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Papooz & Friends ! is a collaborative album where French duo Papooz gather a constellation of kindred artists, including Molly Lewis, Erlend Øye (Kings of Convenience / Whitest Boy Alive), Arto Lindsay, Oracle Sisters, Sacha Got (La Femme), Zé Ibarra and Hugo Hamlet, to create original songs born from true artistic encounters.



Blending elegant indie pop, modern folk and sun-soaked experimentation, the project unfolds as a collective musical journey celebrating friendship and creative dialogue.

Repress of the 1 st album of the fresh Afro funk sensation ! Recorded on analog equipment in Lyon in 2014 !



Peter Solo is a singer and composer born in Aného-Glidji, Togo, the birthplace of the Guin tribe and a major site of the Voodoo culture. He was raised with this tradition’s values of respect for all forms of life and the environment. With his new band, Vaudou Game, Peter Solo claims, and spreads this spiritual and musical heritage. Chants are at the heart of the Voodoo practice, but for times immemorial, harmonic instruments have never accompanied them. No balafon, no kora - only the “skins” support the singers. However, in 2012, Peter, along with his band based in Lyon, France, decided to explore and codify the musical scales that are found in sacred or profane songs of Beninese and Togolese Voodoo so they can be played easily on modern instruments. Peter composed the album Apiafo, using the two main musical scales of this tradition. The first musical scale on Apiafo leans towards raw Funk with a sound similar to the famous 70’s bands, L’Orchestre Poly Rythmo De Cotonou and El Rego. Funk, is the skeletal structure of this record, and provided the opportunity for Peter to invite his uncle, Roger Damawuzan - the famous pioneer of the 70s Soul scene - on two tracks. Their collaboration on “Pas Contente” is a highlight on this 100% analog album. Apiafo was entirely recorded, mixed and mastered with old tapes and vintage instruments. The second scale, which had never before been transposed for instruments, evokes deeper feelings and a sacred ambiance. The moving song Ata, an invocation to a supreme divinity is another highlight of this record. Even if some can recognize similarities between this scale and Ethiopian scales, they are in fact different. Peter, the only African band member, introduced the other musicians to the universal values of Voodoo and he taught them his native language. On the recording of Apiafo and during their live performances, the musicians all sing and answer Peter in the Mina language. The strive for authenticity, the analog sound and vintage looks don’t mean that Vaudou Game is looking backwards. This is Togolese funk, born in the post-colonial era but that never before explored its ancient roots so deeply and proudly.



Antoine RAJON

Mit seinem neuen Solo-Projekt „NEOCORTEX“ präsentiert Thomas D ein Werk, dessen Entstehungsprozess teilweise über ein Jahrzehnt zurückreicht. Abseits der großen Stadion-Produktionen der Fantastischen Vier liegt der Fokus hier auf einer persönlichen und inhaltlich dichten Auseinandersetzung mit dem menschlichen Sein. Im Gegensatz zu den vorangegangenen Veröffentlichungen mit der Hamburger Band The KBCS handelt es sich bei den zwölf Titeln ausschließlich um neues Material und keine Remakes.

Musikalisch setzt Thomas D erneut auf die Zusammenarbeit mit den KBCS, die für einen organischen und geerdeten Sound sorgen. Ergänzt wird das Album durch Kollaborationen mit dem Künstler Gu sowie der Liedermacher-Legende Reinhard Mey.

„NEOCORTEX“ dokumentiert eine über 13 Jahre gereifte künstlerische Entwicklung und zeigt Thomas D als Songwriter, der sich direkter und lebensnäher als in bisherigen Solo-Arbeiten positioniert.

Mit "wos" legen Attwenger ihr zehntes Studioalbum vor - ein Werk, das erneut beweist, warum diese Band seit fast vier Jahrzehnten wie ein Naturphänomen durch die deutschsprachige Musiklandschaft fegt. Was 1991 mit einer Kassette, einem VHS-Tape und dem legendären Satz "Attwenger heißt im Dialekt denken, heißt den Schädel in den Most tunken" begann, hat sich zu einem der eigenständigsten Projekte des Landes entwickelt: Slangpunk, Dialekt-Avantgarde und anarchischer Groove, der keine Schublade akzeptiert. Auf "wos" treffen elektrisch aufgeladene Ziehharmonika-Linien auf treibende Drum- und Sequenzer-Beats. Worte fransen aus, Geschichten wirbeln herum, Sprache wird gebogen, gedehnt, zerlegt - und wieder zusammengesetzt zu einem Sound, der gleichzeitig tief verwurzelt und radikal zeitgenössisch ist. Attwenger kommentieren den Zustand einer überhitzten Gesellschaft, ohne den moralischen Zeigefinger zu heben. Stattdessen öffnen sie Räume zwischen den Zeilen: Orte für Humor, Auswege, Widerstand und befreiende Bewegungen jenseits der Erwartung. "wos is. is wos." - dieses Album lässt keinen kalt. Es fordert heraus, groovt, fräst, fragt, widerspricht. Und es zeigt einmal mehr: Attwenger bleiben unkopierbar.

Peter Karp gehört zu den unverwechselbaren Stimmen der amerikanischen Americana-, Blues- und Roots-Szene. Seine Musik verbindet kraftvolle Emotionen, feines Storytelling und eine tiefe Verwurzelung in den Klangtraditionen des amerikanischen Südens. Aufgewachsen zwischen New Jersey, New York City und Alabama, entwickelte er früh ein Gespür für die Energie urbaner Songkultur ebenso wie für die Ursprünglichkeit des Blues. Künstler wie Robert Johnson, Muddy Waters oder Howlin" Wolf prägten ihn ebenso wie die poetische Kraft von John Prine und die erdige Direktheit von Joe Ely. Karp schreibt Songs, die das Leben so zeigen, wie es ist: ehrlich, rau, humorvoll und voller beobachteter Details. Seine markante Stimme, sein expressives Gitarren- und Pianospiel und sein Gespür für melodische Hooks machen ihn zu einem der respektiertesten Songwriter seines Genres. Kritiker loben seine Fähigkeit, Blues, Folk, R&B und Americana zu einem eigenen, zeitlosen Stil zu verbinden. Peter Karp steht für authentische amerikanische Musik - tiefgründig, mitreißend und voller Charakter. Ein Künstler, der die große Tradition des Songwritings fortführt und gleichzeitig seine ganz eigene Handschrift setzt.

A magus is a wizard…a sorcerer. Magus, the band, is certainly interested in such things (who isn’t), but the name is especially apt due to the band’s approach to alchemy, the blending of rock, gothic, proto metal, and psychedelic styles to create a sound that is, ultimately, unique. Part of that uniqueness comes from the instrumentation. While guitar is often a dominant instrument of the rock oeuvre, the Fender Rhodes generally plays a supportive role. Not so here, where Jessica Weeks’ deft use of the keyboard dovetails with Greg Weeks’ more standard six-string approach. Not standard is the band’s sound. Doomy yet inspirational, dour yet vibrant, the duo’s tunes map sinister realms whose subjects span metaphysical creatures to enigmatic portals. You know, the typical stuff that rubs elbows with a magus.

Formed in late 2024, Magus sprung from a desire by both artists to experiment with darker, heavier sounds. Long enamored of artists like Flower Travelling Band,, Black Sabbath, and Deep Purple, the duo delved deeply into trance like riffs and euphoric solos to create the backbone of what has become their debut album, Music for Mandrax. This thirteenth Language of Stone offering features grounded, metronomic grooves, organic, lugubrious synth lines, and tandem vocals (supplied by both Weekses) that, in total, weave a heavy, trancelike spell sure to entice fans of bands as disparate as Sabbath is to Pink Floyd. Recorded at Weeks’ Hexham Head studio (to analog tape, of course), the band enlisted long-time counterparts Jesse Sparhawk (bass) and Ben McConnell (drums) to round out their sound and lock down the grooves that propel the album.

Mixed by Brian McTear and Amy Morrisey at Miner Street in Philadelphia, the band’s fully realized vision came to fruition, which left only the album art to contemplate. The band, wishing to further the gothic aesthetic of their sound, enlisted fashion designer and artist extraordinaire Hogan McLaughlin (Game of Thrones) to create the starkly beautiful line drawings of the front and back covers. The duo travelled to Salem, MA to complete the package with Courtney Brooke Hall, who shot the moody and evocative photographs that grace the gatefold release’s inner panels.

ORDH's debut, "Blind In Abyssal Realms", sets out to redefine what the term 'progressive death metal' truly means. But before ORDH, there was BARISHI. When their bass player threw in the towel to pursue other interests in life, guitarist and vocalist Graham Brooks, "looking for a fresh start", decided the time had come to finally dwell in his favorite genre: death metal. But not just any kind of death metal_ Having drafted BARISHI drummer Dylan Blake, with whom Graham has been playing since he was twelve years old, and Josh Smith from KIEFCATCHER on bass, the trio then spent a few gruelling years working on their debut, with Graham writing most of the music and ironing the songs out with Dylan and Josh. Having toured with COME TO GRIEF when BARISHI was still around, Graham and the latter's singer Jonathan Hébert had hit it off really well, so when the time came to find a vocalist, Jonathan was called upon, "right on time to jump straight into the recording and writing process, as most of the music was ready to go".

Dead Finks melden sich mit ihrem vierten Album zurück, das ihre charakteristische Mischung aus hysterischem Zynismus und schriller Ernsthaftigkeit beibehält. Der treibende, oft aggressive Sound ihrer früheren Alben wurde nun etwas gemildert durch schimmernde Gitarren, hypermelodische Gesangslinien und eine verstärkte Betonung von Klarheit und Dynamik, die klassisches Pop-Songwriting, Shoegaze-Texturen und avantgardistische Kunstmusik in ihren Kanon aufnehmen.

Un Canto por México, Vol. 1 is the eighth studio album by Natalia Lafourcade. The album was part of a project destined for the reconstruction of the Centro de Documentatión del Son Jarocho at Jáltipan de Morelos, a cultural building that was damaged after 2017 Puebla earthquake on 19 September 2017.

