Die Welt war nie bereit für The Monsters, und The Monsters waren nie bereit für diese Welt. Nach vierzig Jahren, in denen sie zu einem echten Monster aus Fleisch und Blut herangereift sind, präsentieren sie ihr neuntes Album: gut ein Dutzend kompromissloser, wilder, lärmiger und fuzz-geladener Tracks. Ein Mix aus Ein-Riff-Beat, Trash, Garage, "Bern Metal", Boogie, Punk und Grunge - Songs, die einen von innen nach außen stülpen, aufgenommen mit "Miracle" Robert "Worker" Butler und abgemischt von Jim "Dirtbomb" Diamond - ein echtes Garage-Punk-Dreamteam. Vor vierzig Jahren, 1986, war die Jugendkultur-Revolution in Bern (Schweiz) in vollem Gange, Jugendliche und junge Erwachsene wollten sich aus den konservativen Fesseln befreien. Die Straßen brannten, Clubs entstanden und eine neue Schweizer Musikkultur wurde geboren. Dies markierte auch den Beginn von The Monsters. Vierzig Jahre später hat sich der Zustand der Musikkultur - oder vielmehr der Welt im Allgemeinen - wohl eher verschlechtert. Individuelles Denken und Schaffen sind nach wie vor nicht sonderlich anerkannt oder gar erwünscht (Hey KI!). Im März 2026 blieb der Band also nichts anderes übrig, als ihre Instrumente, das Aufnahme-Equipment und ihre Ideen in den Proberaum zu verfrachten. Sie verbrachten einen Monat mit Robert Butler (u. a. The Miracle Workers) und seinem mobilen "Two Cent Recording Studio". Sie schrieben Texte (insgesamt etwa 100 Wörter - mal sinnvoll, mal unsinnig, über das ganze Album verstreut), tüftelten am Sound und nahmen Gitarren in allen erdenklichen Variationen auf. Das Ganze wurde gewürzt mit Percussion, Schlagzeug, Bass sowie obskuren Orgeln und Synthesizern, die sie auf Flohmärkten oder in den Kellern von Freunden aufgetrieben hatten. Nach diesem vierwöchigen Trip schickten sie das gesamte Chaos an Jim Diamond (Ghetto Recorders Studios in Detroit, Dirtbombs, White Stripes, Gories, André Williams... klar, worum es geht, ne?!), um es einem umwerfenden Mix-Abenteuer zu unterziehen. Das Ergebnis ist ein Dutzend Songs ohne Kompromisse, Schwächen oder Stärken. Einfach nur roher, ungeschliffener Lo-Fi-Garage-Punk'n'Roll voller Energie - und das mit vierzig Jahren "Nicht-Erfahrung". Erhältlich sind schwarzes Vinyl und eine pinke Picture-Disc (beide mit Insert & DLC), eine höchst audiophile CD sowie Kassette, die bei doppelter Geschwindigkeit leiert! Für Fans von Reverend Beat-Man, VRR, The Mummies, Oblivians, Billy Childish, Damaged Goods, Monks, very early Hives, Garagepunk, Lo-Fi-Roll, Alternative Beat
What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.
Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.
Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.
The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.
The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.
Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.
The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.
And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.
Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.
This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.
The year was 1989, and Derrick May was at a creative peak as both a DJ and producer. Under his Rhythim Is Rhythim moniker, he released a string of landmark records on Transmat, while his residency at Detroit's The Music Institute showcased the distinctive DJ style that would soon take him onto the international stage. Around the same time, he hosted a weekly radio show on Detroit radio station WJLB, alongside influential programs by The Electrifying Mojo and The Wizard (Jeff Mills).
For one of these broadcasts, May assembled a 15-minute megamix in his studio during the week leading up to the show. He opened his radio set with this continuous mix, blending his own tracks and versions into a seamless introduction that reflected his approach to DJing at the time. It includes unreleased versions of classics such as ‘Nude Photo 88’ and ‘Strings Of Life’.
‘All of this is unreleased because I made it as I was playing it on the spot as a special Mayday Mix for my show on the radio station WJLB in 1989, edited together straight from the keyboards live to tape. There is no other recording of these tracks in this form, only here’.
The original WJLB master tapes have since been lost, and no official recording is known to survive. Fortunately, many listeners recorded the broadcasts at home. One such cassette, preserved by Richie Hawtin, eventually made it our way. It has been carefully restored and mastered, with the artist’s approval.
To highlight this remarkable document of techno history, the recording is now available as a limited-edition, one-sided 12-inch release. The mix has been cut as a continuous side, visually divided into eight sections, while the reverse features a custom engraving.
