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Das in Australien gegründete und in LA ansässige Duo VOWWS meldet sich mit I'll Fill Your House With an Army zurück, ihrem bisher ehrgeizigsten und am besten umgesetzten Album.

I'll Fill Your House With an Army ist der Höhepunkt der kühnsten Ideen der Band und zeigt, wie VOWWS, bestehend aus Rizz und Matt James, ihre charakteristische „Death-Pop“-Ästhetik vertiefen: eine genreübergreifende Mischung aus industrieller Elektronik, alternativem Rock, cineastischer Nostalgie und melancholischer Pop-Sensibilität. Co-produziert von Billy Howerdel (A Perfect Circle) und mit Gastauftritten von Josh Freese (A Perfect Circle, NIN, Devo) und James „Munky“ Shaffer (KORN), ist das Album eine Reise durch Sehnsucht, Entfremdung und die surreale Schönheit des Chaos.

Dieses Album zeigt perfekt die dynamische Bandbreite des Duos: von verzerrter Intimität bis hin zu gewaltigen Klangattacken reflektieren VOWWS ein zerbrochenes Spiegelbild des modernen Zustands - romantisch, aber desillusioniert, viszeral und doch seltsam erhebend.

Nachdem sie sich durch Touren mit den Deftones, Twin Temple und Poppy bereits eine kultige Fangemeinde erspielt haben und gerade einen bahnbrechenden Live-Auftritt im Golden Gate Park neben System of a Down und The Mars Volta absolviert haben, sind VOWWS bereit, ihr Vermächtnis mit dieser Veröffentlichung zu zementieren. Ihr künstlerisches Ethos, unbeugsam in einer Ära der Wegwerfbarkeit, hat sie auch in die Welt der High Fashion geführt, wo sie mit Comme des Garçons, Givenchy und Byredo zusammenarbeiten.

Munich-based duo Glaskin, brothers Jonathan and Ferdinand Bockelmann, have become pivotal voices in modern techno, known for their residency at the legendary Blitz Club and standout releases on labels like Mutual Rytm and Figure. Their live sets channel dynamic, forward-thinking energy, and now they bring that momentum to FJAAK's ever-expanding CROWD family. With the Blue Light EP, Glaskin deliver four impeccably groovy tracks that balance stripped-down flair and shimmering texture. "Blue Light" opens the EP with mellow synth tones, a lean, hypnotic beat and a vocal loop murmuring 'here we go' that signals the underground journey ahead. Next up is "Captcha", releasing as the single, where a spoken female voice is layered atop rhythmic percussion, marrying atmosphere with groove-driven momentum. On the B-side, "Tape", digs deep into rolling uncompromising techno territory, strict in structure yet irresistibly danceable. The EP rounds out with "Prophat Tool Board", stepping slightly into house-leaning warmth, its broader rhythm and melodic warmth offering a fitting counterpoint to the brooding energy before it. The Blue Light EP is Glaskin's debut on CROWD and a shrewd expansion of the label's sound palette: richly textured techno made for both peak-time impact and immersive listening. To celebrate the release on the label, Glaskin will join label-founders FJAAK for a CROWD night at Nitsa Club in Barcelona on October 10, an event primed to showcase the raw energy and precision behind their studio work. Don't miss this one!

Wahnsinnig authentischer 90er-Jahre-Vaporware-Jazz, kreiert für den Weather Channel von Paul Coleman, einem Chicagoer Bandleader der 60er und 70er Jahre der Bands Fabulous Epics, Rasputin's Stash und Crystal Winds. Es existieren nur 500 Exemplare auf Cloud Coloured Vinyl weltweit.

""Ein Manager des Weather Channel war mit Corky Browns Tochter unterwegs und versprach mir eine Menge Geld, wenn ich Originalmaterial schreiben und dem Weather Channel vorlegen würde. Ich schaltete sofort in Superman-Modus und begann, jeden Tag einen Song zu schreiben und zu programmieren. Ich arbeitete Tag und Nacht daran, diese Songs so schnell wie möglich zu kreieren. Sie wurden ein paar Mal gespielt, bevor der Weather Channel aufgekauft wurde. Aber wir wurden nie bezahlt."" – Paul Coleman 2025

Alina Kalancea's Impedance is an entirely instrumental album spanning four sides, contains powerful rhythmic sequences, heart-beating frequencies and hypnotic loops that are paradoxically encapsulated in carefully crafted compositions which are full of secret passages and hidden doors. Kalancea's work creates ungraspable sonic experiences, which overtakes you, immersing its listeners in powerful and mind-altering soundscapes. There's no quick payoff on Impedance. This is the sound of new, patient electronic music, full of depth and substance.

Alina Kalancea is a Romanian sound artist and composer based in Modena, Italy. She has studied sound design and synthesis with Enrico Cossimi and collaborated with producer Alex Gamez, and artists Julia Kent and Raven Bush. Highly recommended to fans of Eleh, Caterina Barbieri, Shasta Cults, Jessica Ekomane, Eliane Radigue, and Alessandro Cortini. Packaged in a deluxe, heavy duty tip-on gatefold sleeves printed by Stoughton; cut by Golden Mastering and pressed at RTI.

2025 Repress

As one of the most Sought after artists of the recent years, there is no doubt that "Alarico" is on the front line of the new generational techno movement.

After recent releases in labels such as Klockworks, Token and Mutual Rytm, The Milan Based producer taking the gloves off and Debuting his first solo EP on his Co owned label "Primal instinct" alongside Chlar.

The anticipated 5 tracker release "Carnal Fever", is an impeccable showcase of Alarico's ability to push his musical aesthetics even further and keep developing his signatured modern minimalistic textures into new levels.

C"mon Tigre announces their new instrumental project,Instrumental Ensemble - Soundtrack for Imaginary Movie Vol 1. This album oï¬Çers an alternate view of cinematic music: a soundtrack composed for a fictional film using a challenging and inventive method.This project investigates an alternative approach in which music shapes and guides visual storytelling. It"s the first in a series of albums dedicated to as-yet-unmade films, enabling listeners to explore music as a key component in cinematic narrative. The original story that inspired this music was created in partnership with a large language model, which was taught and instructed in substance and style to best fit the project"s artistic concept. C"mon Tigre works with AI to achieve collaborative harmony while contemplating on the unavoidable future ahead. Each track on the album depicts a scene, delivering stories about humans jugglingpersonal issues and contacts with advanced technology. The end result is a story told by sound and text, designed to immerse listeners in a multisensory universe

Cyphon Recordings proudly presents the latest release from Berwick, a Sheffield by Bristol
producer and DJ carving out a reputation for razor-sharp electro and forward-thinking club
sounds. With a background steeped in underground electronic music, Berwick has steadily built
his name through a string of uncompromising releases and energetic live and DJ sets, blending
the grit of classic electro with a modern rave-inspired touch. His new EP showcases his most
refined work yet—four tracks built for the floor, designed to move bodies and shake systems.
Opening with Fall & Melt, Berwick sets the tone with a punchy, contemporary electro cut. Its
driving percussion, crisp groove, and propulsive energy make it a peak-time weapon, balancing
raw dancefloor impact with seriously fat production finesse. Next up, Powerflip dives deeper
into the shadows. Gnarly synth lines, guttural bass, and clipped vocal hits collide to create a
darker, more menacing side of Berwick’s electro vision. With eyeball-rattling low-end, it’s a track
that demands a big system to unleash its full force.
On Impossible, Berwick shifts gears into an even faster lane. Elasticated bass and synths bounce
around the crisp drum groove, pushing the pace with an adrenaline-fuelled rhythm that’s as
urgent as it is infectious. Rounding off the EP, fellow Bristolian Sam Lester takes Powerflip into
new territory with a remix that leans towards wonky tech house. Stripping back some of the
raw menace of the original, Lester reshapes it with a 4 on the floor kick, layering in hypnotic
textures and a slick low-end that makes it a tripped-out weapon for house and techno sets
alike.
This release cements Berwick’s position as an artist unafraid to push electro into bold and
uncompromising spaces, while also opening the door to cross-genre interpretations.

After releasing on some of your favorite labels, Paradise City Breakers start their own imprint with a very personal, no-compromise attitude.
The label exists to release timeless work, uninfluenced by the market or by what the audience thinks it wants.

The A-side is strongly influenced by early European club music, with a harder and more ravey attitude that culminates in Destroy the Power, while Dissociazione Jonica takes you on a stripped-down progression.
On the B-side, the sound becomes more modern, while still drawing from vintage influences. If What U Want is tight and enriched by clear melodies, Your Soul opens up a more oneiric dimension.

The first statement of many. Listen closely — the rest will follow

Downwards present Alexander Tucker in metamorphosis from psych folk to techgnostic bard, aided by notable guests – Justin K Broadrick, Regis, Phew, Karl D’Silva, JJOWDY, and Elvin Brandhi – in a quest for disordered convention and new thrills. One up to Tucker’s outings for Alter and The Tapeworm, and spiritual successor to his »Nonexistant« trio on Downwards, »Clear Vortex Chamber« is an enigmatic take on the brownfield edgelands where the eldritch intersects electronic heck. Decades of work spread between hardcore punk, psych rock, folk, and drone — including work with Stephen O’Malley (Ginnungap) and Neil Campbell (Astral Social Club, ESP Kinetic) — feed forward into this album’s unsteady machine rhythms and cranky junkyard atonalities, where Tucker panel-beats aspects of his previous sound with a newfound industrial thrust and cyber-punky lust that suits him dead well.

A crafty example of how to mutate without losing sight of yourself, the album’s eight parts feel like a cyborg patching itself into modernity. On opener »Udug« Tucker’s signature falsetto peals from a A Scanner Darkly-style scramble suit of stereo-strobing electronics, setting a melodramatic, neo-gothic tension that riddles the album thru the knotted, fractured industrial dancehall bullishness of »Mallets« with Yeah You’s feral gob Elvin Brandhi, via a pair of standout »Fedbck« parts with Tucker’s personal idol, Justin K Broadrick (Godflesh, Jesu, and the rest), featuring the Brum deity’s claw-handed riffs and howl on the first, and smeared with Karl D’Silva’s brass in its noctilucent second part.

Regis also proves a staunch foil for the album’s most robust, club-ready cut »Zona«, hammered out from buzzing metallic drums and monotone bass drones, and pitting his severed vox against Tucker’s own androgynous harmonies to recall aspects of The Ephemeron Loop via British Murder Boys, whilst scene legend, Can and Ryuichi Sakamoto spar Phew (aka Aunt Sally) ideally tempers the flow in a relatively soothing »Sansu«, sharing more cyber-romantic, recombinant sentiments with the channelling of Robert Wyatt gone Funk Bruxaria on »Folded«.

Fides Records celebrates ten years of independent sound and vision with the monumental 41-track release “FIDES X – 10 Years of Fides”. The first 12” FIDESX 1, set to release on 24th October sets the tone for the seven-part vinyl journey, opening with a powerful statement of intent.

UFO95 introduces “After Light Comes Shadow”, a bleep-infused 4/4 cut whose broken accents unfold into layers of cinematic tension. Z.I.P.P.O and Claudio PRC follow with “Marte Rosso”, a poetic excursion across Martian landscapes shaped by evolving pads and hypnotic grooves. D-Leria’s “Underwater” plunges deeper still, driven by relentless modular propulsion and immersive aquatic textures.

The B-side expands the spectrum. Stephanie Sykes & Dyad contribute an untitled roller infused with spiritual intensity and organ-like resonance, while BIMOL’s “Fragmento en La” twists cinematic atmospheres and industrial edges into broken rhythms guided by a haunting Spanish vocal. Bringing the record to a close, Decoder delivers “We Keep Lying To Ourselves”—a slow-burning, 808-driven piece of subtle progression and timeless elegance

Dub techno dons Lempuyang are back with the first double LP from the revered JS Zeiter, an assured artist whose early 12"s merged Chain Reaction's energy with deepchord's immersive depth and made him a modern-day great. Since then, he has spent years refining his craft into a consistently exceptional and sought-after sound across various aliases. Context Collapse marks a significant new chapter with eight expertly designed sounds that offer dub for all occasions, from those zoned out early mornings after a long night at it to more airy and uplifting dreamers like 'Interplay' via cosy, cuddly and introspective gems such as the smooth and seductive 'Open'. JS Zeiter is a true craftsman, as this double pack shows once more.

In between the folds of ceremony and commonality lies a perennial spring of musical expression.

A statement along the time continuum, or a testament to the resilient resourcefulness embedded in that truth, forms the philosophical approach of this album – the first outing of Dídac.
Studying an extensive archive of instruments, artifacts, and field recordings at the Musée d’ethnographie de Genève—a space steeped in folkloric gesture – Dídac encountered a cosmos of liturgical music and folk song. Anchored in reverance for tradition and transformation alike, this album navigates the old-world Mediterranean lore through a post-modern ambient lens, threading drone, gentle rhythm, electroacoustic textures and the crude tactility of archival material into one woven tapestry.