The album was a great success and gave Lafourcade three Latin Grammy Awards and the album also won the Best Regional Mexican Music Album at the 63rd Annual Grammy Awards.

Un Canto por México, Vol. 1 is available as a limited edition of 2000 individually numbered copies on yellow vinyl, packaged in a gatefold sleeve, with printed inner sleeves

Un Canto por México, Vol. 2 is Natalia Lafourcade's second album dedicated to the reconstruction of the Centro de Docementación del Son Jarocho, a cultural building that was damaged after the 2017 Puebla earthquake. The album features unique new interpretations of her earlier songs, as well as collaborations with artists such as Caetano Veloso and Silvana Estrada. This album really showcases the enduring strength of her songs, which remain powerful in any form.

The album was very positively received by fans and critics. It even got nominated for multiple Latin Grammy Awards (Album of the Year, Best Engineered Album) and Grammy Awards (Best Regional Mexican Music Album).

Un Canto por México, Vol. 2 is available as a limited edition of 2000 individually numbered copies on smokey marble vinyl, packaged in a gatefold sleeve, with printed inner sleeves.

Limited Edition Re-Release incl. 10" EP

French artist Swan Wisnia, under her solo project molto morbidi, announces her second album Maybe Marcel for release on April 17th via No Salad Records. An experimental album forged in both tenderness and turmoil, combining art / weird pop and baroque pop, the album moves between the intimate and raw to the playful and inventive, creating a universe that is at once dark and hopeful.
"What inspires me are artists who stand by their influences while transcending traditions," she explains. "Artists who are recognisably their own." Drawing inspiration from everything from Siouxsie Sioux to The Raincoats to Broadcast, Lizzy Mercier Descloux, and ESG, Wisnia balances melodic sensibility with the experimentally daring, creating a body of work that is both timeless and wholly original.

Coloured vinyl reissue from the Wisconsin death metal legends!

Coloured vinyl reissue of Jungle Rot's fourth studio album, Fueled By Hate, delivering a solid slab of mid-paced death metal that prioritizes crushing rhythm over fret-shredding histrionics.

Blaskapelle Chancentod macht Postpunk für Leute, die lieber stolpern als marschieren. Keine Bläser treffen auf Beton, Melancholie trifft auf Katerstimmung - und irgendwo dazwischen tanzt das Leben, wenn's keiner sieht. Wie rostige Liebesbriefe aus dem Nirgendwo. Wie dein kaputter Radiowecker. Es ist der Dreck unter den Fingernägeln der Poesie. Mit Mitgliedern von Oh Telephone! & The Outta Mind, aus Bern aus der Schweiz, physisch nur auf Kassette zu haben From Bern Switzerland! The dirt under the fingernails of poetry, Postpunk as fresh and new like your first hangover, with members of 'Oh Telephone!' and 'The Outta Mind'. - VRR 2026

Geboren im Sommer '96/'97 - dem Jahr des Höllenschweins - brannten Mustang als soziales Experiment aus der Innenstadt Tasmaniens heraus. Sie kamen mit ziemlich viel davon, andere hätten für weniger wohl nicht mehr gleich ausgesehen.Sie sauf-ten, machten Sachen kaputt und brachten dieses Chaos in das Schreiben von Banger-Songs - während sie sich bei den ,Proben" XXX Ales reinzogen und bei sehr wichtigen ,Bandmeetings" Protokolle führten.Mustang schütteten Benzin über ihre tasmanische Ödnis, bevor sie 7,69 Millionen Quadratkilometer Landmasse der Erde in sich aufsogen und dort ,dominierten", auf die einzige Art, die sie kannten: laut, wütend und zu ihren eigenen Bedingungen - und nahmen dabei Horden williger Partygänger mit auf die Reise.Über drei Non-Studio-Alben und eine Handvoll kleiner Veröffentlichungen hinweg bauten Mustang einen Katalog auf, der von Bier, Speed und störrischer Unabhängigkeit geprägt war. Kein Glanz. Kein Trendgehechel. Kein Buckeln vor dem Mann. Sie ritten ein, tranken, was da war, und hinterließen klingelnde Köpfe.Cut Up Rough (2015) war ihr Schwanengesang - geboren in einer Heuscheune am ausgefransten Rand von Tasmaniens Rock-Hochburg. Aufgenommen über zwei schlaflose, bierselige Tage wurde das Album mit improvisierten Drum-Takes, aufgedrehten Gitarren und purem Instinkt in die Existenz gerissen. Die Band lebte während der Aufnahmen buchstäblich in der Scheune - schiss ins Gras, schlief zwischen leeren Dosen, und ließ Isolation und Absurdität direkt in billige Mikrofone bluten.

In my productions, I always strive to blend the multiple genres I’ve explored over the years while staying true to my artistic essence. In this EP, I aimed to unite house, techno, deep house, and acid, all with a more musical and melodic approach, similar to the tracks I’ve created in the past. Just listen to 'Searching For A Match' and 'For You'—I find them incredibly melodic and harmonious.

To celebrate the year anniversary of its first release, Erin LeCount launches a limited edition transparent vinyl of her 2025 EP I Am Digital, I Am Divine. The tracklist includes viral hit Silver Spoon which amassed 300K Soundcloud streams before it had even been released, since amassing 21M streams in less than 12 months.

Available for pre-order on the 24th March and set for release on the 17th April 2026.
Erin LeCount is a 23-year-old self-taught artist and producer. A visionary sonic architect and the sole writer and producer of her music, her sound ranges from luscious baroque-pop arrangements to alluring gothic-pop.

At the foreground of her music are diaristic lyrics and captivating synths which offer an enchanting interplay of vulnerability and power. The themes within her music explore everything from identity to relationships and the meaning of life. Erin’s influences include Fiona Apple, Kate Bush, Lorde, Imogen Heap, Charli xcx, and Sampha.

In May 2026, Erin LeCount will embark on her biggest run of shows to date with her new UK tour, entitled the ‘PAREIDOLIA Tour’, which will see her play dates in Manchester, Glasgow, Bristol, and London, the latter of which will take place at the Roundhouse in what is Erin’s largest headline show so far.

This month, Erin was also announced on the line-up for Lorde’s All Points East date on Saturday 22nd August.

Out Loud is the debut solo album from Gary Klebe, guitarist/vocalist of the power-pop band Shoes. Formed in Zion, Illinois in 1974, Shoes was influenced by British Invasion groups of the 1960s and artists like Big Star, Bowie, the Move, Todd Rundgren, Nils Lofgren. The band first gained attention by self-releasing records on their own Black Vinyl Records label before signing to Elektra Records. Albums like Black Vinyl Shoes, Present Tense, and Tongue Twister earned them critical acclaim and cult-favorite status, with songs such as “Too Late,” “Tomorrow Night,” and “Your Imagination” becoming genre touchstones. Shoes’ melodic craftsmanship and independent spirit have made them hugely influential, inspiring generations of power-pop and indie rock bands.

Intense and intensely personal, The Dead Ones marks The Last Ten Seconds of Life’s Metal Blade label debut. 10 original tracks of pulverizing deathcore produced by Carson Slovak and Grant McFarland of Pennsylvania’s Atrium Audio. In creating The Dead Ones, “everyone took what we learned from the past two releases and assembled what we thought would bring out the best of us from song structure, tonality of instruments, the mix/master, and the lyrical themes,” furthers McLaughlin.

The end result reflects a more personal and human experience rather than the philosophical and fictional approach used on earlier releases. The Dead Ones follows 2024’s acclaimed No Name Graves in the theme of death and rebirth, but in contrast, is directly focused on the human experience and the band members’ own struggles.

After making their mark as a hugely successful band with a #1-charting album - 2023’s Blackout, From Ashes To New are set to release their highly anticipated follow-up, Reflections. The band returns with their high-energy fusion of rap, nu metal, electronic, and alternative rock. Reflections has 12 tracks and will be available Digital, CD and different colored vinyl variants.

The new HARDLINE album ‘Shout’ sees the band helmed by American vocalist Johnny Gioeli (Axel Rudi Pell, Crush 40) and his Italian team mates, keyboardist Alessandro Del Vecchio, guitarist Luca Princiotta, bassist Anna Portalupi and drummer Marco Di Salvia, take up where their 1992 Melodic Rock masterpiece "Total Eclipse" left off.

Naive Melodies is a bold and visionary tribute to the music of Talking Heads, reinterpreted through the lens of Black musical innovation. Curated by Drew McFadden — the creative mind behind BBE’s acclaimed Modern Love (David Bowie tribute album) — this new collection dives deep into the Afro-diasporic rhythms and experimental soul roots that helped shape Talking Heads’ unmistakable New Wave sound. Inspired by artists like Fela Kuti, Parliament, and Al Green — whose influences loomed large in the band’s rhythmic DNA — Naive Melodies shines a light on the Black music traditions that underpinned their artistry. Far from a conventional tribute, Naive Melodies reframes the band’s catalog through the voices and visions of a new generation of genre-defying artists. These interpretations illuminate the foundational grooves and sonic textures that fueled Talking Heads’ rhythm-forward aesthetic, bringing them full circle with authenticity. “With Naive Melodies, I wanted to spotlight the deep and often overlooked influence of Black music on the sound of Talking Heads, drawing from the rhythmic foundations of Afro-diasporic traditions, soul, gospel, Latin, and spiritual jazz. This project is a chance to reimagine Talking Heads’ legacy through the lens of the very innovations that helped shape it, bringing those influences to the forefront through the voices of today’s most forward-thinking artists.” — Drew McFadden The album features a globally minded lineup, including Liv.e, Bilal, Rogê, Miguel Atwood-Ferguson, Aja Monet, Georgia Anne Muldrow, Theo Croker, Kenny Dope, Rosie Lowe, Pachyman, W.I.T.C.H., and more — spanning Afrobeat, jazz, soul, funk, gospel, dub, electronica, orchestral, and Latin styles. It reflects not only the boundary-pushing ethos of Talking Heads, but also the influence of Black music as a cultural force that helped shape it. This is not just a tribute album — it’s a recontextualization. A cultural conversation. A rhythmic reawakening.