„Mutant präsentiert in Zusammenarbeit mit Sony Music Masterworks und Amazon MGM Studios stolz den kompletten Soundtrack zu Lord & Millers epischem Meisterwerk ‚Project Hail Mary‘. Dieses Sammler-Boxset mit 4 LPs enthält Daniel Pembertons komplette Originalmusik – mit über 30 Minuten exklusivem Material, das in keiner anderen Veröffentlichung enthalten ist – gepresst auf 3 x 140 g Gold-Vinyl Das Original-Soundtrack-Album des Films – 10 Musikausschnitte aus dem Film, gepresst auf exklusivem Zoetrop-Vinyl Ein 16-seitiges Booklet mit Liner Notes des Komponisten Daniel Pemberton sowie von Name Namerson und Another Person „Project Hail Mary“-Slipmat „Project Hail Mary“-Aufnäher (3 Zoll)“
December 2012 I showed up totally exhausted in Vancouver BC after touring stupidly and relentlessly for however many straight months and got a job at a call centre raising money for the Red Cross. It was a scent free office but one time this woman cooked a piece of fish in the microwave for 10 minutes on low and hot boxed the whole office - we got sent home early no pay. There was the other woman I named the Call Centre Coltrane because her pitch and routine usually involved improvised flights of fancy that went off in both directions at once somehow landing back down with a credit card number and a donation. I used to sleep under the desk. I was there a few months and at the time I reconnected with John Brennan who I had played with briefly in Montreal at the Mutek Festival. In Montreal John was running an experimental music night at a burrito shop downtown called Garbage Night. While in Vancouver I began connecting with the music scene there and would go hang out with the Shearing Pinx lads who I think lived with Sydney the bass player at the time. I knew Nic and Jer from an AIDS Wolf Tour and was so stoked to get to know them both better. I really fell in love with that era of Vancouver's music scene.
Fast Forward to today. 2024
Actually it was the dying days of 2023 but you get it and John asks if I'll sit in with Earth Ball and I keep thinking about Earth Balance, the vegan butter everyone eats here. I brought my aching bones and my ipads on the beautiful ferry named the Queen of Oak Bay and out to Nanaimo BC, home of the nanaimo bar (a dessert treat - special to this region - that seems to be more popularly found under the weird glass sneeze guards in office building deli's out east in Ontario.... anyhoops ). No one in Nanaimo wants to talk to me about the famous treat. I asked a couple of people. Silence. Nanaimo is like London, Ontario but more fried and by the sea. The town is filled with blown out old sea dawgs with tin coffee pots and loose leaf tobacco, then there's the usual streetfolk you find in this part of the Canadian Pacific Northwest and a bunch of bohemians who I guess have left Vancouver behind - that fine city having become uninhabitable for those not making over 100k a year. And then up the way are all the retirees.
Yup Nanaimo is a strange one. They mined the shit out of this region and Nanaimo is surely haunted by those buried in mining shafts or maimed by the heavy machinery or blown up by accident in the explosives store house. And when Earth Ball fire up the amps in Izzy and Jer's basement you can hear the voices of the ghosts hum through electrical lines and out the speakers, Kellen's hued feedback, Izy's sturdy basslines, Jer's paperbag guitar tone and rumble pack zaps, Liam's (aka the Kid) sheets of sound and Brennen's multidirectional drums.
You wouldn't guess Earth Ball was auto-composing and from what my rat brain can tell - the lyrics are improvised too...Improvising lyrics and singing them is the hardest thing to do in all of music.. Izzy and Jer are pros. And their attitudes are pro too.
The live show is scorched and without naming names they've been known to make headliners nervous. Lucky ones will get to see them live as they tour this beast of a record entitled ‘It’s Yours’ (out May 17th on Upset The Rhythm) and I hope I'm one of them.
But now you, fan of fun but totally fucked up music, have the opportunity to Ball with them thanks to Upset The Rhythm. Enjoy
-Alex Moskos, Montreal QC, Feb 2024
The premise of this compilation is simple: music we’d like to hear at the airport.
The idea came after learning that Honolulu’s international airport has been playing AI-generated music over its speakers since November 2025. First reported by Civil Beat, the news has caused frustration and disappointment among residents and visitors, as well as within the local music community.
Everyone knows Hawaii is one of the most musically rich regions in the world — why then is the airport using AI music? 'Music For The Airport' is our response.
Located in the middle of the Pacific at the outskirts of one the most remote cities on the planet, Honolulu’s Daniel K. Inouye International Airport (HNL) is for most people the first place they encounter when they arrive in Hawaii. Warm sun, tropical tradewinds, playful palm trees and majestic mountains welcome every traveler, as do the sounds of birds, familiar music from Hawaiian artists like Aunty Genoa Keawe and Israel Kamakawiwo’ole, and—at least for now—seventeen “island-themed” AI-generated songs.
In late 1977, while sitting in Germany’s Cologne Bonn Airport on a Sunday morning, Brian Eno noticed how terribly uncomfortable he felt hearing the airport’s “muzak” overhead. For a harried, hurried place like the airport where travelers scramble to their gates, stand in long border control lines, and wait impatiently for their luggage at the carousels, music can create more anxiety than calm. Asking himself, "What should we be hearing here?", Eno soon created ‘Ambient 1: Music For Airports’, a sonic remedy aimed at reducing nervousness in public spaces.