Under the guidance of Dr. Madeleine Leclair, Dídac was invited to work within one of the world’s most extensive ethno- musicological archives—L’AIMP. In the saturated basements and tape-lined backrooms of the museum, he submerged himself in the sounds of ritual and rural life: wax cylinders from the Eastern Mediterranean, tapes of liturgical hymn, the worn edges of communal song.
In a makeshift studio on the fourth floor of the museum, he sifted through the hours of material he collected, gradually discovering that the archive was no static source – It did not dictate; rather, it served as a companion—offering not answers, but questions. Not a beaten track, but a cluster of sonic clues and riddles. Samples do appear occasionally, tenderly interwoven into the dialogue of the songs. In Dídac’s self-titled debut, the past is not worn as ornament or kitsch; it is listened to and responded to. The museum, its archives, and the visit to Geneva became a foundational culisse of sorts, igniting a myriad of rough cuts and improvisational outtakes.
Dídac, or Diego Ocejo Muñoz, was born in Madrid in 1994 to a family of both Catalan and Castilian origin.

Brought up in a religious household, the influence of the Catholic Church innately shaped the social fabric, schooling and daily life. This lingering dominance led the adolescent Diego into a path of rejection of everything sacramental, promptly resorting to subversion in the shape of grafitti, skateboarding and underground music. Only later in life, after a rigorous venture as an acid and electro producer, the Church re-emerged before him in new light, invoking a deep fascination for its mysticism, iconography and choral tradition.

Spain in general and Catalonia in particular, has long served as a crossroads of the eastern–western Mediterranean continuum, with many of its cultures sharing aspects of way of life and ceremony. At the MEG, Diego found himself puzzled with this realization, resulting in a sonic amalgamation that reaches farther away from the rugged mountains of Catalonia than you might perceive at first encounter.

The deeply embedded memory of rite and public ceremony, religious hymn and landscape—sieved through the undercurrent of personal re-emergence, forms the emotional topography of this album. The record does not trace this landscape; it inhabits it. Its repetitive mysticism and ambient, wide-eyed gaze could possibly evoke (perhaps redundant) comparisons to artists such as Dimitris Petsetakis, or Popol Vuh’s late 70’s cinema scores.
The delicate lines between the sacred and the secular – between memory and re-invention – serve as a cipher to understanding this album in its entirety. Titles like Malpàs Mines or Pantocrator’s Portal Outro nudge toward a folkloric and devotional bedrock—places where labor and spirituality coexist, where names preserve both dust and veneration.

Nevertheless, this is far from mere nostalgia. It is a reclamation — singing alongside the spirits of the past, nurturing what still hums beneath the soil. It is an intimate reflection on tradition, rebellion, adolescence, ceremony and fantasy – a pastoral contemplation on what once was and what is to be.

Spring Revisited pays us a respectful revisit this autumn as a full double LP on Acid Jazz, Ace Records and Cosmos, pinching the celebrated 12" singles into one power-punchy grab bag. Spring, founded in late 60s New York by Bill Spitalsky with Roy and Julie Rifkind, became a 70s soul powerhouse, home to such dance music pioneers Millie Jackson, Joe Simon and The Fatback Band. Their collegiate creations were of course ripe for modern reinterpretation - a fated intention - and as recently as 2025 saw DJs and producers pull them apart and reappraise them for modern floors: Dimitri From Paris turned Jackson's 'We Got To Hit It Off' into a stout summer anthem, Joaquin 'Joe' Claussell reimagined Fatback's 'Snake', and Kenny Dope, Dave Lee, DJ Spinna, Opolopo, Colleen 'Cosmo' Murphy and others added their own ensouled spins.

An electrified meeting of minds, Candy Girl is a lost 1975 session by jazz pianist Mal Waldron, recorded in Paris with core members of the mighty Lafayette Afro Rock Band, the American funk unit who had made France their home and whose deep grooves would later be mined by generations of hip-hop producers.

By 1975, Waldron was a decade into his self-imposed exile from the United States—a transformed musician who had reassembled his sound in Europe and Japan after a devastating breakdown in the early '60s. His post-1969 output had stripped jazz down to its core elements: modal intensity, locked grooves, and hypnotic repetition. Candy Girl doesn’t interrupt this trajectory—it extends it, wrapping Waldron’s minimalist mantras around the funked-up chassis of the Lafayette rhythm section.

Originally released in microscopic quantities on the Calumet label and long shrouded in obscurity, Candy Girl was recorded spontaneously in the studio of French producer Pierre Jaubert, whose Paris HQ had become the workshop for both avant-garde jazz (Archie Shepp, Art Ensemble of Chicago, Steve Lacy) and psychedelic funk (Lafayette Afro Rock Band AKA Ice). This session finds Waldron jamming freely with bassist Lafayette Hudson, drummer Donny Donable, and keyboardist Frank Abel on clavinet, Moog and more—laying down raw, unfiltered instrumental funk with an experimental edge.

Highlights include the low-slung vamp of “Home Again”, the crisp, break-laden groove of “Red Match Box”, and the mesmeric swirl of the title track “Candy Girl” —a minor-key electric piano waltz with hints of cosmic soul. There's even a deep cut for the crate diggers: the somber yet meditative “Dedication to Brahms”, where Waldron deconstructs the Romantic composer’s third symphony into a sparse jazz reverie.

Unlike his polished sessions for Japanese labels or the avant-garde swing of his earlier Prestige work, Candy Girl feels more spontaneous, even accidental — and that’s part of its power. It’s a document of Waldron as bandleader, collaborator, and explorer, captured in the midst of a vibrant, cross-cultural scene in mid-70s Paris. Never officially issued with a cover and barely released at all, Candy Girl is a rare convergence of two underground traditions: Waldron’s Euro-exile electric jazz and the raw, sampled-future funk of the Lafayette Afro Rock Band. Now finally resurfaced, it deserves its rightful place in both stories.

Following the success of Highly Refined Pirates' forward-thinking guitar gymnastics and Menos El Oso's groundbreaking glitch rock, Seattle's premier pop revisionists Minus The Bear dug into some of rock music's most ostentatious years for inspiration for their 2007 album, Planet of Ice. The title alone conjures images of Yes's Relayer album art, and the influence of the elder statesmen's symphonic scope can be felt throughout Planet of Ice's lush and intricate arrangements. You can also hear the band channel the ominous instrumental interplay of Lamb-era Genesis on "Dr. L'Ling", the deceptively savvy musicianship and pristine production of Steely Dan on "White Mystery", and the tightrope walk between ethereal space and pre-metal riffage of Pink Floyd's "Echoes" on "Lotus". Not that Minus The Bear completely abandoned their earlier style_elements of Menos El Oso's sample-driven technique can be heard on the lead single "Knights". But the heart of the song ultimately belongs to the haunting Fripp-esque guitar lines spliced between verses. After being out of print on record since 2010, Suicide Squeeze is proud to reintroduce Planet of Ice's creative marriage of classic motifs and modern musical wizardry with a vinyl remaster courtesy of Bernie Grundman.

Turbostaat - Role Model für eine ganze Generation deutschsprachiger Post-Punk-Bands - feiert das 25-jährige Bandbestehen mit der Wiederveröffentlichung ihres Katalogs über das bandeigene Label 18Null9. 'Flamingo', das ursprünglich 2001 veröffentlichte Debütalbum, erscheint auf 180g schwerem Vinyl mit großem Textheft im Orginal-Artwork.

Turbostaat - Role Model für eine ganze Generation deutschsprachiger Post-Punk-Bands - feiert das 25-jährige Bandbestehen mit der Wiederveröffentlichung ihres Katalogs über das bandeigene Label 18Null9. 'Schwan', ursprünglich 2003 veröffentlicht, erscheint auf 180g schwerem Vinyl mit großem Textheft im Orginal-Artwork.

- Ltd LP: (180g, inkl. Textheft im 7" Format)

Eyvind Kang ist Komponist und Bratschist, dessen Werk experimentelle, klassische und traditionelle Musikformen umfasst. Zu seinen Kollaborationen zählen unter anderem Jessika Kenney, Bill Frisell, Laurie Anderson, Bennie Maupin, Stuart Dempster, Sun City Girls und SUNN O))). Kang ist bekannt für seine Erkundungen der Mikrotonalität, der modalen Improvisation und des Klangrituals. Seine Werke wurden weltweit auf führenden Festivals und Veranstaltungsorten präsentiert. Kang ist derzeit Fakultätsmitglied am CalArts und unterrichtet Komposition und experimentelle Klangpraktiken. Seit über dreißig Jahren erforscht Eyvind Kang die verschwommenen Grenzen zwischen Komponist, Interpret und Zuhörer. Auf Riparian präsentiert er eines seiner bisher intimsten und fokussiertesten Werke: zwei Langformstücke für Viola d'amore, improvisiert innerhalb mikrotonaler Systeme, die er während der Pandemie entwickelt hat. Kang bezeichnet diese Improvisationsmethode als ,Riparian" und beschwört damit das Bild eines Flusses herauf, der in verschiedene Richtungen überquert wird - fließend, nichtlinear und lebendig mit subtilen Variationen. ,Ich stellte mir Pizzicato und Arco wie das Springen von Stein zu Stein in einem Bach vor", sagt er. ,Es gibt eine geerdete Zufälligkeit, wie bei einem Frosch oder einer Schildkröte, die sich zwischen Land und Wasser bewegt." Jedes Stück auf Riparian ist eine erste Aufnahme, die im Studio als Teil dessen aufgenommen wurde, was Kang als ,eine Art Geschichtenerzählen unter gleichgesinnten Freunden" bezeichnet. Das Ergebnis ist Musik, die mit stiller Intensität und emotionaler Klarheit fließt und Melodien entfaltet, die sich sowohl uralt als auch lebendig präsent anfühlen. Produziert und aufgenommen von Randall Dunn (SU NN O))), Omar S ouleyman, Kali Malone) produziert und aufgenommen, fängt Riparian die volle Resonanz der Viola d'amore in einem reichen, dimensionalen Klang ein. Dunns Handschrift verleiht Kangs lyrischer Phrasierung Wärme und Transparenz und offenbart subtile Klangtexturen, die ein tiefes Hören belohnen. Meditativ und ausdrucksstark zugleich lädt Riparian den Hörer in einen Raum ein, in dem die Zeit weicher wird und Klang zu einer Form der Einstimmung wird .

Retinal Rivalry ist der Soundtrack zu Cyprien Gaillards neuem stereoskopischen Film Retinal Rivalry (2024). ,Es ist eine faszinierende Reise durch die deutsche Stadtlandschaft und ihre vielschichtige historische und soziale Bedeutung. Aufbauend auf seiner früheren Erforschung der skulpturalen Qualitäten dreidimensionaler bewegter Bilder geht das Werk über die Grenzen der Leinwand hinaus. Durch die Ausschöpfung des vollen Potenzials modernster Technologie bietet Gaillard eine erweiterte, geschärfte und tief bewegende neue Sicht auf die Welt um uns herum. Retinal Rivalry ist nach dem Phänomen der visuellen Wahrnehmung benannt, das auftritt, wenn das Gehirn zwei widersprüchliche Bilder gleichzeitig empfängt. Anstatt zu einem 3D-Bild zu verschmelzen, wechselt das neuronale System zwischen der Priorisierung des einen Bildes und der Unterdrückung des anderen, was beim Betrachter Verwirrung und Unbehagen hervorruft. Gaillards Film setzt sich mit diesen Komplexitäten der visuellen Verarbeitung und den Grenzen der Technologie auseinander und sammelt visuelle Informationen durch außergewöhnliche, oft augenzwinkernde Aufnahmen, die das Innere und das Äußere, das Eingeschlossene und das Verstreute sowie das Natürliche und das Gebaute miteinander verflechten. Seine Kamera nimmt ungewöhnliche Blickwinkel ein, wechselt von sanften Luftperspektiven zu einem niedrigen Blickwinkel aus der Perspektive eines Nagetiers, zu schwindelerregenden Ein- und Ausblendungen auf der knolligen Nase einer Skulptur oder zu einer langen Einstellung eines Zuges, der durch eine Landschaft fährt, und zieht uns in eine vielschichtige Erfahrung hinein, die zwischen einem schlechten Trip und unerwarteter Schönheit, die Trost spendet, schwankt. In ,Retinal Rivalry" deuten verschiedene Treppen, Spiralen und Aufzüge auf einen Zustand des ständigen Auf- und Abstiegs hin und betonen das Wechselspiel zwischen Distanz und Nähe, abgrundtiefer Tiefe und lebendiger skulpturaler Darstellung. Der Film pulsiert rhythmisch mit Bildern, die anschwellen und sich zusammenziehen, sich aufblähen und entleeren. Er manipuliert das Gefühl der Zuschauer für Tiefe, Maßstab und Textur und lässt vertraute Materialien und Orte unheimlich erscheinen, wobei er die inhärenten Ungenauigkeiten und Verzerrungen der Darstellung hervorhebt. ,Retinal Rivalry" zeichnet die gewöhnliche Welt in großartigen Details auf und versucht dabei, unter die Oberfläche der Dinge zu blicken. Der Film ist eine Darstellung von Raum und Zeit, die Darstellungsweisen destabilisiert und eine neue Hyper-Vision-Version der Realität bietet. Mit 120 Bildern pro Sekunde aufgenommen und mit derselben Geschwindigkeit projiziert - fünfmal so schnell wie im Kino üblich - fängt Gaillard mehr ein, als das menschliche Auge natürlich wahrnehmen kann. Die Filmmusik greift auf verschiedene klangliche Elemente zurück und unterstreicht so die Erforschung von Dissonanz und Synchronität. Indonesische Instrumentalmusik wird überarbeitet und mit Feldaufnahmen von rumpelnden schweren Maschinen und seltsam melodischem Würgen kombiniert. Der Soundtrack enthält auch die ersten Zeilen aus Werner Herzogs Aguirre, der Zorn Gottes (1972) sowie die dazugehörige Ouvertüre der deutschen Band Popol Vuh. Die Klanglandschaft von Retinal Rivalry steht im Kontrast zu den Bildern - was wir sehen, steht oft im Widerspruch zu dem, was wir hören. Nur in einem Abschnitt verschmelzen Ton und Bild: Ein gebrochenes Bein betätigt das Pedal einer interaktiven Orgel, um ein Stück von Johann Sebastian Bach zu spielen, das immer wieder ins Stocken gerät.