Pulitzer Prize-winning American composer John Luther Adams wrote this piece for the Australian Chamber Orchestra. Inspired by his recent relocation to Australia and his travels across the continent - from the Northern Territory and the Red Centre all the way to Tasmania - 'Horizon' is an immersive audio experience exploring the relationship between the visible horizon, with its trees, its mountains and its human structures, and the true horizon: the enveloping circle where the sky meets the earth. How long might it take us to traverse that distance, from where we are to as far as we can see? And what lies beyond that edge of the known? The Australian Chamber Orchestra brings its passion, its virtuosity and its vibrant energy to this exquisitely unique musical experience.

When you name your band Prince Daddy & The Hyena, you sort of accept that chaos isn’t a chapter in your story – it’s the entire ethos. Since forming out of Albany, NY’s DIY scene, Prince Daddy & The Hyena have built a career out of reaching their breaking point and continuing forward anyway. Their first LP, produced by Joe Reinhart, captured a very young band figuring things out in real time; their massive conceptual undertaking Cosmic Thrill Seekers followed and pushed their ambition (and patience) to new extremes. Not long after, a serious van accident nearly took their lives, directly informing the intensity of their self-titled record.

Over the last decade, the band has lost close friends and collaborators, endured relationship struggles, and faced countless moments that would have ended most bands without question. But those experiences never slowed Prince Daddy & The Hyena down. On their upcoming fourth album, Hotwire Trip Switch, they recalibrate and reconnect with their roots while sounding more focused and self-aware than ever. Reuniting with Joe Reinhart for the first time in nearly a decade, the album pulls from the punchy lineage of Green Day, the hook-driven quirk of Weezer, the snarky urgency of Joyce Manor and Jeff Rosenstock – all through the distinctly bratty lens of songwriter and vocalist Kory Gregory.

Analog Tara’s Life of the Mother is a sonic meditation on the depth, expansiveness, complexity, and power that this phrase holds. This album is made from layers of generative processes and interactions with them. Analog Tara uses a Zillion sequencer and Xone mixer as system guides, and sounds of the ARP 2500, Jealous Heart, Access Virus, Oberheim OB-6, Jomox XBase, Moog DFAM, and more to create a compelling electronic narrative.

Composed, recorded + mixed by Tara Rodgers. Mastered by Piper Payne, assisted by Colby Gustafson, at Neato Mastering in Nashville, TN. Art by Jackie Milad, She Goes Ancient, mixed media, 2019.

Los Felcas were one of the best bands to come out of Peru during the golden years of the cumbia and tropical sounds explosion. This compilation brings together their finest recordings, taking from albums and obscure 45s, blending a wide range of influences-from psychedelic vibes to rhythms closer to guaracha and chicha-and now being reissued for the first time. In Lima, founding member, guitarist Florentino "Tino" León, quickly joined the Peruvian cumbia tropical movement led by electric guitarists Enrique Delgado (Los Destellos) and Berardo Hernández "Manzanita". This new style was soon practiced by other groups from Lima, such as Los Ecos, Los Beta 5, Los Diablos Rojos, and, a bit later, by bands from the rest of the country. This movement became a massive phenomenon. Nelson Ferreyra and the multifaceted singer Pablo Villanueva Branda "Melcochita", who had become fans, introduced them to the MAG record label. In mid-1973, they recorded their first 45 RPM singles, with 'Sabor a Felcas' being their most popular release. They recorded several albums during the late 70s and 80s, mostly on MAG: "La Blanquiñosa", "Tu bello cuerpo", "La cusqueñita" y "Manzanita coloradita". In the early 1990s, chicha music became popular in Argentina, especially in the north, where 'Boquita perfumada' by Los Felcas was a hit.

Originally released in 2001, Once is the debut album by The Tyde and a quietly influential title from the late-'90s / early-2000s West Coast indie pop scene. Rooted in warm melodic guitars, subtle psychedelic textures, and introspective songwriting, the album occupies a distinctive space between indie pop, folk-rock, and California psychedelia. While never a mainstream release, Once steadily built a loyal following over the years, earning its reputation as a cult classic among fans and collectors. Its understated production, emotional restraint, and timeless melodies have allowed the album to age exceptionally well, making it as relevant today as it was upon release. This 25th anniversary reissue offers a strong opportunity to reintroduce an overlooked catalogue gem to both established fans and new listeners. With the continued demand for high-quality reissues and historically important indie titles, Once fits perfectly within current collector and indie-focused retail trends. The album's enduring appeal, combined with the anniversary context, gives it solid long-term catalogue value beyond initial release interest.

The Definitive Origins of the Chicago Electric Blues. Witness the birth of a legend. This essential collection captures Muddy Waters at the most pivotal moment of his career: the transition from a Mississippi Delta traveler to the "King of Chicago Blues." Muddy Waters was an ambitious young man who saw little future in Mississippi. In 1943, he headed for the bright lights, big city of Chicago, where he soon connected with blues giant Big Bill Broonzy, who began featuring Muddy as an opening act at his club dates. Within a year, Muddy had switched to electric guitar and formed his first blues combo, quickly becoming an established figure on Chicago's club scene. In 1947, Muddy came to the attention of the fledgling Aristocrat Records, just as Leonard Chess-then running a nightclub called the Macomba Lounge-invested in the company. Working frequently with pianist Sunnyland Slim, Muddy recorded a split session with him for Aristocrat in December 1947. This collection begins there: eight Aristocrat 78 rpm releases (sixteen sides), recorded between 1948 and 1950 and presented here in chronological order of release. Just three years later, Leonard and his brother Phil Chess would buy out Aristocrat's remaining partners and rename the label Chess Records-ushering in a new era of Chicago blues that would reverberate around the world. Includes extensive liner notes by Muddy Waters expert Fred Rothwell.

Los Amantes Oscuros" brings together for the first time on vinyl the recordings made between 1968 and 1969 by pioneers of Bolivian garage rock, Loving Darks, originally released on their three EPs. A selection packed with proto-punk covers of hits by the Stones, Cream, Tony Hatch, and more-often surpassing the originals in attitude and power. Their original records are highly sought after and are virtually impossible to find in any condition_ If we had to choose the Latin American country where the rawest and wildest garage and beat records of the '60s were recorded, Bolivia would be one of the clearest contenders. For some strange reason-surely related to the country's extreme conditions, its high altitude, and the influence of huayno-Bolivian recordings are truly unique and fascinating. A multitude of bands sprang up under the influence of groups-mainly British-that dominated the international charts. From the ashes of two of Bolivia's most important seminal bands, Los Black Byrds and The Turtles, two new groups fundamental to the history of Bolivian rock would be born: the mythical Climax and the legendary Loving Darks. "Los Amantes Oscuros" brings together for the first time on vinyl the recordings this band made between 1968 and 1969, originally released across three EPs on the local Lyra label. Their repertoire is packed with covers such as 'El Adivino,' a sped-up reinterpretation of 'Fortune Teller,' or even 'Algo de títere,' a reworking of 'Jumpin' Jack Flash.' They also adapt the classic 'Call Me' by Tony Hatch and 'Toad' by Cream, from whom they borrow the cover of one of their most iconic albums for the artwork of their EP "Complicado." In fact, 'Complicado'-a proto-punk version of the Rolling Stones' 'Complicated' and their signature track-is a perfect example of how a Bolivian band could outdo the British giants in attitude and power. Their importance lies in having paved the way for new sounds, styles, and aesthetics within a still-emerging scene. This compilation is a joint release with the Peruvian label Rey Record and includes an insert with notes on the band's history. First time vinyl reissue.

At the genesis of one of the most essential bands in Spanish pop-rock of the 1980s, this rarity presents early versions of what would later become some of the most chanted songs in Siniestro Total's repertoire: 'Matar jipis en las Cíes' and 'Las tetas de mi novia,' along with Germán Coppini's original composition 'El Vaticano va a arder.' With limited resources but plenty of energy and humor, a three-song demo was recorded in August 1981, now available here on vinyl for the first time. The songs came first, and only later did the band take a name-initially Mari Cruz Soriano y los que afinan su piano, and shortly after, Siniestro Total. 'Matar jipis en las Cíes' is an original composition by the band's founding members Alberto Torrado, Julián Hernández, and Miguel Costas, while 'Las tetas de mi novia' is a loose version of the song 'I'm a Rocket' by the Dutch band Gruppo Sportivo. 'El Vaticano va a arder' was contributed by Germán Coppini, the mysterious fourth member of this singular lineup, inspired by 'Religion,' the anti-religious rant included on Public Image Limited's debut album. This single is an essential document for both Siniestro Total fans and Spanish-language punk enthusiasts. First-ever vinyl edition.

Mit "Alles und Nichts" veröffentlichen Eckstein am 17. April ihre erste EP - eine Sammlung, die das bisherige Schaffen des Wiener Duos bündelt und zugleich neue Kapitel aufschlägt. Die EP vereint die vier bereits erschienenen Singles "Einbruch","Reigen", "Ein Ganzes Leben" und "Zinnober" sowie die bisher unveröffentlichten Songs "Tyrann" und"Kirchenglocken". Ergänzt wird das Werk durch eine intime Akustik-Live-Session des Stücks "Hund". "Alles und Nichts" zeigt Eckstein in ihrer ganzen Spannweite: existenzielle Dringlichkeit, zarte Melancholie, eruptive Emotionalität. Sänger Hagen Eckstein verbindet poetische Bildsprache mit einer Stimme, die zwischen Verletzlichkeit und Wucht changiert. Multiinstrumentalist Jannik Rieß erschafft detailreiche Klangräume, die organisch, atmosphärisch und zugleich präzise komponiert sind. Eckstein stehen für eine spezielle Form deutschsprachiger Musik, die Ambiguität nicht auflöst, sondern zelebriert. "Alles und Nichts" ist mehr als eine EP - es ist ein Manifest ihres künstlerischen Selbstverständnisses und ein eindrucksvoller Beweis dafür, dass dieses Duo zu den aufregendsten neuen Projekten im deutschsprachigen Raum zählt.

