums wird Natalie Imbruglia ausgewählte Festivaltermine spielen und auf Tour gehen.

Natalie Imbruglia ist Millionen von Menschen mit ihrem weltweiten Hit "Torn" bekannt, einer der bis heute prägendsten Songs der Neunziger. Damit begann eine außergewöhnliche Erfolgsserie, die u.a. 2 BRIT Awards, 3 Grammy-Nominierungen, 8 ARIA Awards und 7 Mio. verkaufte Exemplare ihres Debütalbums "Left Of The Middle" umfasst. In jüngerer Zeit stand sie durch Auftritte an der Seite von Olivia Rodrigo erneut im Rampenlicht. Jetzt ist der perfekte Moment für ein neues Kapitel: ihr neues Album Algorithm mit der Lead-Single "Upside Down".

Algorithm zeigt Natalie Imbruglia in einer neuen Ära – geprägt von Selbstermächtigung, Freiheit und kreativer Erfüllung. Das erste Album der australisch-britischen Pop-Ikone seit fünf Jahren ist eine echte Tour de Force: ein zutiefst persönliches Werk, das eindrucksvoll daran erinnert, warum wir uns ursprünglich in ihre Musik verliebt haben. Es erscheint in einer Zeit, in der sich der kulturelle Zeitgeist wandelt und Popmusik wieder stärker zur Tanzfläche tendiert – mit einer Ausrichtung, die sich an den eleganten Pop-, Disco- und House-Elementen von Robyn orientiert.

Nach dem UK-Top-10-Comeback mit Firebird (2021) meldet sich Natalie Imbruglia auf Algorithm voller Energie und Tatendrang zurück. Sie ist Co-Produzentin und -Autorin jedes Songs, neben namhaften Kollaborateur:innen wie MyRiot (London Grammar), David Sneddon (Lana Del Rey), Fraser T Smith (Adele, Stormzy, Sam Smith), Gary Lightbody von Snow Patrol, Anu Pillai (Lewis Capaldi), Tobie Tripp (George Ezra), Mark Crew (Bastille, James Arthur) und Dan Priddy (Rag’n’Bone Man, Bastille). Im Anschluss an die Veröffentlichung des Albums wird Natalie Imbruglia ausgewählte Festivaltermine spielen und auf Tour gehen.

Long Slow Distance is an album about finding peace, and making peace where it can’t be found. It’s inspired by change, grief, acceptance, forgiveness, love, and running.

Dawson began running around the same time he started making records. At this point it’s unclear where one practice ends and the other begins. The album’s title has become the ethos he’s embraced for all things in life.

Long Slow Dance unravels the woven collage of his previous work. Here each song consists of three long guitar takes, panned across the stereo-field with minimal overdubs. “I remember my grandmother always kept a rain barrel on the farm. Just a simple vessel that served as a means for gathering water for the garden and the flowers. I wanted to instill that sentiment on this record. Other than some panning and recreational EQing, the computer was just a vessel to gather sounds.”

There is a distant grace to the album. A soft expanse, a quiet contrast. Guitars dissolve and then recalibrate. Sparse melodic motifs bloom and fracture. Warm chords clash and make amends. Alpenglow textures shimmer against tones that feel weathered by salt air. The songs are lightly propulsive, yet drift at a glacial pace. Fields and artifacts ground the material, like keeping your eyes on the horizon. Long Slow Distance feels intuitive, sentimental, and like Dawson is one step closer to whatever distance he is chasing.
Downloadable Assets

On her debut album Switchbacks, Nashville-based artist Hannah Cole finds inspiration in the image of the switchbacks – sinuous twists in the road that obscure what's ahead. For a young artist making her way in the music industry, it's a powerful image: we can't really know what's ahead for us but – as Cole has learned – you should honk your horn to tell the world you're coming, and otherwise just enjoy the ride. Melding shoegaze and alternative rock with infectious pop melodies and strains of 90s nostalgia, Switchbacks is a commentary on the pursuit of success and how to protect the pure joy and love that lives at our core.

Across the ten tracks of Switchbacks, Cole swings her gaze at many unsettling aspects of the scramble toward success. Lead single "MMA" explores the ugly side of the music industry through the image of Las Vegas. On the brightly off-kilter "Give," she sings, "I feel like I've become an actor, / A TV pastor / climbing up a topless ladder," explaining that "the pursuit of success can feel like buying lottery tickets all the time for money that you'll never see." "Mechanical Bull" seethes with rage as Cole grapples with being seen as just the "girlfriend" in music settings and not being perceived as an equal to her partner, while on "Pitcher," she's paralysed in the face of wanting to achieve perfection. Later, she shrugs off the need to impress on "100 Bucks," reminding herself that she's enough for the people she loves.