Ein Vierteljahrhundert Punkrock mit Ruhrpott-Attitüde, charismatischen Texten und ehrlicher Musik mit dem gewissem Charme - Emscherkurve 77 feiern 2025 ihr 25-jähriges Bandjubiläum. Und wie! Am 30.Oktober erscheinen zwei brandneue Songs in der Königsklasse "10inch-Vinyl", die nicht nur musikalisch, sondern auch zeitlich ein echtes Highlight sind. Denn zum Jubiläum haben sich die Jungs, bei "Eins ist geblieben" eine ganz besonderen Gast (und sogar Fan) ins Boot geholt: Reinhard Mey. Ja, der Reinhard Mey! Die unerwartete, aber umso kraftvollere Kollaboration zeigt, was passiert, wenn Punk und Liedermacher auf Augenhöhe zusammenkommen: Kein billiger Crossover, sondern gelebte Solidarität zwischen Generationen und Genres, die verbindet. Reinhard Mey hat seine erste Single zwar schon vor exakt 60 Jahren veröffentlicht, da lagen die Sex Pistols und Die Toten Hosen noch in ihren Windeln und die Jungs von Emscherkurve 77 waren noch lange nicht einmal geboren, aber er war schon da und ebnete diesen Weg mit seiner freundlichen Radikalität: Niemands Herr und niemands Untertan! "Eins ist geblieben" von Emscherkurve 77 im Duett mit Reinhard Mey ist somit nicht nur nicht verwunderlich, sondern absolut naheliegend, ja sogar überfällig. Der Generationenunterschied ist irrelevant, die Geisteshaltung, die Freiheitsliebe, das Misstrauen gegen jede Machtfülle und die Demut vor dem Leben eint sie alle: "Dem Himmel sei Dank; für immer ein Punk!" Der zweite Song "Alchemie" ist ein klassischer Emscherkurve 77-Song im modernen Gewand. Ein Song über das Leben, der eine Brücke baut von der Kindheit bis ins "Jetzt" , verbunden mit der klaren Botschaft, dass man jede Phase des Lebens genießen sollte und zufrieden zu sein. Die EP erscheint als 10inch Vinyl auf 500 Exemplare streng limitiert, davon 100 black und je 200 colored (Swirl & Splatter) Feiern wir 25 Jahre Emscherkurve 77 - und eine der ungewöhnlichsten und spannendsten, musikalischen Allianzen des Jahres!

Ein Vierteljahrhundert Punkrock mit Ruhrpott-Attitüde, charismatischen Texten und ehrlicher Musik mit dem gewissem Charme - Emscherkurve 77 feiern 2025 ihr 25-jähriges Bandjubiläum. Und wie! Am 30.Oktober erscheinen zwei brandneue Songs in der Königsklasse "10inch-Vinyl", die nicht nur musikalisch, sondern auch zeitlich ein echtes Highlight sind. Denn zum Jubiläum haben sich die Jungs, bei "Eins ist geblieben" eine ganz besonderen Gast (und sogar Fan) ins Boot geholt: Reinhard Mey. Ja, der Reinhard Mey! Die unerwartete, aber umso kraftvollere Kollaboration zeigt, was passiert, wenn Punk und Liedermacher auf Augenhöhe zusammenkommen: Kein billiger Crossover, sondern gelebte Solidarität zwischen Generationen und Genres, die verbindet. Reinhard Mey hat seine erste Single zwar schon vor exakt 60 Jahren veröffentlicht, da lagen die Sex Pistols und Die Toten Hosen noch in ihren Windeln und die Jungs von Emscherkurve 77 waren noch lange nicht einmal geboren, aber er war schon da und ebnete diesen Weg mit seiner freundlichen Radikalität: Niemands Herr und niemands Untertan! "Eins ist geblieben" von Emscherkurve 77 im Duett mit Reinhard Mey ist somit nicht nur nicht verwunderlich, sondern absolut naheliegend, ja sogar überfällig. Der Generationenunterschied ist irrelevant, die Geisteshaltung, die Freiheitsliebe, das Misstrauen gegen jede Machtfülle und die Demut vor dem Leben eint sie alle: "Dem Himmel sei Dank; für immer ein Punk!" Der zweite Song "Alchemie" ist ein klassischer Emscherkurve 77-Song im modernen Gewand. Ein Song über das Leben, der eine Brücke baut von der Kindheit bis ins "Jetzt" , verbunden mit der klaren Botschaft, dass man jede Phase des Lebens genießen sollte und zufrieden zu sein. Die EP erscheint als 10inch Vinyl auf 500 Exemplare streng limitiert, davon 100 black und je 200 colored (Swirl & Splatter) Feiern wir 25 Jahre Emscherkurve 77 - und eine der ungewöhnlichsten und spannendsten, musikalischen Allianzen des Jahres!

Holy Sons is the largely solo project of Emil Amos (Grails, Om, Lilacs & Champagne). Puritan Themes is his 17th album and his 4th for Thrill Jockey Records and a tentpole album in his wide-ranging output, including myriad private press LPs, collections of oddities, and conceptual series". Puritan Themes" relaxed vibes are influenced by the laid-back west coast rock sound of mid-period Fleetwood Mac, blended with a dose of psych distortion and imbued with the breeziness and ease of yacht rock. Puritan Themes is a record that knowingly, barely fits into the modern world. When mixing the record in Chicago, everyday Amos skated through Douglass Park listening to podcasts about the inner workings of The Band, listened to 70"s AM radio while washing dishes and went to sleep at night to early Bee Gees interviews. The earliest concept of the record was based around the track "Chain Gang" which was an imaginary take on if Cat Stevens had smoked a ton of salvia and taken a much darker route within that world of dense, story-telling/message-based songwriting. The track "Raw & Disfigured" borrows its name from the last Thrill Jockey Holy Sons record, in a referential move that"s stolen from the way Led Zeppelin separated the track "Houses of the Holy" from the record of the same name (once again harkening back to 70"s lore).

A collaboration forged in the heart of the American Midwest, In The Earth Again unites Oklahoma City"s noise rock institution Chat Pile with Texas/Oklahoma"s visionary guitarist and composer Hayden Pedigo. What began as a casual split release idea spiraled into thirty-six-minute album that threads their contrasting sensibilities into something entirely new. Pedigo"s panoramic, primitive guitar, meets Chat Pile"s industrial decay, creating a record that explores unknown emotional registers and atmospheric depth for both, In The Earth Again sounds like a post-apocalyptic transmission from rural nowhere. Instead of making concessions, the five artists work as a single unit, and each decision is made in support of the greater vision. The result is both intimate and expansive, a tribute to the modern wasteland. Cover art by Malcom Byers.

A collaboration forged in the heart of the American Midwest, In The Earth Again unites Oklahoma City"s noise rock institution Chat Pile with Texas/Oklahoma"s visionary guitarist and composer Hayden Pedigo. What began as a casual split release idea spiraled into a thirty-six-minute album that threads their contrasting sensibilities into something entirely new. Pedigo"s panoramic, primitive guitar, meets Chat Pile"s industrial decay, creating a record that explores unknown emotional registers and atmospheric depth for both, In The Earth Again sounds like a post-apocalyptic transmission from rural nowhere. Instead of making concessions, the five artists work as a single unit, and each decision is made in support of the greater vision. The result is both intimate and expansive, a tribute to the modern wasteland. Cover art by Malcom Byers.

Deep black, with ghostly glimmers of an old car melting into the tarmac: the cover of Never En-ding Rodeo sets the tone. This isn't just a late-night drive, but a controlled skid across the borders of Post-Rock, Noise and Psych. The engine roars, the ground shakes, the white lines blur. Six years after the release of Ain't That Mayhem, the Lyon-based band returns with a dense, smoke-veiled record. Never Ending Rodeo: a deceptively playful, almost cartoonish title for such an intense album. As if, after circling endlessly around dust, bucking, and stampedes, Zëro had carved out its own orbit. Unstable, inevitably. But magnetic. Éric Aldéa (guitar, vocals), Franck Laurino (drums), Ivan Chiossone (Persephone, synths), and now Varou Jan (guitar, bass) - (Le Peuple de l'Herbe, Condense) - have lost none of their bite. Better still: this new album marks a turning point in production quality, thanks in particular to the mixing work of Niko Matagrin. The sound is broader, more inhabited. Every snare crack, every synth layer sits precisely in a meticulously sculpted space. "As if Tom Waits had collided with Nine Inch Nails. Before a frightening modernity hurled this so-nic convoy into a headlong rush." ~ Indiepoprock "You don't simply pass through Never Ending Rodeo: you step inside, you lock yourself in, drawn irresistibly by its magnetism." ~ Solénopole

Neuestes Signing bei Blue Note Records ist der in Houston geborene und in Los Angeles lebende Pianist
und Komponist Paul Cornish. Derzeit ist er auch Mitglied von Joshua Redmans Band, tourte im vergangenen Jahr mit dem Saxophonisten um die Welt und brilliert auf seinem aktuellen Album „Words Fall Short“.
“You’re Exaggerating!” heißt Cornishs Debütalbum, auf dem er neun kompositorisch hochspannende Originale präsentiert. Im Trio mit Bassist Joshua Crumbly und Drummer Jonathan Pinson erweist er sich
zudem als Pianist von ungewöhnlicher Klasse. Das Album vermag gleichzeitig durch die melodisch ausgefeilten Kompositionen als auch die mal verhaltene, mal rasante Spielweise der drei Musiker zu überzeugen.
Paul Cornish machte seinen Master-Abschluss am angesehenen Herbie Hancock Institute an der UCLA
und ist neben Joshua Redman mit so namhaften Künstlern wie Louis Cole, Mark Guiliana, HAIM, Snoh
Aalegra, Terrace Martin, Kanye West und anderen zu hören gewesen.

Detroit-born artist, Jalen Elk Star unveils his debut LP, ESIN on L.I.E.S. Known in certain circles as filmmaker, music producer, playwright, and collagist, Jalen often draws from controversial themes to craft modern avant-garde works redefining the way art is seen in today’s chaotic universe. After years working on diverse projects under various aliases, his shift to a more liberated creative process under this new moniker has allowed his vision to reach a broader audience, continuing the path with the music on this new lp.

ESIN, a 13-track sonic collage, builds on his past, blending raps, noise, ambience, samplers, drum machines and synths into a raw, vibrant narrative. This work traces Jalen’s journey between his cities, Detroit and Chicago, offering a profound glimpse into his dynamic, limitless world of sound and vision. Something along the lines of the dusty crunched out vapors of the 2010s getting in a car crash with the abstractions of Rammellzee. A headtrip for the headphones.

Verve // Remixed Holiday returns this season with a fresh spin on timeless cheer. Inspired by the beloved 2008 release, this vibrant reimagining of classic holiday tracks from Verve Records’ legendary catalog features five brand new remixes from a cutting-edge lineup of DJs and producers: Ginton, Bolden., Tourist, Two Another, and DARGZ. Their genre-blurring interpretations bring new life to beloved recordings, fusing modern electronic textures and grooves with jazz, soul, and holiday nostalgia.

This release offers a renewed celebration of the season—where vintage vocals meet forward-thinking production. From cozy fireside vibes to festive dance-floor energy, Verve // Remixed Holiday bridges generations of sound and spirit.

Pressed on “Crystal Clear” vinyl, this is a must-have for collectors and a holiday essential you will putting on all year long.