Following their debut album "Flaws," here is a high-quality follow-up from GARDENS. The popular Viennese indie band are making music that feels warm, direct, and a little rough around the edges. Bright guitars, soft synths, and melodies that stick without trying too hard. Their sound drifts between indie pop, dreamy folk, and gentle garage energy, grounded in honest, quietly catchy songwriting. EP digitally and on ltd tape available. "GARDENS certainly succeed in adding new layers of inspiration into the modern dream-pop genre, something which has been far too long overdue for a refresh. Their debut record offers a colossal level of promise" - Far Out Magazine " an irresistible sonic tapestry" - KEXP "intricately crafted_glistens with warmth and depth" - DIY

Mit „Stabile Poesie“ liefert Bosse ein kraftvolles, emotionales Album, das seine unverkennbare Handschrift
zwischen Indie-Pop, Tiefgang und unmittelbarer Nahbarkeit einmal mehr unter Beweis stellt. 12 Songs voller
Haltung, Wärme und poetischer Direktheit, gemacht für große Bühnen und intime Momente gleichermaßen.
Zum Release stehen attraktive physische Konfigurationen für Fans und Sammler bereit:
Die Standard LP erscheint auf schwarzem Bio-Vinyl und vereint alle 12 Tracks in hochwertiger Ausstattung.
Ergänzt wird das Angebot durch die CD im Mintpack als kompakte Alternative.
Die Ltd. 2CD im Hardcoverbuch kombiniert das Album mit 10 Live-Tracks und punktet durch hochwertige
Verpackung.

Mit „Beautiful Reasons“ präsentiert Michael Schulte ein wunderbares Album, das genauso warm und
einladend klingt wie der Frühling und Sommer selbst. Der Ausnahmesänger und Songwriter vereint darauf
16 kraftvolle Pop-Tracks voller Gefühl, Tiefgang und Leichtigkeit – ein musikalisches Kaleidoskop, das
seine unverwechselbare Stimme und sein außergewöhnliches Talent eindrucksvoll hervorhebt. Mit auf dem
Album sind zahlreiche Radiotop-10-Hits wie „Broken Sunshine“, „Beautiful Reason“, „Half of My Heart
(mit Ásdís)“ oder „Afterlife“ – Songs, die Millionen Menschen berührt und begeistert haben. Dieses Album
ist ein sonnendurchfluteter Soundtrack für alle, die das Leben feiern möchten und genau diese „Beautiful
Reasons“ suchen und auf dem Album finden können.

KONNAKOL, ZAYNs fünftes Studioalbum, ist sein bisher am stärksten kulturell geprägtes Projekt. Das
poporientierte Album erweitert den Sound, den die Fans erstmals auf seinem rekordbrechenden DebütStudioalbum ”Mind of Mine” hörten. KONNAKOL ist in seiner Definition der Akt, perkussive Klänge mit
der eigenen Stimme zu erzeugen, aber was es für ZAYN bedeutet, liegt viel tiefer. Es ist ein Klang, der
den Nachhall einer Zeit vor der Existenz von Worten in sich trägt. Inspiriert von seinem eigenen Erbe ist
dieses Album eine Weiterentwicklung dieses Verständnisses, in dem er jetzt mehr denn je weiß, wer er ist,
woher er kommt und wohin er gehen will.
ZAYNs fünftes Studioalbum ”KONNAKOL” erscheint auf Vinyl & CD.

Das Solo-Akustikalbum von Lightnin’ Hopkins aus dem Jahr 1961 zeigt den legendären Musiker in Höchstform. Mit Hopkins’ Gitarrenspiel und Gesang rückt Blues in My Bottle seine Blues-Meisterschaft ins
Rampenlicht. Das Album enthält Hopkins’ Interpretationen von Originalen, traditionellen Standards und
Coverversionen. Diese Ausgabe wurde bei QRP auf 180-Gramm-Vinyl gepresst und wurde von Matthew
Lutthans bei The Mastering Lab von den Originalbändern remastert (AAA).

To celebrate the year anniversary of its first release, Erin LeCount launches a limited edition transparent vinyl of her 2025 EP I Am Digital, I Am Divine. The tracklist includes viral hit Silver Spoon which amassed 300K Soundcloud streams before it had even been released, since amassing 21M streams in less than 12 months.
Available for pre-order on the 24th March and set for release on the 17th April 2026.
Erin LeCount is a 23-year-old self-taught artist and producer. A visionary sonic architect and the sole writer and producer of her music, her sound ranges from luscious baroque-pop arrangements to alluring gothic-pop. At the foreground of her music are diaristic lyrics and captivating synths which offer an enchanting interplay of vulnerability and power. The themes within her music explore everything from identity to relationships and the meaning of life. Erin’s influences include Fiona Apple, Kate Bush, Lorde, Imogen Heap, Charli xcx, and Sampha.
In May 2026, Erin LeCount will embark on her biggest run of shows to date with her new UK tour, entitled the ‘PAREIDOLIA Tour’, which will see her play dates in Manchester, Glasgow, Bristol, and London, the latter of which will take place at the Roundhouse in what is Erin’s largest headline show so far. This month, Erin was also announced on the line-up for Lorde’s All Points East date on Saturday 22nd August.

Criteria for a Black Widow was a love letter to old-school Annihilator fans. It hit record shops at the precise moment the delirium of the 90s cleared and metal was ready to get heavy again. From the pummeling attack of opener Bloodbath to the classic brawl of Back To The Palace and the album's searing title track – all festooned with Jeff's ability to fuse the finesse of six stringed virtuosity with the auditory effects of a hand grenade – this was more than a return to form; it was the sound of Annihilator coming full circle.

Un Canto por México, Vol. 1 is the eighth studio album by Natalia Lafourcade. The album was part of a project destined for the reconstruction of the Centro de Documentatión del Son Jarocho at Jáltipan de Morelos, a cultural building that was damaged after 2017 Puebla earthquake on 19 September 2017.

The album was a great success and gave Lafourcade three Latin Grammy Awards and the album also won the Best Regional Mexican Music Album at the 63rd Annual Grammy Awards.

Un Canto por México, Vol. 1 is available as a limited edition of 2000 individually numbered copies on yellow vinyl, packaged in a gatefold sleeve, with printed inner sleeves

GENERATION RADIO return with "Take Two", the eagerly awaited follow-up to their acclaimed debut, delivering another masterclass in AOR/West Coast rock infused with just the right touch of the Nashville sound. Produced by founding members Jay DeMarcus (Rascal Flatts) and Jason Scheff (former Chicago), the band features an all-star lineup: Steve Ferrone (Tom Petty & the Heartbreakers, Average White Band) joins on drums, replacing the formidable Deen Castronovo (who returned to Journey as full-time member), while Tom Yankton (guitar, vocals) and Chris Rodriguez (guitar, vocals) round up the powerhouse ensemble. “Take Two” is rich with pristine harmonies, unforgettable hooks, and timeless songwriting—hallmarks of the genre delivered with class and authenticity.

Tracks like the widescreen, harmony-laden “Montana Sky,” the hook-filled “The Melody,” and the emotionally charged ballad “Hate This Heart” showcase the band’s signature blend of melodic precision and heartfelt performance. Adding depth to the album’s appeal, Generation Radio also offers reimagined versions of timeless classics that shine in their live sets: Whitesnake’s “Here I Go Again,” Chicago’s “You’re the Inspiration,” Kenny Loggins’ “I’m Alright,” and a rock version of Rascal Flatts’ classic “These Days.” With "Take Two," Generation Radio not only honors the legacy of AOR and West Coast rock—they elevate it, combining elite musicianship and genre-crossing influences into a record that’s as fresh as it is nostalgic.

Hailing from the birthplace of Hip-Hop, this 3-Man Crew (Natural Elements) have been a Staple in the NYC Hip-Hop scene for among those who seek authentic lyricism and organic flows given off by this amazing group. On their highly anticipated NEw album “ALIGNMENT” on the legendary Fat Beats they are continuing this tradition of sharp, thought-provoking bars and songs that their cult following (worldwide) has become accustomed to over the years. This 17 Song piece of art features robust production by their longtime original producer and founder of NE “(The Real) Charlemagne”, as well as UK producer “I.G Nexus”, Harlem producer ‘Le Grand Mohyay aka Bearfakts’ & producer ‘Real6’ on the title track. As a quote from one of their previous releases goes "Fat Beats, Lyrics and Skills Natural E is coming with it."

Hailing from the birthplace of Hip-Hop, this 3-Man Crew (Natural Elements) have been a Staple in the NYC Hip-Hop scene for among those who seek authentic lyricism and organic flows given off by this amazing group. On their highly anticipated NEw album “ALIGNMENT” on the legendary Fat Beats they are continuing this tradition of sharp, thought-provoking bars and songs that their cult following (worldwide) has become accustomed to over the years. This 17 Song piece of art features robust production by their longtime original producer and founder of NE “(The Real) Charlemagne”, as well as UK producer “I.G Nexus”, Harlem producer ‘Le Grand Mohyay aka Bearfakts’ & producer ‘Real6’ on the title track. As a quote from one of their previous releases goes "Fat Beats, Lyrics and Skills Natural E is coming with it."

Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantle all borders and all styles of creative music.

On this second volume, the Intercommunal builds unprecedented soundscapes around a song of revolt, a dance tune, or a burst of dissonance. The journey is unforgettable, no question about it. On repeat listening, it even becomes… lunar!

“The music that we make is primarily meant to be listened to live,” warned a leaflet from the Intercommunal Free Dance Music Orchestra. This is precisely why the (restored!) reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is such an important event.

In 1971, after recording a series of albums that would leave a lasting mark on French jazz (Free Jazz, of course, with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais, but also Le Nouveau Jazz with Barney Wilen, or the solo Piano Dazibao), François Tusques founded the Intercommunal—a grouping whose very name called for the fraternization of the various communities making up the country: Our music will help, we hope, to resolve the contradictions that exist between workers be longing to different communities, by breaking down various forms of national chauvinism, and more particularly the chauvinism of certain French people toward the cultures of Third World countries… Long live the friendship between the peoples of the whole world!

Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first, before L’Inter Communal, Vol. 4, Le Musichien, and Après la marée noire (four titles already reissued by Souffle Continu). François Tusques and his companions (Michel Marre and Jo Maka on saxophones, Adolf Winkler on trombone, and Guem on percussion) performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded.

“We’re not among the Colonels,” the Intercommunal reassures us right away, performing a stride piano tune carried by African winds that the audience cannot resist for long. The energy is already striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk… The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together.

“We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially,” declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to “Le Temps des cerises.” The struggle was therefore serious—but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le- Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever—and once again, it is François Tusques who makes it heard.

Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantle all borders and all styles of creative music.

On this first volume, the Intercommunal takes its audience from New Orleans to Brittany and on to North Africa. The journey was bold, without a doubt—and its memory remains unforgettable.

“The music that we make is primarily meant to be listened to live,” warned a leaflet from the Intercommunal Free Dance Music Orchestra. This is precisely why the (restored!) reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is such an important event.

In 1971, after recording a series of albums that would leave a lasting mark on French jazz (Free Jazz, of course, with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais, but also Le Nouveau Jazz with Barney Wilen, or the solo Piano Dazibao), François Tusques founded the Intercommunal—a grouping whose very name called for the fraternization of the various communities making up the country: Our music will help, we hope, to resolve the contradictions that exist between workers be longing to different communities, by breaking down various forms of national chauvinism, and more particularly the chauvinism of certain French people toward the cultures of Third World countries… Long live the friendship between the peoples of the whole world!

Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first, before L’Inter Communal, Vol. 4, Le Musichien, and Après la marée noire (four titles already reissued by Souffle Continu). François Tusques and his companions (Michel Marre and Jo Maka on saxophones, Adolf Winkler on trombone, and Guem on percussion) performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded.

“We’re not among the Colonels,” the Intercommunal reassures us right away, performing a stride piano tune carried by African winds that the audience cannot resist for long. The energy is already striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk… The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together.

“We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially,” declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to “Le Temps des cerises.” The struggle was therefore serious—but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le- Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever—and once again, it is François Tusques who makes it heard.

April Records proudly presents the new album from Danish trombonist and composer Lis Wessberg. Her most personal album to date, In The Wake of Blue is a song-driven work exploring transience, love, and transformation. Expanding her writing while remaining rooted in her distinctive instrumental voice, Wessberg creates an intimate musical landscape where lyric, melody, and texture carry equal weight. Wessberg has established herself as a leading voice on the European jazz scene through her band Yellow Map and a series of acclaimed releases on April Records. Her previous album, Twain Walking (2024), marked her first step into English-language songwriting and earned a Danish Music Award nomination in 2025 for the track Behind the Walls. In The Wake of Blue develops this direction further. The album draws on images from nature - sea, tides, clouds, mist, and birds - used as emotional anchors rather than abstractions. These elements frame songs that move from uncertainty and loss toward openness, connection, and renewal. The title reflects this arc: "blue" as melancholy, depth, and memory, and what emerges in its wake. Vocalist Veronika Rud is central to the album"s sound, bringing vulnerability and clarity to the songs. Rather than a traditional singer-led project, the music unfolds as a dialogue between voice and trombone, with Wessberg"s warm, airy tone mirroring and extending each song"s emotional core. At times the two move in close unison; elsewhere, they diverge and reconnect. The core ensemble - Steen Rasmussen (piano and keys), Lennart Ginman (bass), and Jeppe Gram (drums) - provides a responsive, understated foundation, while string quartet Live Strings appear on two tracks, expanding the ensemble"s depth and resonce. In The Wake of Blue offers a quietly assured statement from an artist continuing to refine a voice that speaks as clearly through brass as it does through words.

Metaphon is pleased to present this première edition, which brings together a near-complete collection of the acousmatic works of Liliane Donskoy, recorded in the 1970s and 1980s.

Liliane Donskoy (*1933) is a French, classically trained pianist, music teacher, and composer of both instrumental and acousmatic music. She began her musical training at an early age, undertaking private piano studies with Yves Nat at the age of thirteen, shortly after the Second World War. During the 1960s and 1970s, she pursued advanced studies with prominent figures of twentieth-century music, including Darius Milhaud, Olivier Messiaen, Pierre Schaeffer, and Guy Reibel, and participated in courses led by Karlheinz Stockhausen, Luciano Berio, György Ligeti, and Iannis Xenakis.

Despite this extensive and diverse training, Donskoy encountered limited institutional and professional opportunities to fully realize her artistic vision. A decisive turning point occurred in 1977, when she gained access to the facilities of the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. There, she realized and completed the majority of her acousmatic compositions.

Donskoy’s oeuvre is characterized by a high degree of structural complexity, precision, and expressive intensity. Her work reflects a pronounced and distinctive artistic temperament, manifested through a rigorous exploration of sound material and form. Notwithstanding its artistic significance, her music has remained largely unknown, as her compositions were neither widely circulated nor formally released, leading to their relative obscurity until the present publication.

Metaphon is pleased to present this première edition, which brings together a near-complete collection of the acousmatic works of Liliane Donskoy, recorded in the 1970s and 1980s.

Liliane Donskoy (*1933) is a French, classically trained pianist, music teacher, and composer of both instrumental and acousmatic music. She began her musical training at an early age, undertaking private piano studies with Yves Nat at the age of thirteen, shortly after the Second World War. During the 1960s and 1970s, she pursued advanced studies with prominent figures of twentieth-century music, including Darius Milhaud, Olivier Messiaen, Pierre Schaeffer, and Guy Reibel, and participated in courses led by Karlheinz Stockhausen, Luciano Berio, György Ligeti, and Iannis Xenakis.

Despite this extensive and diverse training, Donskoy encountered limited institutional and professional opportunities to fully realize her artistic vision. A decisive turning point occurred in 1977, when she gained access to the facilities of the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. There, she realized and completed the majority of her acousmatic compositions.

Donskoy’s oeuvre is characterized by a high degree of structural complexity, precision, and expressive intensity. Her work reflects a pronounced and distinctive artistic temperament, manifested through a rigorous exploration of sound material and form. Notwithstanding its artistic significance, her music has remained largely unknown, as her compositions were neither widely circulated nor formally released, leading to their relative obscurity until the present publication.

Wanda Felicia ist wieder bei Timmion Records mit ,Reflections Of Love" b/w ,All In The Game", einer gefühlvollen und echt menschlichen Doppel-A-Seite, die zwei sich ergänzende Facetten ihrer Kunst zeigt. Diese Veröffentlichung, die aus ihrem Debütalbum "Now Is The Time" stammt, rückt Wandas ausdrucksstarke Stimme und emotionale Klarheit in den Mittelpunkt, unterstützt von der unverkennbaren analogen Wärme von Cold Diamond & Mink. Auf der A-Seite sorgt ,Reflections Of Love" mit einem entspannten Funk-Unterton für mehr Tempo. Wandas Stimme schwebt selbstbewusst über dem Beat und vermittelt eine Reflexion über die Liebe, die ebenso tanzbar wie herzlich ist. Wenn sie ,you really got me now" singt, ist der Zuhörer bereits ganz bei ihr. Die B-Seite, ,All In The Game", verlangsamt das Tempo zu einer kraftvollen Beat-Ballade, in der Geduld und Ausdauer im Mittelpunkt stehen. Unterstützt von einem langsam brennenden Groove liefert Wanda eine Performance voller Entschlossenheit und stiller Stärke und erinnert uns daran, dass Liebe - wie das Leben - sich nach ihren eigenen Regeln entfaltet. Zusammen bilden diese beiden Songs eine wunderschön ausgewogene Platte, die Wanda Felicia von ihrer überzeugendsten Seite zeigt und ihren Platz als eine der faszinierendsten Stimmen von Timmion bestätigt.

Wanda Felicia ist wieder bei Timmion Records mit ,Reflections Of Love" b/w ,All In The Game", einer gefühlvollen und echt menschlichen Doppel-A-Seite, die zwei sich ergänzende Facetten ihrer Kunst zeigt. Diese Veröffentlichung, die aus ihrem Debütalbum "Now Is The Time" stammt, rückt Wandas ausdrucksstarke Stimme und emotionale Klarheit in den Mittelpunkt, unterstützt von der unverkennbaren analogen Wärme von Cold Diamond & Mink. Auf der A-Seite sorgt ,Reflections Of Love" mit einem entspannten Funk-Unterton für mehr Tempo. Wandas Stimme schwebt selbstbewusst über dem Beat und vermittelt eine Reflexion über die Liebe, die ebenso tanzbar wie herzlich ist. Wenn sie ,you really got me now" singt, ist der Zuhörer bereits ganz bei ihr. Die B-Seite, ,All In The Game", verlangsamt das Tempo zu einer kraftvollen Beat-Ballade, in der Geduld und Ausdauer im Mittelpunkt stehen. Unterstützt von einem langsam brennenden Groove liefert Wanda eine Performance voller Entschlossenheit und stiller Stärke und erinnert uns daran, dass Liebe - wie das Leben - sich nach ihren eigenen Regeln entfaltet. Zusammen bilden diese beiden Songs eine wunderschön ausgewogene Platte, die Wanda Felicia von ihrer überzeugendsten Seite zeigt und ihren Platz als eine der faszinierendsten Stimmen von Timmion bestätigt.