Switchbacks is not only a finely-crafted debut album but also a deeply human artifact, tracing an arc that blazes like a comet to the height of ambition and then leaves you in the shimmer of self-acceptance and contentment. "Success is a moment that comes and goes," Cole concludes, "but I think the joy and experience that comes with making music is something I can take with me forever."

Minions & Monsters is the brand new 2026 installment in the popular Minions franchise. The animated adventure follows the Minions as they find themselves caught up in a world of larger-than-life creatures, unexpected challenges, and the kind of chaotic situations that have made the franchise a global success. The film expands the Minions universe while staying true to the humor and charm that audiences have come to love.

The movie’s original score is composed by Oscar-nominated composer John Powell, whose work on How To Train Your Dragon, Shrek, and Kung Fu Panda has earned him a place among the most acclaimed composers working in film today. For Minions & Monsters, Powell delivers a lively orchestral score that complements the Minions on their adventure and brings it to life.

Minions & Monsters is available as a limited edition of 1,000 copies on yellow (LP1) and turquoise (LP2) vinyl, and includes a 4-page booklet with liner notes by John Powell.

Over the course of more than four decades, Andrew Chalk has created one of ambient and experimental music's most distinctive, influential, and enduring bodies of work. Though his recordings have taken many forms—from the raw, post-Industrial sounds of Ferial Confine in the 1980s to the fragile guitar meditations, blurred keyboard studies, and richly textured collages that populate the Faraway Press catalogue—they remain united by a singular sensibility: an uncommon attentiveness to atmosphere, nostalgia, and the power of restraint.

Mystical Obscurant offers a rare opportunity to encounter the expansive character of that oeuvre in miniature. Rather than documenting a single period or methodology, it functions almost like a survey of Chalk's musical language—a collection of new music that illuminates the breadth of his practice while distilling the singular vision that unites it.

“The Sea of Sorrow” and “Peacemaker” feel cut from the same cloth as the sacred guitar minimalism of The River That Flows Into the Sands, while “Against the Tide” would sit naturally alongside the smudged and distant keys of Blue Eyes of the March. Other pieces draw upon environmental sound and loop-based constructions, hallmarks of Chalk's more recent, vignette-like compositions. Though these recordings emerge from different moments in his long creative journey, each inhabits a recognizable world: one where melodies drift in diffuse, unhurried forms and sound gathers with painterly grace.

What is most striking when these pieces are heard together is not their difference but their coherence. Across changing instruments, collaborators, and approaches, Chalk has consistently pursued a subjunctive music of suggestion rather than declaration, creating spaces where memory and imagination are allowed to unfold at their own pace.

Brixton Heights Records proudly presents the brand new single “Sweet Things”, a radiant lovers reggae release that blends classic roots, soulful warmth and contemporary finesse into a timeless feel‑good anthem.

Fronted by the legendary Keith Coley from The Silvertones, this masterfully crafted track features a heavyweight lineup of musicians and producers: Mafia & Fluxy on drums and bass, The Ital Horns on brass, Gavin Tate-Lovery on Saxophone and Gaudi on Piano and backing vocals, co-production and mixing. The track delivers a smooth, romantic groove rooted in classic Jamaican sound while feeling fresh and modern, making it equally at home on sound systems, radio playlists and summer sessions.

The Silvertones’ vocals remain rich, melodic and instantly recognisable, carrying the emotional warmth that has long defined their sound. The arrangement is layered with a bubbling organ, deep bass and tasteful percussions, guitars and keyboard, making The Brixton Heights Orchestra come together to create an irresistible groove.

Mixed and co‑produced by Gaudi at Metatron Studio in London (UK) and mastered at Anchor Studios in Kingston, Jamaica, “Sweet Things” is a celebration of romance, rhythm and authenticity.

In the B‑side the Brixton Heights Orchestra shines through in a full instrumental version of “Sweet Things”. The brass section takes centre stage throughout, weaving into the fabric of the song soaring trumpet lines, expressive saxophone melodies and rich trombone passages.

With the vocal removed, Gaudi shifts the focus on brass work, rhythm section and layered instrumentation, creating a continuum of different phrases, solos and riffs, carefully carved together into a reggae-jazz theme that executes in a cohesive and coherent way.