"Imagine More is the follow-up to Lophae's acclaimed debut Perfect Strangers (January 2025).
Recorded live to 2-inch,16-track analogue tape with the band all in one room, engineered and mixed by Benedic Lamdin (Nostalgia 77), and mastered by Caspar Sutton-Jones (Gearbox Studios), this second offering from guitarist and composer Greg Sanders' quartet ventures deeper into their distinctive blend of modern jazz, psychedelic exploration, and world music flourishes.
Four gifted improvisers navigate Sanders' compositions with mercurial dialogue and musical communion, weaving melodic elegance with rhythmic complexity, creating sound-worlds that echo Jeff Parker, Joao Gilberto, and Blake Mills while channeling the sophistication of Stan Getz, Bill Frisell, and Edu Lobo.
Fizzing electric guitar, flowing saxophone lines, and skittering rhythmic interplay transport listeners from north-west London's Fish Factory recording studio to the musical capitals of New York, New Orleans, Rio De Janeiro, Bamako, and Johannesburg - anchored by Sanders' unmistakable compositional voice and the quartet's intuitive sensitivity."

Conjunto Media Luna presents two new tracks that bring together different geographies, collaborators, and histories of cumbia. “Kumbia dos Pasitos,” in collaboration with Turbo Sonidero, and “No es Moda,” alongside La Terrorista del Sabor, are released jointly on 7” vinyl by Little Beat More and on digital platforms through In-correcto. The cover design is by Bogotá-based artist Mateo Rivano, whose work has defined the visual identity of several influential projects in Colombian alternative music.

Mr Bongo proudly presents, ‘AFIM’, the second solo album by one of Brazil’s most exciting new talents, Zé Ibarra. You may be familiar with the hypnotic, entrancing tones of Ibarra’s vocals through his work with the Latin Grammy award-winning, four-piece, Bala Desejo and the band Dônica. He has also toured with the musical titan, Milton Nascimento, performing guitar and vocals, which is quite the honour and a testament to Ibarra's craft. As a solo artist, he has performed headline solo shows in Japan, Portugal and the US, as well as recently completing a support tour with the great, Seu Jorge.

‘AFIM’ is comprised of eight tracks, featuring Zé’s own compositions as well as cover versions of tracks by contemporaries and friends, Sophia Chablau, Tom Veloso, and Dora Morelenbaum. It combines elements of MPB, jazz, pop and progressive rock in a bold, authoritative style. The album represents the intersection between different facets of the artist, from the stripped-down, intimate, guitar singer-songwriter, to dense arrangements with sweeping strings sections. Writing this album allowed Ibarra "to explore sides of myself that had not yet been organized in an album: a certain darkness, a more cinematic musicality, a desire for new soundscapes.

The album features the single, 'Transe', a song with an instantly comforting tone reminiscent of classic Brazilian songs of the past (think Caetano Veloso). It is built on a rhythmic guitar that supports dynamic sound layers, opening space for Ibarra's intense interpretation. Cinematic atmospheres that lend an air of mystery come courtesy of string arrangements by Jaques Morelenbaum.

His unique cover version of Sophia Chablau's 'Segredo' is equally compelling, taking Sophia's punky-indie original in a different direction and making it feel like his own. 'Essa Confusão', a song celebrating the intensity of love and co-written by Dora Morelenbaum, is steered into epic, 70's AOR, singer-songwriter territory with wind arrangements by Ibarra, Jorge Continentino and strings by Jaques Morelenbaum.

The album is the result of the collaboration of experienced musicians and long-time partners of Ibarra. Fellow Bala Desejo and Dônica member Lucas Nunes co-produced the album. The core band featured on the record consists of Lucas Nunes on organs, Alberto Continentino on bass, Daniel Conceição and Thomas Harres on drums and percussion, Rodrigo Pacato on additional percussion, Chico Lira on Fender Rhodes and Guilherme Lírio on guitar.

The overall feel of the record is archetypically quintessential without slipping into retro mode. It is a stunning album from one of the finest musicians of his generation. A true star of Brazil’s blooming contemporary scene.

Trauma Collective returns with a commanding techno statement from Lowsystem, unveiling Echoes of the Mind – a four-track EP that traverses the fractured landscapes of consciousness and club ritual.

Opening with Finding Reality, a shadow-drenched industrial roller, Lowsystem sets a brooding tone with relentless low-end pulses – the perfect tension-builder for murky warehouse settings. The title track channels the raw, unfiltered energy of early club nights, blending classic techno grooves with an urgent modern edge.

Flipping to the B-side, Distorted Perception descends into darker realms – a peak-time arsenal armed with pounding kicks, razor-sharp synth stabs, and intricately swinging hi-hats that shift the dancefloor into hypnotic frenzy. Closing with Cognitive Dissonance, Lowsystem dissolves rhythmic certainty, crafting fractured broken beats and eerie atmospheres that challenge perception and push sonic boundaries.

The vinyl edition deepens the experience with a printed insert revealing the artist’s creative vision. Also available digitally across all platforms.

Yarni's "Anemoia" blends disco, soul, jazz-funk, hip-hop, and trip-hop across ten collaborative tracks, arriving with an unexpected bonus record due to a pressing plant mix-up that transformed a costly mistake into a collector's item. When the pressing plant accidentally pressed the full run using a rejected master, Yarni included both the louder original test pressing and the final audiophile version rather than waste the pressing.

The project has garnered significant BBC Radio support, with Craig Charles, Stuart Maconie, Romesh Ranganathan and Huey Morgan championing tracks as essential listening. Exploring the Greek concept of nostalgia for a time never known, the self-taught multi-instrumentalist collaborates with ten musicians and vocalists, weaving genres into a thoroughly modern tapestry.

Standout collaborations include the orchestral jazz-funk opener "Neon Gods," epic "S.W.A.L.K" featuring Scarlett Fae, hip-hop fusion "Natural Light" with Franz Von and Jeff Darko, and the Afrobeat-influenced closer "Nino." Rather than a retro tribute, Yarni crafts a forward-thinking collection that reimagines classic genres through a contemporary lens, bridging past and present with fearless experimentation.

The bonus record features slight distortion and louder mastering from the original test pressing that wasn't quite right - offering fans both the intended audiophile experience and this alternate version with added character. Each package includes a personal letter explaining this happy accident, making it essential for collectors seeking authentic independent music experiences.

Backspin - the imprint launched by Regal as a love letter to early 2000s Hardgroove - welcomes techno titan Marco Bailey with the 'Drivetonik' EP: a powerful blend of past and present that pays homage to Hardgroove's golden era while keeping the focus firmly on today's dancefloors.

The EP opens with the title track 'Drivetonik', a brand-new production that sets the tone: raw, rolling and built to move bodies. A straight-up Hardgroove banger, it's Bailey at his most focused. All momentum, no compromise. What follows is a rare treat for longtime heads: three classic tracks, originally released on the legendary Primate Recordings, now freshly remasteredfor 2025. 'Hustler' brings the bounce with its infectious and instantly effective sound. 'Karma' leans into tribal rhythms and percussive layering, while 'Konverter' cuts through with synth stabs and vocal chops, offering a punchy, streamlined ride through early-2000s funk. To close things out, Swedish Hardgroove legend Hertz steps in to rework 'Konverter', injecting his signature style into a remix that's as crisp as it is driving, a perfect fusion of old-school grit and modern precision.

With each release, Backspin Records continues its mission to rediscover, revive, and redefine the foundations of 2000s groove-driven techno. With the 'Drivetonik' EP, Marco Bailey shows us why his legacy remains firmly embedded in the genre's foundation.

We're absolutely thrilled to share the brand new single from the legendary Incognito, featuring the magnificent Joy Rose on lead vocals. This track, "It's About Time," is a powerful, feel-good slice of modern soul and jazz-funk that we genuinely feel is perfectly positioned for major radio playlists and feature coverage!


"It's About Time" delivers everything you expect from the Incognito collective, sounding fresh and vital for 2025. Written by Jean-Paul (Bluey) Maunick, Richard Bull, and Joy Rose, the original version is characterised by its signature lush instrumentation, soulful brass arrangements, infectious grooves, and an immediately uplifting chorus. This release also includes a deep and driving Soulful House Remix from Richard Bull.


We believe this track is a huge, optimistic record that will resonate deeply with audiences, further cementing Incognito's legacy.

Two previously unreleased gems from a Chain Reaction studio session recorded in London, in 1977 - now available back-to-back on this 7” single. ‘You Gave Me The Reason’ is a lovely modern soul uptempo dance-floor burner coupled with ‘Let’s Be Lovers’, a mellow and funky instrumental adaptation of the Holland-Dozier hit, ‘Why Can’t We Be Lovers’. By the mid-70s, former Techniques singers Bruce Ruffin, Bobby Davis and Dave Collins had established individual recording careers with The Upsetters, The Sensations, Byron Lee & The Dragonaires, and Dave & Ansel Collins amongst others, reuniting in 1975 to form Chain Reaction, a fine-tuned, first-class soul trio performing ‘inna soul style’. Produced here by industry veteran Stanley Pemberton of Congress Productions, Chain Reaction's blend of sweet vocal harmonies, funk-inflected grooves and Motownesque arrangements has long been favoured by soul collectors and beat-fiends alike.

Island disco-soul... modern soul... tropical boogie... plus killer break-beats: Recorded in the Bahamas in 1980, Portia’’s ‘I Wanna Thank You’ Club Mix by Sean P. is exclusive to this single. Two versions, vocal and Instrumental both mixed from the original multi-track session tape. Sung by vocalist Portia and backed by Naussau’s High Voltage Band, led by guitarist and producer Patrick Carey of 5th Degree.

Dutch old school power house Markie with some 6-am-type-of-shit light sabre wielding energizer, stomping ahead while trying to fend of a giggling swarm of robotic mosquitos. 150 beasts.

Pneumatix & Mental Reaper with some deep flowing reflection of the walls caging our existdance. Superbly crafted food for mind and feet best enjoyed in the middle of the forest with no walls.
160 beasts.

As’teka Nahuatl & La Tartine pump up the jam in da south style. Summoning Quetzalcōātl the spirally voluted one in it’s cyber incarnation to the modern dance, bringing with it a horde of spider monkeys that go ape all over the place. Can you scratch the itch?
165 beasts.

Original full sleeve artwork by Darkam. Design and Layout by TDSiNGZ. Mastered by Stefan ZMK.
Each 12“ EP comes with a 2 sided poster, a digital download code, and 2 artwork stickers.

Modern ambient minimalism with early music/baroque influences. Minimal and nuanced, Diary of a Candle is a consoling, melodic suite from acclaimed experimental composer, musician, and producer Faten Kanaan. On this album Faten uses counterpoint as a narrative tool to create music that is mysterious, smudgy, and deeply melodic. From the repetitive structures of modern minimalism and early music/baroque influences - to more languid textural ebbs and tides, there's a warmth in her use of synthesizers that gives her work a curiously timeless feel. Composing intuitively, her music creates its own world - one that isn't easily categorised. Diary of a Candle is punctuated with tender woodwinds and richly-layered strings, touched by the hazy atmospheres of 1970s/1980s films. Its understated heart-on sleeve romanticism follows the rhythm of nature: it bends in the breeze, drifts through the air, and settles on the ground. The ambiance is not an escapism, but the re-focusing of a lens through which humans are no longer the protagonists. Instead, a landscape's intimate details become the central figures. With the sparseness of Hiroshi Yoshimura's 1982 album 'Music for Nine Post Cards' as a starting-point influence, Faten's music exudes a wistful yet hopeful sentiment, honouring moments of beauty in the world around us. Some of the album titles are inspired by East-Asian rites and folkloric superstitions, often related to nature. All music written performed and mixed by Faten Kanaan. Mastered by Heba Kadry(Björk, Bon Iver, John Cale, Ryuichi Sakamoto, Deerhunter, Cate Le Bon, & many more). For fans of Kali Malone, Steve Reich, William Basinski, Sarah Davachi, Stars Of The Lid, , Mary Lattimore and Oneohtrix Point Never.

Reissue auf kristallklarem Glitzervinyl: "Cherish The Light Years", das zweite Cold CaveStudioalbum 2011 bei Matador Records erschienen, ist ein mutiger Sprung in düsteren
Stadion-Pop, auf dem Post-Punk-Intensität auf melodischer Noise, Industrial-Beats, ItaloDance-Euphorie und Momente purer Pop-Glückseligkeit trifft. Aufgenommen in den
Plantain Studios von Electric Lady und DFA in New York City, kanalisiert die LP das Drama
von Siouxsie and The Banshees, den Puls der frühen Depeche Mode und die emotionale
Schwere von Liebe, Reue, Triumph und Versagen. Mit Tracks wie "Confetti", "The Great Pan
Is Dead", "Underworld USA" und "Villains Of The Moon"brillierten Cold Cave in einem
Moment ohne offensichtliche Szene und schufen einen ganz eigenen Sound und Raum.

One of the most exciting voices in modern soul returns with Lilly - a deeply personal new album from Amsterdam-born singer, songwriter, and producer Danny Kuttner.

Blending 90s neo-soul, ECM-inspired jazz, and leftfield electronics, Lilly will resonate with fans of Hiatus Kaiyote, James Blake, and Billie Holiday – which Kuttner cites as some of the album’s key influences.

An emotional tour-de-force, the album is shaped by raw introspection and inspired by the passing of her grandmother. A stunning record that invites listeners into a world of vulnerability and sonic depth, and a must-have for vinyl lovers seeking soul, story, and standout production.