Welcome to the mind-expanding 1968 jazz recording of Bill Plummer and The Cosmic Brotherhood—where Eastern and psychedelic influences meld together to produce one of the trippiest jazz albums on Impulse Records. This LP is a much-sought-after sonic travelogue, with the pop-psych spoken-word sitar freakout of “Journey To The East” to Bill Plummer’s swinging, rapid fire/cool jazz compositions, to his covers that go straight to the heart of any 60’s genre-crossing jazz fans. Featuring an incredible who's who of the high-caliber talent bubbling over in the Los Angeles music scene at the time: Carol Kaye (legendary bass player of The Wrecking Crew), Maurice Miller (drummer in The Jazz Corps), Dennis Budimir (guitarist with Chico Hamilton Quintet, Ravi Shankar & Frank Zappa), Mike Lang (Piano with Flamin’ Groovies & Hal Blaine), Tom Scott (Saxophone with Gabor Szabo & Thelonious Monk), Ray Neopolitan (Bass for The Doors & Leonard Cohen), Milt Holland (Percussionist with The Wrecking Crew &
Captain Beefheart), Bill Goodwin (Drums for Mose Allison & Tom Waits).
Housed in a beautiful gatefold sleeve with iconic liner notes by Frank Kofsky, who comes out swinging hard in favor of the album, while shaking the dust off any jazz snobs left in the '60s who still were not ready to embrace the future of jazz. Produced by Bob Thiele who produced everyone from John
Coltrane, Art Blakey to Charles Mingus, this sonic rarity is yet another impressive vinyl reissue from the folks at Jackpot Records.

"Weejuns is all about interplay,"erklärt Gitarristin Mollestad. ,Bitches Blues besteht aus sechs Instrumentalstücken oder Musikabschnitten mit einer extremen Bandbreite an Dynamik. Einige basieren auf kräftigen Beats, während andere Stücke weitaus lyrischer und rubato sind. Die Bandbreite reicht von riffbasierten rockigen Stücken über lautes Chaos bis hin zu melancholischen Balladen und sogar völlig freien Improvisationen." Mit einem kultivierten und dennoch erfrischend instinktiven Ansatz, Instrumente und Einflüsse miteinander zu verflechten, wechselt Bitches Blues (ein ironischer Verweis auf Miles Davis' Album Bitches Brew) unvorhersehbar zwischen langsamen und sanften, klar gegliederten Songs mit disziplinierten Akkordfolgen und explosiven Ausbrüchen kathartischer und komplexer Strukturen. Weejuns (eine Slang-Abkürzung für ,Norwegians") stellten sich 2023 mit einem selbstbetitelten Doppel-Live-Album vor. Ursprünglich von Mollestad für das Kongsberg Jazz Festival zusammengestellt, wo sie mit dem renommierten Musicians Prize ausgezeichnet wurde, hat sich die Chemie innerhalb von Weejuns als dauerhaft und verlockend erwiesen, auch als Gegenpol zum bisher härtesten Album des Hedvig Mollestad Trios, Bees in the Bonnet aus dem Jahr 2025. Mollestad hat mit ihrem gleichnamigen Trio acht gefeierte Alben veröffentlicht. Das Markenzeichen ihrer 15-jährigen Karriere ist die Verschmelzung von ernsthaftem Können mit einem offensichtlichen Fokus darauf, Spaß am Klang zu finden. Als Tochter eines Jazzmusikers vertiefte sie sich in dessen Plattensammlung und studierte klassische Werke von Miles Davis, Charlie Parker, Joe Pass und Jim Hall, bevor sie in ihren 20ern Riff-gewaltige Titanen wie Led Zeppelin, Black Sabbath und Mahavishnu Orchestra entdeckte. Dies führte zur Gründung des Hedvig Mollestad Trios, dessen unermüdlicher Aufnahme- und Tourneeplan seit Anfang der 2010er Jahre der Gitarristin eine Reihe von Auszeichnungen einbrachte, darunter zwei norwegische Grammys (Spellemannprisen) und die Ernennung durch das DownBeat-Magazin zu einer der 25 Künstlerinnen, die ,den Jazz für Jahrzehnte prägen könnten". Ståle Storlokken (Bass, Synths) ist Gründer und langjähriges Mitglied von Supersilent und Elephant9, seit Mitte der 90er Jahre die ,rechte Hand" von Terje Rypdal und hat mit Motorpsycho auf Platte und auf der Bühne sowie mit unzähligen anderen zusammengearbeitet. Ole Mofjell (Drums) ist das jüngste Mitglied und spielt bei Krokofant, Signe Emmeluths Amoeba und seinem eigenen Free-Jazz-Trio 3 Days Of Maceration.

"Weejuns is all about interplay,"erklärt Gitarristin Mollestad. ,Bitches Blues besteht aus sechs Instrumentalstücken oder Musikabschnitten mit einer extremen Bandbreite an Dynamik. Einige basieren auf kräftigen Beats, während andere Stücke weitaus lyrischer und rubato sind. Die Bandbreite reicht von riffbasierten rockigen Stücken über lautes Chaos bis hin zu melancholischen Balladen und sogar völlig freien Improvisationen." Mit einem kultivierten und dennoch erfrischend instinktiven Ansatz, Instrumente und Einflüsse miteinander zu verflechten, wechselt Bitches Blues (ein ironischer Verweis auf Miles Davis' Album Bitches Brew) unvorhersehbar zwischen langsamen und sanften, klar gegliederten Songs mit disziplinierten Akkordfolgen und explosiven Ausbrüchen kathartischer und komplexer Strukturen. Weejuns (eine Slang-Abkürzung für ,Norwegians") stellten sich 2023 mit einem selbstbetitelten Doppel-Live-Album vor. Ursprünglich von Mollestad für das Kongsberg Jazz Festival zusammengestellt, wo sie mit dem renommierten Musicians Prize ausgezeichnet wurde, hat sich die Chemie innerhalb von Weejuns als dauerhaft und verlockend erwiesen, auch als Gegenpol zum bisher härtesten Album des Hedvig Mollestad Trios, Bees in the Bonnet aus dem Jahr 2025. Mollestad hat mit ihrem gleichnamigen Trio acht gefeierte Alben veröffentlicht. Das Markenzeichen ihrer 15-jährigen Karriere ist die Verschmelzung von ernsthaftem Können mit einem offensichtlichen Fokus darauf, Spaß am Klang zu finden. Als Tochter eines Jazzmusikers vertiefte sie sich in dessen Plattensammlung und studierte klassische Werke von Miles Davis, Charlie Parker, Joe Pass und Jim Hall, bevor sie in ihren 20ern Riff-gewaltige Titanen wie Led Zeppelin, Black Sabbath und Mahavishnu Orchestra entdeckte. Dies führte zur Gründung des Hedvig Mollestad Trios, dessen unermüdlicher Aufnahme- und Tourneeplan seit Anfang der 2010er Jahre der Gitarristin eine Reihe von Auszeichnungen einbrachte, darunter zwei norwegische Grammys (Spellemannprisen) und die Ernennung durch das DownBeat-Magazin zu einer der 25 Künstlerinnen, die ,den Jazz für Jahrzehnte prägen könnten". Ståle Storlokken (Bass, Synths) ist Gründer und langjähriges Mitglied von Supersilent und Elephant9, seit Mitte der 90er Jahre die ,rechte Hand" von Terje Rypdal und hat mit Motorpsycho auf Platte und auf der Bühne sowie mit unzähligen anderen zusammengearbeitet. Ole Mofjell (Drums) ist das jüngste Mitglied und spielt bei Krokofant, Signe Emmeluths Amoeba und seinem eigenen Free-Jazz-Trio 3 Days Of Maceration.

»Vents d’aether« is the first collaborative album by sound artist Jérôme Bouve and composer-performer Delphine Dora. The six pieces are based on live improvisations on organ and harmonium. They were recorded in different churches on the Cotentin peninsula in France’s Normandy region and later enriched with additional field recordings by SA~RA. This adds an extra layer to compositions which were created both in and out of the moment and which quite literally resonate with the histories of the instruments and the buildings that were so integral to their emergence. »Vents d’aether« is to be understood as a dialogue between sound and space that takes place across time and place.

Bouve carried the idea of working with the organs and harmoniums that can be found in the churches and chapels in the Val de Saire in the Northeast of Cotentin around with him for years. When he got to know Dora, he found the perfect musical partner with whom to finally make a record »about the wind, the wood, the stones of the Val de Saire.« In September 2024, the duo embarked on a short but fruitful journey during which they stopped by at several different churches. They recorded hours-long improvised sessions dedicated to »capturing the moment, letting space and time shape gestures and sound, seizing fleeting epiphanies in their greatest simplicity,« as Dora notes in the album’s linernotes.

She took the lead behind the instruments, however Bouve assisted her on drawbars for the last two pieces on »Vents d’aether,« thus adding an even more unusual touch to the recordings. They formed the basis for an album that Dora calls »the testimony of a sensory quest, a collection of memories suspended in time.« Indeed, starting with the epic 20-minute-long titular piece up until the ringing of church bells near the end of the closing piece »Montfarville V,« this overwhelming yet intimate record blurs the boundaries between different times and spaces altogether.