Der zweite Teil von Chapter Musics gefeierter australischer Post-Punk-Compilation-Reihe ,Can't Stop It!" erscheint erstmals auf Vinyl als Deluxe-Doppelalbum. Die Compilation wurde ursprünglich 2007 auf CD veröffentlicht und präsentiert eine unglaubliche Auswahl an innovativer und oft bisher unveröffentlichter Musik aus den Jahren 1979 bis 1984. Nun aktualisiert Chapter Music die Compilation mit sechs bisher unveröffentlichten Bonustracks sowie neuen Liner Notes, Fotos und einem neuen Layout. Dies ist eine unglaublich reichhaltige und dynamische Zeit in der australischen Musikgeschichte, eine Zeit, in der Australien aus dem Schatten ausländischer Einflüsse trat und vielleicht zum ersten Mal seine eigene musikalische Identität behauptete. ,Can't Stop It! II" enthält Titel, die mittlerweile zu Meilensteinen der australischen Post-Punk-Geschichte geworden sind, darunter ,Lamborghini" von Severed Heads und den Proto-Oz-Rap-Klassiker ,Do the Job" von Use No Hooks sowie frühe Werke von Künstlern wie Lisa Gerrard von Dead Can Dance und Mark Seymour von Hunters & Collectors. Zu den Bonustracks gehören das verblüffende ,How" von This Five Minutes aus Brisbane, das ,Fool's Gold" von The Stone Roses um mindestens fünf Jahre vorwegnimmt, sowie Tasmaniens eigener Performance-Punk Chainmale mit seinem ausgeflippten ,Freakout". ,Diese Ära der australischen Musik wurde nicht durch einen Sound oder ein Instrument definiert, sondern durch eine anarchische Kreativität" - Stephen Deusner, Uncut

PUREST FORM pulls visceral dance-punk music from modern-day angst and unrest. The newly formed Los Angeles trio—vocalist Story Beeson, guitarist/programmer Madi Woodward, and bassist Riley Oikawa-Dahlson—draws on their respective backgrounds in hardcore bands and a shared love of industrial and techno, splicing the intensely heavy with the playful and sensual.

RESISTANCE, their debut with Dais Records, delivers a potent, six-track anarchist assault on the system, fueled by collective anger amidst late-stage capitalism and a year of nonstop trauma in Los Angeles, from the fires to ICE.
RESISTANCE builds on the promise of their self-titled 2024 EP, a sonic blueprint that Stereogum likened to Nine Inch Nails' Broken. RESISTANCE is more agile and charged-up, a cataclysmic set with structural jumps and hard left turns, confronting sonic and societal constructs. Serrated riffs meet fractured breakbeats, basslines, and body-quaking feedback, with nods to death metal and acid house in equal measure, all punctuated by Beeson's urgent, anthemic narration, often shouted to near shreds.

Back for its 29th (!) birthday, No Use's fifth full lenght! "Bay area punk wonder-boys No Use For A Name have begun pleading for your friendship. Show your love for the boys, who were each reared with the ideals of Boy Scout Troup #221, by giving 'em wet sloppy ones when they come to your town." No Use for a Name was a melodic punk band from San Jose, California blending blistering skate-punk speeds with deeply melancholic, unforgettable pop melodies. What began as a scrappy late-80s hardcore act grew into a defining pillar of the 90s punk rock explosion, earning fans through relentless international touring and releases that perfectly balance grit and heart. Drawing comparisons to Lagwagon, Millencolin, and Strung Out, No Use for a Name pairs introspective, emotionally raw lyrics with fast-paced, harmony-driven arrangements built for sweaty club shows and massive circle pits. Their songs tackle alienation, broken relationships, and the struggles of everyday life, creating a connectionthat feels both intensely personal and universally cathartic. Their first two albums were released through the New Red Archives label, after which they signed to Fat Wreck Chords where they would remain, releasing seven studio albums and shifting to a melodic punk rock sound. With their fifth album `Making Friends,' the band continued to build on their momentum, delivering their tightest, most emotionally resonant, and career-defining collection of songs in 1997. 2026 it comes in brown vinyl color.

"There are two versions of this album," says Hollow Hand's Max Kinghorn-Mills. "But there's only one that exists." Kinghorn-Mills is reflecting on a period when he was at something of a crossroads. He had written songs for his forthcoming fourth album but, after coming back off tour, something needed to change. “When I listened back to where I’d left the album, it wasn't exciting enough for me,” he says. “I was like: that's not really what I want to do anymore.” Since releasing 2023’s Your Own Adventure – which drew acclaim from the likes of Mojo, Uncut, and Shindig! – he found himself touring and collaborating with a variety of other artists. Hollow Hand became the house band for Caitlin Rose on tour, while Kinghorn-Mills was also collaborating with Aoife Nessa Frances and playing in her touring band. There was countless exposure to incredible Irish bands along the way, and then came a sold-out European tour with Hollow Hand supporting MJ Lenderman.