Enigmatic artist GRANT, a longtime figure in the deep house and techno underground, collaborates with Alex Albrechton the title track 'Tangible Dreams'
The two connected via the Scissor & Thread label and Francis Harris, forming a creative partnership. The EP is a textured homage to late '90s dub techno, echoing Basic Channel and Chain Reaction, while retaining a modern touch. The tracks are timeless, groove-focused, and sonically deep.
On the release, GRANT says: "I've been a fan of Alex's work. Through Francis and Scissor & Thread, it felt natural to collaborate. This EP is the kind of music I love to play - not flashy or trendy, but tracks that hold up and grow on you."
With decades of record collecting and acclaimed releases on Lobster Theremin, Mörk, and his own imprints, GRANT has built a loyal following. His albums The Acrobat, Cranks, Perception, and Fantasy Blues are collectors' favorites.
Alex Albrecht, known for immersive performances at Paradise City, MNMT, Public Records, and Giant Steps, has released on Anjunadeep, Mule Musiq, and his Analogue Attic imprint.
With 'Tangible Dreams', GRANT and Albrecht deliver a collaboration destined to stand out.

Auf "Describe" lernt Hannah Jadagu auf die harte Tour, dass Entfernung relativ ist. Nachdem ihr Debütalbum "Aperture" aus dem Jahr 2023 von Medien wie der New York Times und NPR mit begeisterten Kritiken bedacht wurde, führte Jadagus aufblühende Karriere sie weg von ihrer aufblühenden Beziehung in New York. Auf ihrem expansiven zweiten Album setzt sie sich mit dieser Trennung auseinander, findet Verbindungen, die über das Physische hinausgehen, und stärkt dabei ihre eigene Stimme. "Describe" schwingt diese Spannung zwischen dem Wunsch nach Verbindung und dem Verlangen nach Freiraum mit. Wie schon auf ihrem Debütalbum sind die Texte von einer emotionalen Präzision geprägt, die nur aus gelebten Erfahrungen stammen kann. "I've been five thousand miles away", singt sie über hallende Hi-Hats in "More" - "Why does three thousand feel like more?" Aber diese Distanz hat Jadagu auch dazu gebracht, neue Dimensionen ihres Sounds zu erkunden. "Ich stehe total auf Künstler, die Analoges mit Modernem mischen können", sagt sie, und der Umzug nach Kalifornien für den Sommer gab ihr die Möglichkeit, neue Kollaborateure kennenzulernen und mit analogen Synthesizern und Drum Machines zu experimentieren. Während das warme Summen ihrer Gitarre ihr Hauptinstrument für "Aperture" war, begann sie zu spüren, dass ihre Muskelgedächtnis sie zurückhielt. "Es war befreiend, an einem Synthesizer sitzen und eine Note spielen zu können, während ich meine Stimme erkundete", sagte sie. "Das empfand ich als etwas befreiender als das Spielen auf einer Gitarre." In Zusammenarbeit mit dem Produzenten Sora Lopez in seinem Studio in Altadena und aus der Ferne mit dem Co-Produzenten und Kollaborateur von ,Aperture", Max Baby, aus Paris, schuf Jadagu einen Sound für "Describe", der unverkennbar ihr eigener ist und sich völlig von den verzerrten Gitarrenmelodien ihres Debüts unterscheidet. Ein Großteil von "Describe" handelt jedoch von dem, was ungesagt bleibt: ,In diesem Album versuche ich vor allem, Ideen auszudrücken, die nicht immer so konkret sind", sagte Jadagu. ,Es ist einfach ein Fluss von Dingen, die ich fühle, durchlebe und ausdrücke." Passenderweise endet "Describe" mit "Bergamont", einem Song, in dem Jadagu einige ihrer bisher ehrlichsten Texte zu einem vielschichtigen Synthesizer-Sound singt, der die Anspannung und Entspannung eines langen, reinigenden Atemzugs nachahmt. "I hope you find something true to you ", singt sie. Auf "Describe" sucht Jadagu nach Worten, um die Wahrheit zu beschreiben, nach ihren eigenen Vorstellungen, und genießt die Ungewissheit dieser Reise.

Französischer Rap - Die komplette Geschichte auf 5 CDs & farbigem Doppel-Vinyl! Frankreichs Hip-Hop hat längst Kultstatus - auch in Deutschland! Von den harten Straßenpoesien der 90er bis zu den modernen Trap-Beats: Diese Sammlung zeigt, warum französischer Rap weltweit gefeiert wird. Mit dabei sind Klassiker wie Suprême NTM - Ma Benz, IAM - Stressés, Mafia K"1 Fry - Pour Ceux, aber auch aktuelle Größen wie Damso, SCH, Ninho, Freeze Corleone, SDM, Kalash, Kaaris, Josman, Jul, Ateyaba und viele mehr. Ob du den Sound von Paris, Marseille oder Brüssel liebst - diese Compilation bringt dir die Vielfalt und Tiefe des französischen Rap direkt nach Hause.

Los Angeles-based duo LUCKYANDLOVE are back with their third album, evoking a new sense of art school originality, following their critically acclaimed “Transitions” album. The duo defines 'Humaura' as the atmosphere that emanates from the feelings of the human spirit void of technological control.

Blending raw analog synth sounds with driving punctuated percussion and punchy analogue bass, LUCKYANDLOVE’s music is shaped by the embers of Siouxsie and The Banshees and Bauhaus, resonant spectres carry over from synth-laden galaxies, where the needle hits the vinyl groove and Doc Martens marched to basement dance floors.

LUCKYANDLOVE is the raw sonic experiment of Loren Luck and April Love, whose music transcends genres. Their live analogue synth beats, Moog instrumentation and beautiful, harmonic vocals trigger an immediate download of fuzzy sunset synthgaze, blue-black neon darkwave, and tigerprint electro punk.

“‘Humaura’ is an action-packed, cinematic, entertaining and soulful electro-dance record full of fresh air and wide-open roads where there is more freedom to party, to be in nature, and to be our wild selves,” says April Love.

Fusing together pulsating molten kicks, abrasive fuzz-laden analog synths and sensual vocals, the anti-tech angst anthem ‘I Am Human’ is a call to take back our lives, underlining the need to reconnect with being Human before it’s too late. ‘Lonely at Night’ is a "last call" bar track about the desperate, frantic desire for human connection, building from a haunting sense of isolation to a fast-paced, climactic reunion with a crush. Elsewhere, this album features enchanting lyrics rooted in emotions from melancholy and sorrowful glom to a state of blissful trance.

This album was recorded, mixed and mastered for digital release by Grammy award-winning engineer Be Hussey (Modern English, Twin Tribes, Boy Harsher) at Balboa Studio and Catwater for the digital music, and mastered for vinyl and lathe-cut by Grammy-nominated engineer Nicholas Townsend (Weezer, Grimes) at Townsend Mastering.

Their 'Lucky + Love' and 'Transitions' albums having earning them a global fan following, US and UK tours, multiple tracks featured in the indie hit film 'Tiger Within' (Ed Asner's final performance), and wide acclaim, noting their “soulful, synthesized sound" (LA Weekly), “spectral synths and dazed-dreamy feeling” (Big Takeover Magazine), not to mention their "uncompromising and inventive sonic experiment” (The Spill Magazine) and sound that “oscillates between the asphalt synth streets & interstellar outer realms” (Impose Magazine).

LUCKYANDLOVE’s visceral, dark electro-pop appeal continues to stretch through time and space. Praise for the album’s lead track ‘I am Human’ have poured in from over a dozen countries. ‘Humaura’ promises to cement the duo’s reputation as one of America’s most vivacious electronic / synthwave acts, positioning them firmly within the lineage of artists like Phantogram, Ladytron, The Soft Moon, Twin Tribes and ACTORS.


‘Humaura’ Press:

“...In contrast to its synth-laden darkwave and electropunk sound, the song presents lyrical themes of championing the human spirit and emotions over the technological void" ~ Regen Magazine

“Moog textures and distorted synth tones weaving together like electric currents. An industrial edge that carries a dreamy undercurrent, nodding to darkwave, punk rock and post-punk influences without sounding dated" ~ Myth of Rock

"Every second and note is a meld of lava-esque incitement and beguiling melodic fixation and a breath to unpredictability and stirring fuzz hued uniqueness… a thrilling encounter" ~ The Ringmaster Review

"Layers fall into place and give rise to soaring vocals. The beautiful timbre of her voice sits over the landscapes of sound and reveal poignant lines that hit home." ~ Sound Read Six

Amsterdam label Spectral Bounce recruits French club stalwart Chris Carrier for SPEC06 — Perfect Encounter. Active since 1994, the Parisian artist has released a wellspring of records on Robsoul, Slapfunk and his own Sound Carrier recordings, parallel to his longtime career as a DJ. Characterised by swirling delays and progressive arrangements, Perfect Encounter shows the producer exploring the mesmeric corners of tech house, ideally fitted to the Spectral Bounce aesthetic.

Opener “XLR8” starts with rolling toms that make way for fluid, modulated tones; each bar ebbs and flows to the sweeping synths set in motion by Carrier. Processed with a multitude of delays, rhythmic FX boldly swish above the drums, making for an immersive soundstage. Second track “Light Side” retains the billowing echoes but moves more nimbly, cutting things back to make for a spacious and breezy number. Its croaking synths hop around the stereo field, accompanied by tight percussion and a walking bassline.

The hallucinogenic “Third Moon” sees Carrier step further into trance-inducing territory. The track’s pulsing, syncopated bass note thrums underneath an arpeggio that evolves into a heady prismatic drone. While the chugging beat is ever-present, melodic refrains rise up and evaporate like wisps of vapour, alongside a vocal that fades away as quickly as it appears. The EP’s eponymous “Perfect Encounter” dials up the tension and closes the record with a mysterious touch. Speedy 16th note patterns propel the beat, creating shifty rhythms that rattle and hiss. A rasping, gelatinous synth and squeaky detuned tones resemble extraterrestrial signals — alien morse code for an enraptured dancefloor.

Credits:

Blang Records are thrilled to announce another two vinyl album re-releases from Jeffrey Lewis's back catalogue: The debut classic The Last Time I Did Acid I Went Insane (originally Rough Trade 2001) and The critically acclaimed 4th album 12 Crass Songs (originally Rough Trade 2007). The Last Time I Did Acid I Went Insane (VV001LP) : The fragile poetry and lo-fi warmth of JL's home-recorded debut paint vivid scenes of downtown Manhattan life with cracked sincerity, comic book absurdity and charm. This groundbreaking album continues to charm listeners but has completely run out of stock. Press Quotes: "Jeffrey Lewis: `The Last Time I Did Acid I Went Insane' - Best Indie Album of 2002; like his drawings, his music is witty, animated and true." - New York Daily News "Bizarre but brilliant_ slugging it out to be New Rock capital of the universe, Jeffrey Lewis could well be New York's ace in the hole."- Uncut "Modestly brilliant." [Critic's Choice]- The Village Voice "He claws through the bullshit and pretence ingrained in society. [Jeffrey Lewis' work] _should be cherished."- TimeOut London "Jeffrey Lewis isn't simply a singer, but a creative comic mastermind_ brilliant_ a staggering work of_ genius." - (9 stars of 10) Addicted to Sound Blang Records and Jeffrey Lewis have history: before Blang was a label, it started life as a live night at the 12 Bar Club in Denmark Street, hosting many a set of the NY Antifolk artists over on UK shores, including Jeffrey Lewis. Now 20+ years since Jeffrey first played Blang. Native New Yorker Jeffrey Lewis is a comic book writer/artist and a musician. A cult hero birthed from the now infamous antifolk movement that sprung up on Manhattan's Lower East Side in the 90s, Jeffrey has released dozens of albums showcasing his unique blend of bleakly witty observations, scratchy, lo-fi punk and croaky folk/anti-folk, all firmly rooted in a strong DIY sensibility. Jeffrey and his band have toured the world multiple times over, released albums on Rough Trade, Moshi Moshi and Don GIovanni Records, and have been featured by NPR, The History Channel, The NY Times and more.

Born in the sewers of Montreal in 2018, it all started with a simple goal : blending old fashioned death metal and modern hardcore together in a city where technical death metal reigns supreme. It didn't take long for the band to make a name in the underground tho. Fast, old school riffs, pummeling mosh parts mixed with energetic stage presence quickly earned ST attraction, especially in the hardcore scene. Initially formed by tattoo artist Vincent PL on vocals and axeman Philippe Leblanc, ST has now its hardest lineup to date by adding Miguel Lepage (ex- Blind Witness, ex- Obey the Brave) on bass and Émile Savard (Profane Order, ex- Malebranche) on drums, turning the band from another local act into an absolute fucking weapon. The time has come to follow the path of Cryptopsy, Quo Vadis and Despised Icon and show the world that Montreal is still to this day a reckless, unrelenting force of death metal.