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

Odisea is the new album, actually the real debut from Los Retros, out in April on Stones Throw. It draws inspiration from 1980s Japanese City Pop, and marks a new creative chapter from Mauri Tapia shaped by growth, reflection, and renewed purpose. It's been a journey since Tapia first captured hearts with the lo-fi magic of "Someone To Spend Time With", recorded at the age of 17 on a humble four-track in his parents' living room. Now 25, the Oxnard native has stepped into an entirely new season of life - he married his high school sweetheart, became a father to two daughters, and embraced spiritual faith. Earlier this year, he revisited his start with Early Days (2016-2019), a compilation of unreleased music from Mauri's teen years. "Jazz fusion has become my favorite genre and greatest inspiration of all time," Mauri says. "I made this album for the version of me that first fell in love with music. It's my full-circle moment - a sonic hat tip to my beginnings - as well as a nod to the forefathers of jazz fusion and city pop for leaving us with great music." Through it all, he's kept the same DIY spirit, writing and recording every note himself, only now in a home studio of his own. On Odisea, Tapia blends neon-lit City Pop with the melodic sensibility of Latin American soft rock. Mauri's deep love for 70s and 80s jazz fusion records anchors the album, yet Tapia filters those influences through a modern lens. Odisea features two Japanese vocalists, - Hikari and HITOMITOI. Also check out Los Retros new compilation "Early Days" released simultaneously. RIYL soul, bedroom pop, indie, modern jazz, downtempo, soft rock, Mac DeMarco, Thee Sacred Souls, Skinshape, Men I Trust

Early Days (2016-2019) is a new collection of previously unreleased songs from Mauri Tapia a.k.a Los Retros. From a young age, Tapia has been a prolific songwriter, spending his teenage years writing and recording song after song. Influenced by soft rock and left-field South American pop, Early Days (2016-2019) captures the sound of this formative era Streaming everywhere today, Early Days consisting of 15 tracks, recorded from Mauri's parents' living room using nothing more than an old four-track recorder, that only existed in low quality online, now mastered, sequenced, and physically released for the first time. It was during these sessions that Los Retros created the song "Someone to Spend Time With", now certified Gold. Early Days comes with a companion visual for "Without You", edited by close friend and collaborator Ross Harris from found footage of early Los Retros tour stops. Check out Los Retros proper debut "Odisea" released simultaneously too. FFO soul, bedroom pop, indie, modern jazz, downtempo, soft rock, Mac DeMarco, Thee Sacred Souls, Skinshape, Men I Trust, Too Slow To Disco

Originally released in 1993 on Big Beat/Atlantic, MC Thick’s The Show Ain’t Over Till the Fatman Swings followed his 1991 underground single “Marrero (What the Fellas Be Yellin)” and marked a defining moment for the Marrero, Louisiana rapper. While early ’90s New Orleans was dominated by bounce, MC Thick stood apart with gritty, street-level storytelling and a raw, unapologetic voice.

Featuring “T.H.I.C.K.” and production work involving T-Ray (Todd Ray), known for his work with Cypress Hill, the album remains an important piece of Southern rap history.

Fully remastered and pressed on black vinyl, this is the first vinyl availability in decades. Housed in a full-color jacket with a printed insert and is limited to 500 copies worldwide.

It is with some degree of surpriseand delight that we were contacted by John Andrew Fredrick, the founder and omnipresent member of Santa Barbara’s the black watch to see if Blue Matter would be interested in putting out their newest album. Of course we were. One listen was more than enough to convince us that it would fit perfectly on to the label. Perhaps a little more indie than other albums we’ve released, but sowhat? ‘Varied Superstitions’ is an intriguing collision of Cure-style indie and trippy psych which had us buzzing right away. the black watch (lower case intentional) wasformed in 1987 by John Andrew Fredrick in Santa Barbara, California, and he has been (and still is) it’s guiding light. They have released 25 albums over the last 38 years and show no sign of ageing. With a fantastic band behind him, John has presented us with a wonderful batch of songs ranging from mesmeric psych to indie/punk. In late 2025 John paid a brief visit to the UK to see friends and also to do a couple of live acoustic performances. The Bevis Frond was lucky enough to share the bill with John at London’s Betsey Trotwood for a wonderful evening of acoustic revelry. Not only is he a hugely talented musician/songsmith, but a thoroughly decent fellow. It’s a true privilege to be able to put out ‘Varied Superstitions’ on our label.

"This album is everything that CHROMA is, and has always been to us, as a band and as individuals," enthuses Mather. "All of us are immensely proud of this record and feel that we've served our younger selves by creating it." "The album is dynamic in the sense that we think people might be surprised to see a different side of CHROMA, as you progress through the record. We can't wait to blend the tracks into the live show which will also now include more energy, some heavier riffs, but also some softer, more subtle songs.

My Favorite Things is one of J ohn Coltrane 's all time bestselling LPs. Recorded in 1960 for Atlantic Records during three marathon sessions that also produced enough music for four subsequent albums: Coltrane Plays the Blues , Coltrane's Sound , and Coltrane Legacy. The LP's title tune belongs to the Rodgers & Hammerstein musical The Sound of Music, which at the time, might have seemed an odd choice by critics and fans. However, in Coltrane's hand the tune is spun out with an Eastern sound, a waltz reminiscent of a dervish dance, hypnotic and totally engaging. An edited version of the track was issued as a single and gained popularity across US radio stations, resulting in the LP becoming a major commercial success. My Favorite Things features John Coltrane 's first recorded performance on soprano saxophone - an instrument gifted to him by Miles Davis.

Responsible Friend is an album about the ways in which we show up for one another. What does it mean to be a responsible friend - to be there for someone you love without trying to save them - in a society steeped in conflict and injustice? Some of the songs on Responsible Friend are joyful dedications while others feel more like letters Elizabeth wasn't sure she wanted to send. Taken together, it's a record about slowing down in a world that keeps accelerating. It's a commitment to friends, family, and self, at a time when everyone seems to be carrying more than they can reasonably hold.

Enter Shikari melden sich mit ihrem bisher ambitioniertesten und emotionalsten Album zurück: "Lose Your Self", das achte Studioalbum der Band, erscheint überraschend und besticht durch eine furchtlose Verschmelzung von Post-Hardcore-Intensität, elektronischen Experimenten und politisch engagierten Texten. Aufbauend auf ihrem UK-Nr.1-Album "A Kiss For The Whole World" (2023) und mit einem noch stärkeren Fokus auf cineastische, club-beeinflusste Klangwelten, präsentiert "Lose Your Self" eine Band, die die Grenzen des Heavy-Sounds immer wieder neu definiert. Das Album wird mit Headliner-Arena-Shows in Großbritannien und Europa sowie Konzerten in Nordamerika und Australien unterstützt. Der Guardian verlieh der Tournee 2024 vier Sterne und bezeichnete das audiovisuelle Spektakel als "den Beginn des größten Kapitels von Enter Shikari".

UK producer and DJ Huxley return’s to Rekids with the ‘Pinball Skizzard’ EP, arriving 10th April 2026.

It follows last year’s ‘MIND G%MES’ EP, which marked his debut on Radio Slave’s label and won support from artists including Enzo Siragusa, Jennifer Loveless, Carista, and Laurent Garnier. Active for over two decades, the Dumb Safari label boss has left his mark, founding the online
R Trybe community with Ramin Rezaie/BAKKIS, while boasting label credits including Aus, 20/20 Vision, and collaborator Steve Bug’s Poker Flat.

Huxley opens the ‘Pinball Skizzard’ EP with ‘Pinball’, setting the tone with a hefty House groove, anchored by cavernous bass, and brought to life by old-school vocal touches and bright sax motifs that inject warmth and energy into the mix. ‘Heaven’ follows with a buoyant rhythm, pairing glowing chords and twinkling melodic details with deep, dubby low-end pressure designed to keep bodies locked in motion. ‘Deep Down’ shifts into a slinkier back-room groove, rich in atmosphere and soulful vocal fragments that underline its timeless house feel. Closing track ‘Felix’ rounds things out with a percussive roller built around vocal snippets and subtle tribal accents, delivering a stripped-back but effective finale that fits neatly within the Rekids aesthetic.

Amsterdam's Dionisos' (also known for his collaborations with Pete Blaker for LL & Hot Biscuit Recordings) debut 12" on his own Lovers Yacht imprint.

Dionisos, the project’s producer, possesses a solid foundation in live music, which is clearly reflected in the way the grooves evolve, resonate, and gradually heighten in intensity. The tracks “Mother Earth”, “Father Sky,” and “Bon Voyage” form an exciting trilogy—a daring journey into the musical universe. Captured in a single take, they were subsequently methodically overdubbed and layered, preserving the essence of musicians interacting in real time.

Instead of pursuing drops or studio glitz, the music focuses on capturing the spirit, interacting only with the original vibrations of the one take. These songs flow with the precision of musicians in a band. They develop organically, demonstrating their strength gradually; music for dancing that relies on emotion rather than spectacle.

In a most original impetus this album traverses forty years of Italian new wave and singer-songwriter tradition. As in the desert where Infesta’s urge is to walk, we are ambushed by the most intense thermal and sonic difference.

It is from here that this important journey we mustn’t miss begins. It leads us eight thousand meters deep in the blue abyss. Not quite enough to come out the other side and, as a kite, bestow all the heights that I will reach. These depths are nevertheless necessary to adjust our eyes to the darkness that lives within us, as a machine to burst our hearts to which we can’t and won't be accomplices.

Machine against machine. The increasing pressure of the lashes of an incessant current, at times sweet and at times sour, on which all the courage is sung and yet is everywhere dispersed like thoughts on water and melodies to be lost at sea. Darkness persists: you said the world can be lived where all was taken. And it’s a crazy and estranging babbling that, stripped by a current, answers: never never never never, in no direction.

My companions, come back, the breaking point has been found, we sing together. Leaf after leaf the time has come: it is possible to destroy the Machine in a mad blinding light.

Tapping into the otherworldly frequencies of the UFO series, UK-born, Lisbon-based prodigy Rene Wise arrives on Dekmantel with an assured demonstration of his position at the cutting edge of real techno.

Andrew Shobeiri appeared in the cut and thrust of the scene fully-formed around 2017, instantly bringing his Rene Wise alias to top-tier labels with a razor-sharp combination of functional minimalism and mind-warping flair. There's no grey area fluctuation in his hypnotic, intentional sound — this is deep, captivating techno for the long haul, music to submit yourself to.

True to his sound, Rene Wise makes his presence felt on Dekmantel UFO with a varied spread of sounds, leading with the melancholic charm of the melodic sequences weaving through 'Johnson's Theme' before sinking into the engrossing folds and low-end rumble of 'Granite Skin'. There's a lighter atmosphere at play in the vaporous impulses that mark out 'Flow' before rolling into the rhythmic urgency and strafing bleeps of 'Kanga'.

This is the Dekmantel UFO experience as expressed by one of the leading lights in modern techno — an artist who understands the psychoactive power contained within the subtleties of production and pursuit of the ultimate loop.