Diese Aufnahme von Vivaldis „Vier Jahreszeiten“ aus dem Jahr 1969 mit der Academy of St Martin in
the Fields und Sir Neville Marriner – dem am häufigsten aufgenommenen Orchester-Dirigent-Duo der
Geschichte – ist nach wie vor so frisch und voller neuer Ideen wie bei ihrer Erstveröffentlichung.
Alan Lovedays wunderbar stilvolle Violinsoli und Simon Prestons einfallsreiche Continuo-Bearbeitung auf
Cembalo und Orgel machen diese Aufnahme zu einer der musikalisch befriedigendsten „Jahreszeiten“-
Einspielungen. Transparent, lebendig, tänzerisch.
Die Serie wurde von Rainer Maillard gemastert und von Sidney C. Meyer in den renommierten EmilBerliner-Studios unter Verwendung ihrer 100 % rein analogen Techniken (AAA) geschnitten. Es werden
ausschließlich analoge Quellen aus den originalen Stereo- und Quadrophonie-Masterbändern verwendet,
darunter auch kürzlich entdeckte analoge Master von frühen Digitalaufnahmen.
Diese in Deutschland bei der Schallplattenfabrik Pallas auf 180 g Virgin-Vinyl gepressten Deluxe-GatefoldVeröffentlichungen in limitierter Auflage enthalten: das Original-Artwork und Liner Notes; Archivfotos und
Faksimiles der Original-Aufnahmeblätter. Jede einzelne Veröffentlichung enthält individuelle Anmerkungen
von Dominic Fyfe, in denen die Geschichte der Aufnahme, der technische Hintergrund und der MasteringProzess detailliert beschrieben werden.

So-Cal's Movements remain on a steady upward trajectory, their fourth album Happier Now builds on the tension-and-release sound they've perfected on their previous releases Once again produced by Grammy- winner Will Yip , Happier Now holds fast to Movements' dissonant grooves, while incorporating melodic flourishes in the mix as heard in "Dissolve Me" and the moody "Back in My Ways." With over 600M total global streams, Movements to remain faithful to the distinct sound their fans love. Available on CD and transparent violet vinyl editions.

Across two song cycles separated by nearly four decades – Richard Wagner’s »Fünf Gedichte für eine Frauenstimme« (the »Wesendonck Lieder«) and Johannes Brahms’ late »Vier ernste Gesänge« (»Four Serious Songs«) – Wagner’s songs, written under the spell of his relationship with Mathilde Wesendonck and already pointing towards »Tristan und Isolde«, and Brahms’ final composition, which gives the album its name and was shaped by grief, illness, and meditations on biblical texts, circle the same existential questions.

Desire and mortality, ecstasy and resignation appear less as opposites than as mirrored states. The voices of Wesendonck’s poetry seem to answer the solemn reflections of Ecclesiastes and Corinthians, revealing an unexpected dialogue across time.

Without seeking historical authenticity or revisionist spectacle, »Serious Songs« listens for what still resonates beneath these works: the suspended moment where love, loss, and transcendence become indistinguishable. The harp assumes the role of the piano as the foundation, pulse, and emotional compass. The vocal line, liberated from classical convention, inhabits a contemporary expressive space without severing its bond to the original scores. It is Romantic music viewed through the acoustics of the present. The project emerged from a moment of professional disillusionment familiar to many classically trained musicians. This led to a confrontation with some of classical music’s traditional flaws that became an invitation to reimagine it.

Sissi Rada approaches the spinal properties of the Romantic Lieder, fragile enough to transform and resilient enough to survive. Intimate, lucid, and quietly radical.