20th Anniversary Reissue. Remastered. Groundbreaking MPB/Downtempo Classic. Originally released in 2005, CéU introduced the world to a bold new voice in Brazilian music. Seamlessly blending samba, MPB, soul, and downtempo grooves, Céu delivered a debut that felt both deeply rooted and strikingly contemporary. With her smoky, understated vocal tone, she evoked echoes of classic bossa nova while pushing into new sonic territory - covering Bob Marley"s "Concrete Jungle" with Afro-Brazilian swing and layering in dub and electronica accents. Hailed for its elegance and quiet innovation, the album hit No. 1 on Billboard"s World and Heatseekers charts, earned a Grammy nomination, and became the highest U.S. chart debut for a Brazilian female artist since Astrud Gilberto. Now celebrating its 20th anniversary, CéU returns remastered for vinyl - a modern Brazilian classic reissued for a new generation of listeners. Includes Classics : "Lenda", "Malemolencia", "Concrete Jungle"... Mastering by Colorsounds Paris.

Originally released in 2009, Céu"s Vagarosa is a landmark of 21st-century Brazilian musicc- a lush, genre-blurring journey that weaves samba, dub, psychedelic soul, and electronic textures into a sound cboth timeless and futuristic. Now reissued on vinyl, this essential album invites listeners to rediscover its warm, analog charm. From the opening track "Sobre o Amor e Seu Trabalho Silencioso," with its cavaquinho and vinyl crackle, to the dub-infused "Cangote," where organ swells and basslines intertwine, Vagarosa showcases Céu"s ability to blend traditional Brazilian rhythms with global influences. Her reinterpretation of Jorge Ben"s "Rosa Menina Rosa" transforms into a psychedelic swirl of reverb and phasing effects, maintaining its breezy essence. The album"s closing track,"Espaçonave," features rainforest sounds and multi-tracked vocals layered over fuzzed-out guitar, reminiscent of the art-pop sensibilities of artists like Natalia Lafourcade. Critically acclaimed upon release, Vagarosa reached No. 2 on the US Billboard World Music chart and was nominated for a Latin Grammy Award for Best Brazilian Contemporary Pop Album in 2010. Its innovative production and Céu"s ethereal vocals have cemented its status as a modern classic in Brazilian music. This vinyl reissue captures the album"s rich textures and sonic depth, offering both longtime fans and new listeners an opportunity to experience Vagarosa in its full analog glory. Remastered by Colorsounds Paris.

Das schwedische Punkrock-Urgestein SATOR veröffentlicht mit den High (Rock'n) Rollern und Punkrockern THE HEADLINES eine Split EP: Eine längst fällige Herzens- und Freundschaftsangelegenheit! Schließlich war es Sator-Bandgründer Chips Kiesbye, der vor mehr als 15 Jahren das musikalische Potential und die wilde, ungestüme Power von The Headlines erkannte. Es folgten Supportshows und bis heute produziert und supportet Chips die Band im Studio. Die jeweils zwei exklusiven Songs der Bands auf der limitierten 10inch Vinyl spannen dabei den Bogen von Hard Rock, Sleaze, Glam bis straight forward Punkrock. The Headlines kehren mit "Fucked up" zu der klassischen Rock-Essence zurück, rotzig-frech verpackt in 2 Minuten mit allem was es braucht, um eine "fuckin great hymn" zu schreiben! "True Grit" - der zweite Song" orientiert sich mit melodischen Punkrock an den US-Westcoast Style: "Remember what you're fighting for!" The Headlines liebten es schon immer Gedanken über das Leben, die jeder kennt in griffige Rocksongs zu verpacken. SATOR präsentieren mit "Thanks (For nothing for all) einen vor langer Zeit geschriebenen wütenden Dampfhammer, der als Demo in den Bandarchiven irgendwie in Vergessenheit geriet. Während der Aufnahmen zu "Return of The Barbie-Q-Killers" stoplerte die Band über dieses Juwel und wurde neu aufgenommen. "Wir können uns nicht wirklich erinnern, worüber wir beim Schreiben wütend waren, aber es gibt immer etwas, das einen nervt. Wut ist nie aus der Mode." "I only want a date" wurde ebenfalls im Rahmen der Studio-Sessions für das letzte Sator-Album aufgenommen und ist ein Coversong der US-Band "The Embarrassment", die den gesuchten Song 1984 nur auf Tape veröffentlichten. Die 10inch EP erscheint streng limitiert in klassisch schwarzen oder blauen oder in limitierten zweifarbigen Swirl Vinyl und dürfte sich schnell als Sammlerstück etablieren. Swedish Alternative Rock at its best!

Das schwedische Punkrock-Urgestein SATOR veröffentlicht mit den High (Rock'n) Rollern und Punkrockern THE HEADLINES eine Split EP: Eine längst fällige Herzens- und Freundschaftsangelegenheit! Schließlich war es Sator-Bandgründer Chips Kiesbye, der vor mehr als 15 Jahren das musikalische Potential und die wilde, ungestüme Power von The Headlines erkannte. Es folgten Supportshows und bis heute produziert und supportet Chips die Band im Studio. Die jeweils zwei exklusiven Songs der Bands auf der limitierten 10inch Vinyl spannen dabei den Bogen von Hard Rock, Sleaze, Glam bis straight forward Punkrock. The Headlines kehren mit "Fucked up" zu der klassischen Rock-Essence zurück, rotzig-frech verpackt in 2 Minuten mit allem was es braucht, um eine "fuckin great hymn" zu schreiben! "True Grit" - der zweite Song" orientiert sich mit melodischen Punkrock an den US-Westcoast Style: "Remember what you're fighting for!" The Headlines liebten es schon immer Gedanken über das Leben, die jeder kennt in griffige Rocksongs zu verpacken. SATOR präsentieren mit "Thanks (For nothing for all) einen vor langer Zeit geschriebenen wütenden Dampfhammer, der als Demo in den Bandarchiven irgendwie in Vergessenheit geriet. Während der Aufnahmen zu "Return of The Barbie-Q-Killers" stoplerte die Band über dieses Juwel und wurde neu aufgenommen. "Wir können uns nicht wirklich erinnern, worüber wir beim Schreiben wütend waren, aber es gibt immer etwas, das einen nervt. Wut ist nie aus der Mode." "I only want a date" wurde ebenfalls im Rahmen der Studio-Sessions für das letzte Sator-Album aufgenommen und ist ein Coversong der US-Band "The Embarrassment", die den gesuchten Song 1984 nur auf Tape veröffentlichten. Die 10inch EP erscheint streng limitiert in klassisch schwarzen oder blauen oder in limitierten zweifarbigen Swirl Vinyl und dürfte sich schnell als Sammlerstück etablieren. Swedish Alternative Rock at its best!

Das schwedische Punkrock-Urgestein SATOR veröffentlicht mit den High (Rock'n) Rollern und Punkrockern THE HEADLINES eine Split EP: Eine längst fällige Herzens- und Freundschaftsangelegenheit! Schließlich war es Sator-Bandgründer Chips Kiesbye, der vor mehr als 15 Jahren das musikalische Potential und die wilde, ungestüme Power von The Headlines erkannte. Es folgten Supportshows und bis heute produziert und supportet Chips die Band im Studio. Die jeweils zwei exklusiven Songs der Bands auf der limitierten 10inch Vinyl spannen dabei den Bogen von Hard Rock, Sleaze, Glam bis straight forward Punkrock. The Headlines kehren mit "Fucked up" zu der klassischen Rock-Essence zurück, rotzig-frech verpackt in 2 Minuten mit allem was es braucht, um eine "fuckin great hymn" zu schreiben! "True Grit" - der zweite Song" orientiert sich mit melodischen Punkrock an den US-Westcoast Style: "Remember what you're fighting for!" The Headlines liebten es schon immer Gedanken über das Leben, die jeder kennt in griffige Rocksongs zu verpacken. SATOR präsentieren mit "Thanks (For nothing for all) einen vor langer Zeit geschriebenen wütenden Dampfhammer, der als Demo in den Bandarchiven irgendwie in Vergessenheit geriet. Während der Aufnahmen zu "Return of The Barbie-Q-Killers" stoplerte die Band über dieses Juwel und wurde neu aufgenommen. "Wir können uns nicht wirklich erinnern, worüber wir beim Schreiben wütend waren, aber es gibt immer etwas, das einen nervt. Wut ist nie aus der Mode." "I only want a date" wurde ebenfalls im Rahmen der Studio-Sessions für das letzte Sator-Album aufgenommen und ist ein Coversong der US-Band "The Embarrassment", die den gesuchten Song 1984 nur auf Tape veröffentlichten. Die 10inch EP erscheint streng limitiert in klassisch schwarzen oder blauen oder in limitierten zweifarbigen Swirl Vinyl und dürfte sich schnell als Sammlerstück etablieren. Swedish Alternative Rock at its best!

Brandi Carlile ist zurück mit ihrem achten Studioalbum und ihrem ersten Solo-Projekt seit vier Jahren. Die
amerikanische Singer-Songwriterin gilt als eine der authentischsten Stimmen der modernen Folk, Rock und
Americana-Musik und inspirierte eine ganze Generation an Künstler*innen.
In den letzten Jahren fokussierte sie sich auf verschiedenste Kollaborationen mit u.a. Joni Mitchell, Hozier,
Sam Smith und Alicia Keys. Ihr letztes Album „Who Believes in Angels?“ war ein Kollaborationsprojekt
mit Elton John, das in Deutschland auf Platz #2 der Charts debütierte, in Großbritannien auf Platz#1
und in US die Top 10 erreichte.
Nun blickt die 11-fache GRAMMY-Gewinnerin nach innen, reflektiert die Vergangenheit und kehrt schließlich
auf ihrem brandneuen Album „Returning To Myself“ – das am 24. Oktober erscheint – zu sich selbst zurück.

Mit The Shadow of the Guest veröffentlichen Blonde Redhead eine traumwandlerische, leicht entrückte Neuinterpretation ihres gefeierten Albums Sit Down for Dinner (2023). Das Album ist seit dem 27. Juni 2025 digital erhältlich – die limitierte physische Edition erscheint am 24. Oktober 2025 über section1.

In Zusammenarbeit mit dem Brooklyn Youth Chorus entstanden neu arrangierte Versionen von „Before“, „Rest of Her Life“ und „Via Savona“, die das Originalmaterial auf überraschende Weise vertiefen. Hinzu kommen frische Interpretationen des Rick-and-Morty-Klassikers „For The Damaged Coda“, darunter eine ebenso hypnotische wie unerwartete mariachi-inspirierte Variante.

Ein besonderer Bestandteil des Albums sind mehrere ASMR-Tracks, komponiert von Kazu Makino – ursprünglich als Soundtrack für eine Modenschau von Isabel Marant gedacht. Was als akustisches Experiment begann, entwickelte sich zu einem intimen kreativen Projekt mit starker emotionaler Tiefe.

„Diese Veröffentlichung ist für uns etwas Besonderes“, sagt Kazu. „Es sind nicht einfach neue Versionen – sondern die Verwirklichung eines langen Traums.“

Für Fans von Art-Rock, atmosphärischen Klangwelten und mutiger musikalischer Neugier.

Bloodred Hourglass (BRHG) meldet sich zurück mit ihrem mittlerweile siebten Studioalbum „We Should Be Buried Like This“. einem kompromisslosen Statement einer Band. die sich über die Jahre zu einer der eindrucksvollsten Kräfte im modernen Death Metal entwickelt hat. Beheimatet im finnischen Mikkeli wurden BRHG bekannt für ihre Fähigkeit. die rohe Wucht von Thrash- und Groove-Metal mit den atmosphärischen Sounds von Metalcore. Alternative Metal und Melodic Death Metal zu verschmelzen. Ihr Sound ist so kraftvoll wie emotional. so mitreißend wie facettenreich - eine Mischung. die ihnen regelmäßig positives Feedback. eine internationale Fangemeinde sowie den Ruf explosiver Live-Shows eingebracht hat. Mit „We Should Be Buried Like This“ schlägt die Band nun ihr bislang dunkelstes und schonungslosestes Kapitel auf. Ein Werk. das sie selbst als „Lieder für das Ende der Zeit“ beschreiben - ohne Trost. ohne Erklärungen. Stattdessen erwartet uns eine Geschichte vom Zerfall von Hoffnung. dem Verlöschen von Liebe. der Wiederholung familiärer Fehler und einer Welt. geprägt von Egozentrik. Entfremdung und Gleichgültigkeit. „Hier wird nicht gebettelt. nichts beschönigt“. erklärt die Band. „Wir wollen nichts beweisen. Dieses Album ist aus dem inneren Drang entstanden. Dinge aufzureißen und sie beim Namen zu nennen.“ Musikalisch ist „We Should Be Buried Like This“ das aggressivste und kompromissloseste Album. das BRHG je geschaffen haben. ohne dabei ihre charakteristische Melodik zu verlieren. Heftige Riffs. brachiale Energie und tiefe Emotionen ziehen sich wie ein roter Faden durch das gesamte Album.

Gastauftritte und neue klangliche Elemente sorgen für frische Akzente. doch der Kern bleibt unverkennbar BRHG - verfeinert über Jahre. einzigartig und intensiv

Multi Culti dive deeper into muso alchemy with ‘Cimbal Tanz,’ a record release that bridges the cult solo 'cimbal’ performance of Emil Jourjou with fellow Moldavian producer Bliz Nochi’s electronics.