For over four decades, Mr. Fingers has been shaping the core of house music. Now he returns with a new album that continues his timeless journey through deep rhythms, soulful melodies, and immersive atmospheres. Crafted with the warmth and musicality that define him, the record blends deep house, jazz-infused harmonies, and subtle R&B textures. Mr. Fingers once again reminds us why his music remains essential: hypnotic grooves and heartfelt compositions. Not just music for the club, but also for the quiet spaces...

Italy’s own L.D.F. makes his debut on Shadow Pressings with a fresh slab of raw, analog funk—pressed strictly to wax and destined for selectors who still worship the turntable altar. With contributions from Detroit icons, Javonntte, Gary Romalis, & European groove architects Tilman & Böhm, the EP threads classic motifs through a modern underground sensibility—never nostalgic, always alive.

Shrunken Elvis ist ein Trio aus Nashville, bestehend aus Spencer Cullum, Sean Thompson und Rich Ruth - drei erfahrenen Musikern, die ihre Liebe zu genreübergreifender Instrumentalmusik verbindet. Die Gruppe entstand aus langen Autofahrten durch Europa, Winter-Jam-Sessions und dem gemeinsamen Bestreben, Musik eher aus dem Bauch heraus als aus Ambitionen heraus zu machen. Cullum, ein in East London geborener Pedal-Steel-Gitarrist, spielte bereits mit Angel Olsen, Lambchop, Miranda Lambert und Billy Strings gespielt und zwei Solo-Folk-Psych-LPs bei Full Time Hobby veröffentlicht. Thompson kam mit Gnarwhal und Promised Land Sound in der DIY-Szene von Nashville groß heraus und tourte später mit Margo Price und Skyway Man. Ruth schafft unter dem Namen Rich Ruth (Third Man Records) immersive Soloarbeiten, die spirituellen Jazz, Ambient und Post-Rock miteinander verbinden. Ihre Anfänge gehen auf eine Europatournee im Jahr 2022 zurück, die sie im Rahmen von Cullums Soloalbum unternahmen. Mit einem kompakten Setup aus Gitarren, Pedal Steel und Synthesizern in einem VW Passat zusammengepfercht, begannen sie unterwegs zu komponieren - und entwickelten eine gemeinsame musikalische Sprache, die sie in ihre Wintersessions in Nashville mitnahmen. Sie nahmen in einem Studio in einem Schuppen um einen Heizstrahler herum auf und fingen den Geist dieser Reisen mit Spontaneität und Vertrauen ein. Ihr Debütalbum zielt nicht darauf ab, individuelle Fähigkeiten in den Vordergrund zu stellen, sondern die Instrumente zu etwas völlig Neuem verschmelzen zu lassen. Mit der Einstellung ,keine Ziele, nur Ideen" schufen sie Musik, die sich ungezwungen, explorativ und lebendig anfühlt. Verwurzelt in den Traditionen von Kosmischer Musik, Jazz-Fusion, Elektronik und Ambient, lässt sich Shrunken Elvis von Alice Coltrane, Michael Rother, Pat Metheny, Ashra und KLF inspirieren lassen - zusammen mit visuellen Einflüssen wie ECM-Albumcovern und den Filmen von Kurosawa und Bergman. Gemischt von Jake Davis (William Tyler) und mit Artwork von Max Kinghorn-Mills (Hollow Hand) ist ihr Debüt ein leise drängendes, zutiefst kollaboratives Album - Musik, die ohne Erwartungen entstanden ist, aber voller Absicht.

Die Montrealer Ikone Tiga kehrt mit seinem vierten Album HOTLIFE zurück und läutet damit eine neue Ära in seiner unsterblichen Techno-Reise hin zu absoluter geistiger Freiheit ein. Mit Beiträgen von Boys Noize, Matthew Dear, Fcukers, MRD, Gesloten Cirkel, Paranoid London, Maara und den neuen Studio-Experten seiner Heimatstadt Priori und Patrick Holland befindet sich Tiga mit HOTLIFE auf dem Gipfel des Musikbergs und versetzt die Zuhörer mit ansteckenden Dancefloor-Klängen in Begeisterung: ,Wenn ich die Catharsis Machine einschalte", sagt der berühmte Sänger und Produzent, ,spielt es keine Rolle, ob Sie reich oder arm sind, denn Sie werden ein freier Mensch sein ..." Die Rückeroberung seines Platzes an der Spitze des himmlischen Firmaments der zeitgenössischen Tanzmusik verlief nicht ohne eine fesselnde und nachvollziehbare Erzählung. Nach einem mühsamen Kampf mit einer neurologischen Erkrankung, die er entdeckte und ,Vibe Fog" nannte, befand sich Tiga an einem Scheideweg: ,An einem bestimmten Punkt hieß es entweder, das Exoskelett zu kaufen und meine Virgin Megastore-Aktien zu verkaufen, oder Tiga City von Grund auf neu aufzubauen, Stein für Stein, Wasserspeier für Wasserspeier." Das Ergebnis ist ein Tiga, den langjährige Tiga-Beobachter als ,engelsgleich" und ,furchteinflößend" bezeichnen, was zu einem Album geführt hat, das die destillierte Essenz eines Trendsetters einfängt, der über alle menschlichen Grenzen hinausgeht. ,Meine Ja/Nein-Reaktionszeit bei künstlerischen Entscheidungen ist außergewöhnlich", fügt Tiga hinzu. ,Wir haben jede Sekunde, die wir bei jeder kreativen Entscheidung eingespart haben, in die Laufzeit des Albums reinvestiert. 12 Songs. 60 Minuten. Bemerkenswert."

Very Limited 7” EP with printed lyric inner sleeve

Purely Physical Teeny Tapes continue to sink their teeth into the fleshy nethers of the contemporary oz
underground, plucking the self-titled ep of vivisected bedroom folk by naarm/melbourne trio Who Cares?
from the recesses of net anonymity for the greatest of good.

Upon appearing out of nowhere back in ‘24, the quartet’s debut registered (feverishly) somewhere
between immediacy & beguilement, the intervening year & change doing little to dull its aura, the
mystique only heightened by their suitably gorgeous appearance in wonderful company on a colourful
storm’s recent ‘going back to sleep…’ compilation-extravaganza. The conceit of these four tracks here is
disarmingly minimal - repetitious loner guitar strummage, oblique vox poetics as lullaby, intermittent
sunken percussion, bass the subtle melodic lugger - all recurring/revolving in delicious pirouette freefall,
un-rinseable within the mind, wayward melodies stuck like heat-warped treacle.

As with the firmest of its diy domestica ilk, there’s something ever so slightly off here, the carnivalesque
nature of this thing being the ‘what?’ that keeps pulling you in. parched ennui drip, fully zonked bacchanal
(anti-)energetics, listlessness rendered bedsit anthem, cooees in the hallway. depending on how your
head is screwed, ‘correct’ or otherwise, one might hear a charmed take on a vein of folk song fallen well
by the wayside/behind the mantle, others a seance for the spirits in the kettle, others more attuned to the
myriad wraiths swirling within the outer reaches of these songs, flights of whimsy foiled by a sticky, gluey
something or other. choose, or rather submit to your own adventure. Miaow miaow miaow.

A new duo and record label based in Madrid lands on the underground techno scene, led by Mike Gómez and José Castillo, the latter known for his aliases Milford and UHF, and also the owner of the electro label Gladio Operations.

Diorama is born with the intention of recovering the soul and essence lost in electronic music, which for some time has become practically homogeneous and predictable. With a timeless, fresh, and warm sound, Diorama produce rhythms close to dub and Detroit techno, mainly influenced by Juan Atkins, UR, and Basic Channel, among others.

This EP, titled Pacific Trak, begins with a nod to the old Scottish school, where they revive a forgotten track by British producer Anthony Scott, adding its imposing main chord to a true sea of melodic textures, bathed in exquisite acid. Spanish techno master Tadeo gives us his vision of Pacific Trak, exploring dub territories that remind us of past pieces released under the incomparable Maurizio label.

The B-side opens with Soul Memories, a manifesto of resistance that vibrates with detuned harmonies and raw bass lines, recalling the origins of Detroit’s primitive sound. The package closes with Polymorphic, a progression of relentless aquatic chords, set among careful and precise minimalist rhythms that oscillate between high-dynamics tech and dub.

Debut album by The Upsessions

20th anniversary edition on solid pink vinyl

Previous pressings by Moon Ska and Cherry Red Records have sold out

Until We Are Free is the debut album from fabric, a collective of musicians from diverse backgrounds united by a shared goal: to fuse irresistible rhythms and grooves with a direct, socially conscious message that draws vital attention to the contradictions of modern life. The project's name itself evokes the idea of a living, dynamic ensemble—a creative intertwining of different threads, from musical genres to founding musicians and guest collaborators, all actively woven into the social fabric.

The record blends funk, soul, and Afrobeat with a sharp, contemporary urban attitude, resulting in a sound that functions simultaneously as sonic resistance and an invitation to the dancefloor.

It finds its place in a lineage that runs from Fela Kuti and ESG to The Comet Is Coming, Sault and Jungle.

At its core is the conviction that music and civic engagement can coexist seamlessly without being didactic. While the lyrics—entirely in English—tackle themes of rights, equality, and freedom, the groove remains the heartbeat: constant, pulsing, and relentless.

Mixed by Tom Campbell (whose credits include Sault, Little Simz, Adele, Michael Kiwanuka, and Jungle) and featuring art direction by Raissa Pardini, Until We Are Free is a soundtrack for complex times. It is an invitation to refuse neutrality and isolation, and to imagine—together—new possibilities for movement, resistance, and the future.

fabric's singles "Taste This Sound" and "Fight!" have been featured in FIP's Spotify Playlists "FIP Radio (en live)" and KEXP's "New This Week" and "KEXP Rotation".

Recorded in 1960, The Genius Hits the Road was a conceptual album by the great Ray Charles with all its songs referring to a geographical location. Arranged and conducted by Ralph Burns and featuring key members of Ray's band - including saxophonist David "Fathead" Newman and trumpeter Marcus Belgrave - plus strings, the album includes the perennial hit "Georgia On My Mind" - the Hoagy Carmichael song that Ray Charles made his own.