STEELOVER is a Belgian Melodic Rock / Metal band. The band was formed in the early 80's by three friends living in Liege, Belgium, the guitarists Pat Freson & Mel Presti and the bassist Nick Gardi. In search of a drummer, they threw their sights on Rudy Lenners (Scorpions) upon his return from Germany, having left the famous German band Scorpions. Rudy proposed to contact Vince Cardillo, a singer who had already on the one hand good experience and on the other hand he already recorded an album in London, “It will fit perfectly” explained Rudy. They all felt the magic during the first rehearsal. In no time, Steelover recorded their first album "Glove Me” which was released under the Mausoleum label. This album sold over more than 400.000 copies of which more than 76,000 in Poland. They followed with a tour across different countries like The Netherlands, Germany, France and Belgium including Forest National opening for Bon Jovi and KISS. Vince decided to leave the band. Replaced by Dani Klein, the second album was recorded but never released. Dani left the band after a short time with Mel Presti to start a new band under the name Vaya Con Dios.
The band came back in 2017 with a new E.P. (including single "Wild and Free") mixed by the legendary producer and and mixing engineer Tommy Hansen.
In 2019, Rudy Lenners greeted the audience one last time before retiring from his musical career. Vince had returned to the band at this point…after the show Vince, Pat & Nick decided to continue the Steelover adventure and in 2022 released the album “Stainless” on the Escape music label (ESM368). This was a great metal album and fans old and new longed to hear more. It’s now 2026 and Steelover are back with a brand-new recording featuring 11 tracks of hard rock / heavy metal. The band are very much in the style of that 80’s metal sound, a sort of mixture of Scorpions and Saxon if you like. These new songs all hit the mark making “Devil’s Highway” an album that needs to be checked out…

Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.

Amores Records finally lands for a vinyl only release.

Amores Records is an underground house music label focused on deep, timeless and groove-driven sounds. Born from a love for the culture, the label brings together established and emerging artists with a shared vision. The label launches with a Various Artists release, setting the tone for a diverse and carefully curated journey.

Bristol's Ben Pest returns to Co-Accused Records with four drops of full-pelt electro and techno on Lacquer of Empathy EP. A respected live artist and producer known for his production nouse, he’s taken his sound to Co-Accused’s Glasgow parties, Tresor and Glastonbury and released across respected imprints that include Mechatronica, Cultivated Electronics, I Love Acid and more. This release is exactly what he’s become known for turning out: rave-touched and highly effective dancefloor material.

The EP opens with 'D-Transfer', a pacey piece of machine funk which leads into ‘Mam Assid’ which right off the bat is an intensive, driving acid techno number. Over on the B Side, ‘Shruthi EB’ is a twisted machine workout, building and rebuilding through distorted synths before locking into a relentless groove. After being self-released on digital format on his own label The Glutch now gets a vinyl pressing on this EP riffing off a mechanical melody over an air-tight beat. To close out the EP is a digital bonus track with a ‘Rolling Edit’ of Shruthi EB.

From the label ran by the influential SHERELLE and NAINA, and lovers of Underworld, Tim Reaper and Aphex Twin, this explosive jungle techno EP does exactly what it promises - drum damage. Dev/Null is a part of the new Jungle resurgence elevating the sound of faster music. Moving seamlessly between Breakcore, Jungle and underground club sounds, and with the use of a multifaceted range of intriguing samples, sounds from the worlds of house, danchall and trance, this will be one of 2026's most exciting jungle techno releases.

Detroit's mythic architect Walt J surfaces on Lost Control 2097 with three cuts steeped in deep emotional drama and late-night intensity. 'Resonance' lands with razor-sharp drums and weightless, ethereal chords, elevated by Prince of Hydro's poetic vocal transmissions that feel like signals from another realm. 'Love Petals' resurfaces from Walt's vault, a reworked version of an already transcendent classic, refined, deeper, and glowing with subterranean energy. 'Origin' channels the spirit of Larry Heard-style melodies while anchoring itself firmly in the grit and gravity of the Motor City. Prince of Hydro closes it out by activating full ultra-sonar mode, delivering a remix that drags you into crushing ocean depths where the pressure builds and something immense is about to break through.

Comes with liner notes and interview on the back of the sleeve.

Dennis & Christy Soares are a husband-and-wife duo whose prolific output - over 100 albums and nearly 2,000 songs recorded across CD, cassette, vinyl, and streaming - stands as one of the most quietly remarkable self-made catalogs in contemporary music. Based for two decades on the Big Island of Hawai'i before recently relocating to Centralia, Washington, the pair have been making music together since meeting at San Joaquin Delta College in 1986, channeling a DIY spirit rooted in sincerity, spirituality, and an unshakeable belief in the power of a song. Their work spans platforms most listeners have never heard of, distributed through sheer determination and an infectious enthusiasm for reaching new ears.

Free At Last is an 11-track anthology compiled by AGS founder Roger Bong, representing less than 1% of Dennis & Christy's total recorded output. Drawing from more than 600 songs considered over the course of 12 years, the collection makes no claim to being definitive - instead, it offers what Bong calls "simply an invitation": a way in for new listeners, and a distillation of the warmth and pure intention that runs through everything this duo creates. From their earliest recordings to the present day, Dennis & Christy have never stopped making music on their own terms. Free At Last is an introduction long in the making, and very much overdue.