Bliz Nochi began learning music at age 7 playing the accordion, later mastering the guitar and piano. By 17, he was experimenting with new metal genres, Dub, electronic, and indie music. In 2016, he released his first works under the name Bliz Nochi, blending world music and exotica infused with Balkan elements, which led him to connect with master musician Emil Jourjou.

Emil Jourjou, a master cimbal player born in Chisinau, Republic of Moldova, studied at the prestigious Ciprian Porumbescu music school. His years of experience and deep connection to Balkan musical traditions build a cultural bridge between classical and folkloric orchestral music, having performed at such events as the World Expo in Hanover, and for the Philharmonic in Lübeck.

In 2021, the pair began recording together, remixing their friend and mentor Andi Otto for Multi Culti (later licensed to last year's Buddha Bar compilation). That collaboration paved the way for this full-length LP, with one side focused on traditional cimbal recordings and the other side a fusion featuring Bliz Nochi's production, a format Multi Culti initiated to showcase the too often obscured talent of the solo musician.

Bliz Nochi's LP is more than an album; it’s a journey through sound blending tradition and modernity, offering listeners a unique blend of Moldavian music and contemporary electronic styles. This project highlights Bliz Nochi's dedication to his roots and innovative spirit, bringing a fresh perspective to the music scene.

"Hasabe" is a thoughtfully curated collection of Ethio-groove recordings from one of the overlooked pioneers of 1970s Addis Ababa's vibrant music scene-Ayalew Mesfin and his Black Lion Band. Expect trap drum kits, jazz big-band styled horn sections, funky guitars played through wah wah and fuzz pedals- all seasoned with a unique Ethiopian touch_ For many, the music created in 1970s Ethiopia will sound both familiar and alien: while the trappings of '70s Ethiopian music carry some aspects that those in the West will easily identify with-trap drum kits, jazz big-band styled horn sections, guitars played through wah wah and fuzz pedals-the Ethiopian style of singing, and the modes in which the musicians move, may confound. Perhaps some who have delved into the instrumental Ethio-Jazz of Mulatu Astatke-a well-known Ethiopian musical export, relatively unknown in his homeland-will have a context in which to engage this great compilation of '70s Ethiopian music by Ayalew Mesfin. The music Mesfin created with his Black Lion Band is amongst the funkiest to arise from Addis Ababa; his recording career, captured in nearly two dozen 7" singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia's 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of the unconquerable East African nation. Ayalew was forced underground by the Derg regime that took control of the country in 1974. Until recently, only four of Ayalew Mesfin's tracks had been reissued, appearing in the well-known "Éthiopiques" series. "Hasabe", a carefully curated collection of his singles, marks the first comprehensive release of this powerful and long-overlooked body of work by an artist whose originality and resistance defined a genre: Ethio-groove. More than four decades later, this album offers the rare opportunity to rediscover a vital and beautiful chapter in global music history. We are now reissuing "Hasabe" once again thanks to a collaboration with Now Again. Pressed on 180g vinyl.

Gegründet von Sänger/Gitarrist Askhan Avagchuud im Jahr 2010 in der autonomen Region Innere Mongolei in China, sind Nine Treasures eine einzigartige Kombination aus Heavy Metal und traditioneller mongolischer Instrumentierung. Die Band nutzt sowohl konventionelle Gesangstechniken als auch mongolischen Kehlkopfgesang und erschafft ein klangliches Kaleidoskop, in dem Gitarren, Bass und Schlagzeug auf traditionelle Saiteninstrumente wie Balalaika und Morin Khuur (Pferdekopfgeige) treffen.Mit vier Alben und über 100 Festival-Shows pro Jahr in Asien vor Publikum von bis zu 50.000 Menschen sind Nine Treasures bereit, Nordamerika und Europa zu erobern. Seeking the Absolute markiert ihr Metal Blade Records Debüt und ihre erste LP mit weltweiter Veröffentlichung - der Höhepunkt ihrer künstlerischen Entwicklung und ihr bisher ehrgeizigstes Werk.Aktuelle Besetzung:• Askhan - Gitarren, Gesang, Balalaika, Tovshuur• Orgil - Bass, Backing Vocals• Saina - Balalaika, Backing Vocals, Gitarren• Namra - Schlagzeug• Nars - Morin Khuur, Backing VocalsGenre: Progressive Metal / Indie Metal (kein Folk Metal) Aktiv seit: 2010 Land: China (Innere Mongolei) Sprache: Mongolisch Sales Points/Treiber (Karriere-Highlights/Fakten/Marketing-Info):• Metal Blade Records Debüt - Erste weltweite Veröffentlichung der mongolischen Metal-Pioniere• Einzigartige kulturelle Fusion - Die einzige Band, die traditionelle mongolische Instrumente (Morin Khuur, Balalaika, Tovshuur) mit Progressive Metal kombiniert• Authentischer Kehlkopfgesang kombiniert mit modernen Metal-Vocals• Massive asiatische Fanbasis - Auftritte vor bis zu 50.000 Fans in ganz Asien• 100+ Shows pro Jahr beweisen ihre Live-Stärke und Hingabe• TOOL-beeinflusster progressiver Ansatz - Komplexe Kompositionen ohne Kompromisse bei der Zugänglichkeit• Kulturübergreifende Anziehungskraft - Musik überwindet Sprachbarrieren durch pure Emotion und Energie• Kritikerlob von großen Metal-Publikationen wie The Quietus, At The Barrier und Noizze UK• Kulturbotschafter bringen mongolisches Erbe in die globale Metal-Szene

- 7 Tracks aus dem Open-World-RPG-Actionspiel von 2025
- Artwork von Ubisoft und Maya Kuroki

Ubisoft und Laced Records haben ihre Zusammenarbeit erneuert, um die Musik von Assassin's Creed Shadows auf Vinyl zu veröffentlichen.

"Assassin's Creed Shadows" entführt die Spieler:innen in die reiche Kulisse des feudalen Japans und wird von einem Soundtrack untermalt, der traditionelle Instrumente mit verspielten, modernen Techniken verbindet. Die in Montreal ansässige Band TEKE::TEKE wurde beauftragt, der flinken und verstohlenen Protagonistin Naoe mit ihren eindrucksvollen "Needle Drop"-Story-Momenten Leben einzuhauchen.

Die Surf- und Psych-Rock-Einflüsse der Gruppe passten perfekt zur Ausrichtung des Spiels, da die Entwickler bei der Suche nach Musik für "Shadows" an einen Soundtrack von Quentin Tarantino dachten. Die Band hatte die Aufgabe, Jesper Kyds ikonisches Serienthema "Ezio's Family" zu interpretieren - ein Fan-Favorit, der normalerweise als Teil der Filmmusik adaptiert wird.

Die Mitglieder von TEKE::TEKE sind durch ihre japanische Herkunft eng mit dem Setting des Spiels verbunden. Passenderweise hat die Band durch ihre Recherchen und die Einbindung in das Projekt die auch im Spiel zentrale Philosophie der Shinobi, "Shinobi-Do", aufgegriffen.

- 7 Tracks aus dem Open-World-RPG-Actionspiel von 2025
- Artwork von Ubisoft und Maya Kuroki

Ubisoft und Laced Records haben ihre Zusammenarbeit erneuert, um die Musik von Assassin's Creed Shadows auf Vinyl zu veröffentlichen.

"Assassin's Creed Shadows" entführt die Spieler:innen in die reiche Kulisse des feudalen Japans und wird von einem Soundtrack untermalt, der traditionelle Instrumente mit verspielten, modernen Techniken verbindet. Die in Montreal ansässige Band TEKE::TEKE wurde beauftragt, der flinken und verstohlenen Protagonistin Naoe mit ihren eindrucksvollen "Needle Drop"-Story-Momenten Leben einzuhauchen.

Die Surf- und Psych-Rock-Einflüsse der Gruppe passten perfekt zur Ausrichtung des Spiels, da die Entwickler bei der Suche nach Musik für "Shadows" an einen Soundtrack von Quentin Tarantino dachten. Die Band hatte die Aufgabe, Jesper Kyds ikonisches Serienthema "Ezio's Family" zu interpretieren - ein Fan-Favorit, der normalerweise als Teil der Filmmusik adaptiert wird.

Die Mitglieder von TEKE::TEKE sind durch ihre japanische Herkunft eng mit dem Setting des Spiels verbunden. Passenderweise hat die Band durch ihre Recherchen und die Einbindung in das Projekt die auch im Spiel zentrale Philosophie der Shinobi, "Shinobi-Do", aufgegriffen.

- 29 Tracks aus dem Open-World-RPG-Actionspiel von 2025
- Artwork von Ubisoft

Ubisoft und Laced Records haben ihre Zusammenarbeit erneuert, um die Musik von Assassin's Creed Shadows auf Vinyl zu veröffentlichen.

"Assassin's Creed Shadows" entführt die Spieler:innen in die reiche Kulisse des feudalen Japans und wird von einem Soundtrack untermalt, der traditionelle Instrumente mit verspielten, modernen Techniken verbindet.

Das Komponistenduo The Flight (Joe Henson und Alexis Smith) kehrt zur Assassin's-Creed-Reihe zurück und liefert einen Soundtrack, der traditionelle Instrumente mit zeitgenössischen orchestralen und elektronischen Elementen verbindet. So entsteht ein unverwechselbares Gefühl für Zeit und Ort, während spielerisch auf die Science-Fiction-Themen der Serie angespielt wird.

Die beiden Protagonisten von "Assassin's Creed Shadows" werden mit unterschiedlichen Instrumenten und musikalischen Ansätzen dargestellt: Die verstohlene Shinobi-Adeptin Naoe wird mit dem Instrument ihrer Wahl, der Tonflöte (Tsuchibue), und dem körperlosen Flüstern während der Stealth-Momente dargestellt. Der legendäre Samurai Yasuke wird mit den schärferen Klängen der Shamisen und rhythmischer Intensität dargestellt.

Für die Darbietung der japanischen Instrumente hat The Flight auf Meisterspieler wie Keiko Kitamura (Koto) und Hibiki Ichikawa (Shamisen) zurückgegriffen. Weitere Interpreten sind die Sängerin Akari Mochizuki, die Flötisten Kristin Naigus, Oriol Singh und Andy Findon sowie Michael Georgiades, der musikalische Mitarbeiter von The Flight bei Assassin's Creed Odyssey.

Turbostaat - Role Model für eine ganze Generation deutschsprachiger Post-Punk-Bands - feiert das 25-jährige Bandbestehen mit der Wiederveröffentlichung ihres Katalogs über das bandeigene Label 18Null9. 'Vormann Leiss', mit dem 2007 die enge Zusammenarbeit mit Stammproduzent Moses Schneider begann, erscheint auf 180g schwerem Vinyl mit großem Textheft im Orginal-Artwork.

MANU LANVIN, der wohl angesagteste Sänger und Gitarrist der französischen Blues-Szene, veröffentlicht am 24.10.2025 sein neues Album „Man On A Mission“ (GEL Productions/PIAS).
Der Franzose, der es in seiner Karriere mittlerweile auf über 900 Liveshows in ganz Europa und in den USA gebracht, bereits mit Kollegen mit Taj Mahal, Beverly Jo Scott, Johnny Gallagher, Popa Chubby, Paul Personne und Calvin Russell zusammengearbeitet hat und dessen bisherige Album-Releases allesamt den 1. Platz der französischen Blues Charts erreicht haben, präsentiert auf seinem neuen Album „Man On A Mission“ 13 Songs, die den Blues mit Einflüssen aus Rock, Soul und Pop auf moderne Weise interpretieren und die Vielseitigkeit des Musikers und Produzenten MANU LANVIN aufzeigen. Aufgenommen wurde „Man On A Mission“ in Paris, Nashville, Montreal, Fort Lauderdale und Sheffield.

2025 Repress

Psyk new release on non series. Three intense, blinding, deep, original cuts including a remix of the talented Erik Luebs.

An’archives is proud to present Hanabi, a compilation of material from legendary Japanese folk singer, actor and writer, Kazuki Tomokawa. Hanabi draws from Tomokawa’s three most recent albums, Vengeance Bourbon (2014), Gleaming Crayon (2016) and Going To Buy Squid (2024), all released in Japan only on the Modest Launch imprint. Pulling together highlights from these three extraordinary albums, Hanabi collects ten songs of shattering intensity, with Tomokawa performing at an ecstatic peak, a mere six decades into his musical career.

Tomokawa’s life story is one of change, risk and dedication. He appeared on the Japanese folk music circuit in the early 1970s, performing at such significant events as the legendary 1971 Folk Music Jamboree. Over the second half of the decade, he released five stunning albums that cemented his reputation as an expansive, lyrical singer-songwriter and performer whose music jack-knifed between pensive melancholy and righteous fury. His recorded output slowed in the 1980s as he became immersed in theatre, acting and painting, but his connection with the sainted Japanese label P.S.F. led to a prodigious burst of albums across the 1990s and 2000s.

Some of those albums had Tomokawa playing alongside free jazz musicians, such as his long-standing collaborator Toshiaki Ishizuka (Brain Police, Vajra, Cinorama), and late double-bass improviser Motoharu Yoshizawa. Some of that spirit can be found amidst the songs on Hanabi, leavened by a more romantic sensibility on a song like “Night Play”, where Tomokawa’s impassioned vocals and guitar swim and bob amongst a drifting string arrangement. The ferocity of “To The Dead Man” is reinforced by a guest appearance, on saxophone, by upcoming free jazz player Harutaka Mochizuki; the two spar with each other while Hiromichi Sakamoto’s cello and electronics swarm under the surface.

For those who’ve missed the three albums that Tomokawa has released across the past fifteen years – understandably so, given the relative impossibility of finding them outside of Japan – Hanabi is a welcome re-introduction to one of Japan’s most significant, poetic and quixotic folk singers and songwriters. As Michel Henritzi notes in his typically perceptive liner notes, capturing the oneiric and unique spirit of Tomokawa’s song, he is nothing less than “a poet who cries out, opening the darkness and shadows with his song, throwing handfuls of ashes from lives that have fled into the wind, to us, his fellow human beings.”

An’archives presents Kagome Kagome, the first collaboration between France’s Delphine Dora and Japan’s Ayami Suzuki. Curious listeners might know Dora from the string of lovely, idiosyncratic albums she’s released over the past two decades, most recently for labels like Modern Love, Morc and Recital; she’s also worked with the likes of Michel Henritzi and Sophie Cooper. Suzuki’s performances, predominantly for voice, place her within a tradition of Japanese improvised music – see the music she’s made with artists such as Takashi Masubuchi, TOMO and Leo Okagawa – but her approach also takes in folk song, ambience and claustrophobic drone.

On Kagome Kagome, Dora and Suzuki play to their many strengths: a gentle, free-willed folksiness; long, aerated drone constructs; ghostly, time-warping explorations for voice. They met on Dora’s May 2024 tour of Japan, though they’d been in touch beforehand, with Dora proposing the collaboration to Suzuki, developed around “concepts of ‘otherworldliness’ and ‘impermanence’,” the latter says, “and explored the relationship between ‘the invisible’ and sound in Japanese culture – a common interest we share.”

They recorded across several days that month, with the sessions for Kagome Kagome taking place in Kanumi, in Tochigi prefecture, at a space named Center. “I was particularly looking forward to seeing Delphine encounter the vintage 104-year-old harmonium from Nippon Gakki Seizo Co. that had just been repaired at Center,” Suzuki recalls. “It was as if the harmonium had been waiting for Delphine to draw sound from it. I felt it was a beautiful relationship where they could guide each other.”

Indeed, there’s something channelled about the music that Dora and Suzuki made together in the session that constitutes Kagome Kagome. Dora’s harmonium might be the spine of the album, but Suzuki’s free- floating voice, and gaseous, muddied banks of electronics, wrap around the wheezing, ancient tonality of the harmonium beautifully – they, too, sound as though they were just waiting to be willed out of the daytime air. Their voices nestle together beautifully – “when we sang together in a tunnel,” Suzuki says, “there were times when we sang the exact same melody without planning. It happened so naturally that the boundaries between us became blurred.”

And that title? It’s drawn from a Japanese children’s song, and the song titles themselves constitute the song’s lyrics, in alternating Japanese (Romanized) and French language. Urban legend connects the song “Kagome Kagome” to the Nikko Toshogu Shrine, nearby Center, that Suzuki and Dora visited while they were in Kanumi. “The mysterious lyrics of ‘Kagome Kagome’ and its puzzle-like connection to Nikko Toshogu were a perfect fit for this mysterious album,” Suzuki reflects, “which I think has its own kind of puzzle-like elements.”

A deep album of prayer and magic, of divination and ritual, Kagome Kagome’s sense of serious play, its rich beauty, feels somehow dislocated from our time. If you’ve ever enjoyed the music of Nico, Kendra Smith, Charalambides, or other channelers of ghostly mystery, its eerie otherness will, somehow, feel oddly familiar.

Mark Fell inaugurates his new label – The National Centre for Mark Fell Studies – with his first solo electronic material in years; a slinky, ravishing volley of unique dance drills that have been in the works for over a decade, feeling somehow like Derek Bailey dissecting Singeli, or Autechre and Hermeto Pascoal dancing in hyperspace. There’s nothing else quite like it.

Back on the floor for the first time since dealing a pair of deep house 12”s with DJ Sprinkles, sending a contemporary classic in »Protogravity« with Errorsmith, plus a lauded collab with Gábor Lázár – all in 2015 – Fell taps back into core club concerns last explored to this uncompromising extent on his string of »Sensate Focus« EPs released between 2012–2013. He’s hardly been slacking since then, with a slew of far-reaching avant collabs with everyone from Rian Treanor to Limpe Fuchs, Okkyung Lee to Pat Thomas, Explore Ensemble to Will Guthrie – each one blurring distinctions between producer, composer, and conductor.

The »Nite Closures« EP is worth the wait – and then some. As ever, Fell manages to retain a highly distinctive, instantly identifiable sound while also tracing and mapping new bends in the continuum. His exploration of contemporary styles and patterns is here distilled and articulated with a rare, daring playfulness and sinuous intricacy – for over half an hour he flows from frantic to almost emotional at the drop of a snare. Trust it’s not your everyday / everynight club music, with an asymmetric angularity bound to wrong-foot fresher feet, but also the type of absolutely future-facing, skewed machine funk that clubs are crying out for, even if they don’t quite realise it.

As someone who’s witnessed the dominance of colouring-book Jive Bunny DJs recycle tested ideas ad infinitum, the message is a firm do-one to myopic ravers in »Nite Closures«. From the displaced anticipations tested in its extended dub and ravishing, tweaked polymetrics on its version, through a »Large Modulos #3« teeming with organismic details, to the hair-kissing swang of »auchterhouse (inversion)« and its clipped, cascading 2.1-step reprise, Fell offers thrilling new options for the loosey-gooseyest dancers at each turn. For us, it’s perhaps his greatest record this century.

For her sophomore outing on Razor-N-Tape, Megatronic drops There’s Truth in Gospel, an extended concept EP built around the idea of a modern-day gospel congregation, reimagined through the lens of soulful, high-energy club sounds. Its six soulful house tracks explore vibrant layers of live instrumentation, from trumpets, flutes, and diverse percussion styles that breathe warmth into the sonic palette of the record. Featuring the voices of Fawziyya Heart, Aku, and Chiqo Casidi, and gorgeous artwork that perfectly captures the rich concept of the music, There’s Truth in Gospel is an ode to unity, joy, and collective celebration.

Romain has been a key innovator in the Hong Kong & Asian music scene for the past 18 years in various different facets, building bridges between cultures and erasing borders through music. He has since taken a step into the world of production and his music has been played by some of the biggest acts in the game such as DJ Harvey, The Black Madonna, Gerd Janson, Horse Meat Disco, Skatebärd, Lauer, Tornado Wallace, Lipelis, Orpheu The Wizard, Kamma & Masalo and many more. Here his musical production story continues with his latest collection of works coming via the esteemed Tokyo imprint, Sound Of Vast.

Leading the release is title-cut ‘Musique De Maison’, a five-minute excursion through organic percussion grooves, snaking elongated bass tones, intricately intertwined vintage-leaning synth melodies and an overall cosmic disco aesthetic that reflects Romain’s borderless, cross-cultural sound. ‘Tonal Spices’ follows and ups the energy levels with a sturdy rhythm section, squelchy acid licks, murky bass stabs, Indian vocals and cinematic strings ebbing and flowing throughout.

Monkey Timers take on ‘Musique De Maison’ next with their interpretation extracting the core essence of the original and reshaping it into a dynamically unfurling rework, fusing fragments of the original with expansive delays, heavy reverberations and modulating synth work. The ‘Psych-O-Delic (Live Mix)’ then concludes the release with off-kilter drums running in combination with, as the name would suggest, tripped-out melodies, processed spoken word and warbling synth licks — a nod to Romain’s playful, surrealist edge.

JP
東京とアムステルダムを股にかけながら、The People In FogやRed Pig Flower、GǼG (Monkey Timers & Keita Sano) 等のリリースを手掛け、オルタナティヴなディスコ/ハウス・レーベルとして存在感を放つSound Of Vast。その最新作は、Romain FXの12インチ！

フランスで生まれ香港/台湾/アメリカで育ったRomain FXはプロデューサーとしてのデビュー以降、自身が主宰するFauve Recordsや禁 JIN、Black Jukebox等で、イタロ・ディスコやプロト・ハウス、アジア産音源等を現代的に昇華したサウンドを展開。特に2024年にSound Metaphors Recordsの傘下から発表したイタロ・ディスコ金字塔"Spacer Woman"のカヴァーは、DJ HarveyやOrpheu the Wizardらのアーリープレイによってディガーたちに衝撃をもたらすと同時に、Romain FXの評価を確固たるものとした。

本作には、溌剌としたシンセの掛け合いにラテン・パーカッションが並走しドリーミーなクライマックスに向かうプロト・ハウス"Musique De Maison"、アフロ/コズミック影響下の初期プログレッシヴ・ハウスが現代のピークタイムとシンクロした"Tonal Spices"、バイレファンキやエレクトロ・ファンクの化合物がバッドトリップ直前まで交錯する"Psych-O-Delic (Live Mix)"といった3つのオリジナル曲を収録。更に今回は、ユニットGǼGとしての怪作を経てPanorama BarをはじめとしたEUツアーを敢行した日本人デュオ、Monkey Timersによる"Musique De Maison"のリミックスも搭載。Droid作品を彷彿とさせるFX処理やグルーヴ脱構築の技法により、本EPにダークな一面を持たせた。

本作に収録されたいずれの楽曲も、Romain FXが辿ってきた陽性のエネルギー溢れる遍歴と練磨されたスタジオ・スキル、現代のダンスフロアのムードが交差しオリジナリティの獲得を目指す、インパクト溢れる仕上がりとなった。近頃はライヴアクトとしても成長を遂げるRomain FXが如何にクラウドを熱狂に陥れているか、想像に難くないであろう。

Developed over three years across residencies, tours, and periods of deep listening, “Your Whistle Tells of Landscape” finds Australian sound artist Alexandra Spence continuing her investigations into the perceptual entanglements of sound, place, memory, and imagination. Like much of the artist’s work, it unfolds at the liminal edge between the real and the imagined — between what is heard and what is remembered.

Composed from a constellation of materials gathered across sites and seasons — snowscapes recorded in Vancouver, insect choruses from a Sydney backyard, ceramic fragments unearthed while mudlarking with tinysound — it renders an intimate cartography of experience: one shaped equally by ecological resonance and internal drift. Each piece traces a kind of imaginary geography, where sonic ephemera become proxies for topography, weather, or myth.

The album is informed by time spent at EMS (Stockholm) and MESS (Melbourne), where Spence deepened her engagement with microtonality and tuned feedback systems, and by dialogues with sympathetic artists such as Tashi Wada and Patrick Farmer. Sound materials were sourced from Serge Modular systems, a custom lyre built by Tim Wall, amplified objects, handmade electronics, and Spence’s own field recordings captured within rockpools, beneath sand, and among a flock of sheep in the French Pyrenees. On “Magenta,” a collaboration with Delphine Dora, the domestic and mythic intertwine, as layers of voice, environmental recordings, and Halldorophone feedback drift in and out of one another like overlapping weather systems.

Despite its diverse material palette, the album resists spectacle or accumulation. Instead, it moves with a quiet sense of continuity and a rich interiority — less a sequence of compositions than a set of situated attunements. Across its duration, sounds seem to murmur, glint, or hover right at the edge of presence, invoking a listening practice that is as much about orientation as it is about reception. These are pieces not simply about place, but of place — etched with the grains of time, vibration, and breath.

Up next on Brooklyn's Scissor & Thread is the latest EP from Snad, aka Shyam Anand (also known as Spandrel), the Berlin-based artist whose discography already spans labels like Smallville, Minibar, 20:20 Vision, Phonica AM, TerraFirm, Running Back, Cabinet, Kimochi and Dungeon Meat with remixes for names including Seafoam and Chez Damier.
A trusted selector and producer in the underground, Snad has steadily built a reputation for deeply considered productions that balance classic inspiration with his own forward-thinking edge.
The AM Yard EP opens with its title track, a warm, hazy cut rooted in the kind of bassline architecture that recalls Chez n Trent's Morning Factory but reshaped with Snad's signature dreamlike touch.
Anticip8 fanchors the release with a more direct energy, rolling, insistent and focused on the floor, balancing stripped-down drive of dusty samples wrung through his digitakt with just enough harmonic flourish to pull the listener inward.
On the flip, The Pursuit follows in a slightly different mode, drawing on experimental vocoder techniques and filtered percussion creating a hypnotic push-and-pull that feels as intricate as it is understated.
Rounding things out, label heads Francis Harris and Anthony Collins, under their Frank & Tony alias, reimagine The Pursuit with their Housebeat Remix, extending its atmospherics into an even deeper headspace that glides effortlessly into late-night territory.