When we heard the news that HNL airport is playing AI-generated “muzak”, we were immediately reminded of Eno’s genre-defying 1978 album. And we were similarly inspired to react. But how? Recreating an ambient masterpiece wasn’t in our wheelhouse. We started digging through our catalog of licensed music which we haven’t yet re-released. We quickly realized this was our chance to highlight some of favorite songs from the so-called CD era: the 1990s and 2000s (with a few exceptions). In less than 20 minutes, we pulled 17 original songs recorded by local artists between 1984 and 2017.
The speed at which this project came together surprised us; reactionary gut instinct often produces swift and lasting results. Ironically, our new compilation likely took less time than it did for the state Department of Transportation to commission its AI songs in question. But even though ‘Music for the Airport’ came together in less than one week, the truth is that this collection of 17 songs is the result of years of hard work, trust, sacrifice, patience, and understanding. Building relationships with and licensing music from artists doesn’t happen overnight, but more importantly: these songs are the result of people pouring their hearts and souls into something they believe in. This music wouldn’t exist today without the artists and their loved ones who supported them along the way.
As of this writing, the DOT states its intention in creating AI-generated songs is to “highlight different aspects of the islands, aviation and the airport” and that “no state funds were used to produce them”. Okay, but at what cost? Technology disrupting the music industry isn’t news to anyone. AI music in public spaces are cost-saving measures, since its users (airports, for example) don’t have to pay the licensing fees typically required, which can be a worthwhile source of revenue for artists. But what happens when a place like HNL airport, which hosts more than 21 million passengers annually, uses music created by machines instead of people to represent Hawaii? The identity of a place beings to erode, diluted by a language learning model’s conceptual summary of what a people and its culture sounds like. To echo Brian Eno: what should we be hearing here? In other words: what should the music of Hawaii sound like?
We believe in the power of music, especially when it comes from the soul. We believe in supporting artists, especially as AI disrupts our lives. We believe that Hawaii must be represented authentically, especially when it comes to song. And of course we believe in vinyl, especially since it was a record from 1978 (Mackey Feary Band’s debut LP) that inspired Aloha Got Soul’s origins in 2010.
We hope you find as much joy in this compilation as we have. Perhaps it’ll soundtrack your next journey to Hawaii. At the very least, we hope some people take a moment to hear these sounds: in your headphones for now‚ maybe someday overhead at the airport in Honolulu.
"Collect Records welcomes Byron the Aquarius to the family! Hailing from Alabama, Byron the Aquarius has established himself as one of the most respected names in contemporary underground house music. Classically trained as a pianist, his productions effortlessly blend deep house, jazz, soul and broken beat, earning support from artists such as Theo Parrish, Moodymann, Gilles Peterson and Floating Points, while releasing on labels including Sound Signature, Wild Oats, Shall Not Fade and Atjazz Record Company. Last Dance in Church features five original productions that perfectly capture Byron's unmistakable sound, warm, soulful and deeply musical. From stripped-back dancefloor grooves to rich harmonic compositions, the EP is a timeless journey through deep house, house and jazz-infused rhythms."
Eine auf 500 Stück limitierte 7"-Single auf NEONGRÜNEM VINYL von DERIK & THE DISASTERS! MIT DEN PUNK-ROCK-LEGENDEN CHARLIE HARPER (U.K. SUBS) UND DEL GREENING (PETER AND THE TEST TUBE BABIES) Die A-Seite stammt von ihrem selbstbetitelten Debütalbum! Die B-Seite gibt's exklusiv auf dieser Veröffentlichung! Eine wunderbare neue Punkrock-Partnerschaft! Charlie Harper ist ein langjähriger Bewunderer von Del Greenings Gitarrenspiel und beide leben in Brighton. Da Del nicht mehr mit Peter And The Test Tube Babies auf Tour war und Charlie ,etwas" weniger Gigs mit den U.K. Subs spielte, hatten beide Zeit, etwas Neues und Frisches zu starten. Das Ergebnis ,Derik & The Disasters" besteht aus vierzehn Songs, die sowohl an Charlies als auch an Dels musikalisches Erbe anknüpfen und gleichzeitig einen einzigartigen, lebendigen Sound schaffen - mit Texten, die sich nicht scheuen, die vielen Probleme anzusprechen, mit denen die Welt heute konfrontiert ist. Das ist Punkrock im Jahr 2026. Laut abspielen.
Locust, das Projekt des legendären englischen Elektronikmusikers Mark Van Hoen, freut sich, das neue Album „Spectral+“ über TODO Records zu veröffentlichen. „Spectral+“ ist eine vielseitige, einzigartig ausgefallene Sammlung, die klassische Einflüsse wie Giorgio Moroder, Brian Eno, My Bloody Valentine und Boards of Canada als Ausgangspunkte für neue Wege nutzt. Mit dabei sind Musiker wie Neil Halstead von Slowdive, Olive Kimoto, Natasha Morrow, Nick Holton von Black Hearted Brother und Griff Spex, dessen industriell-elektronischer Touch dem Album eine unerwartete und mitreißende Dimension verleiht.
Die Ankündigung des Albums folgt auf große Vorfreude seitens der Fans, seit Van Hoen eine neue Live-Besetzung zusammengestellt hat, mit der er seit September an ausgewählten Terminen in den USA neues Material uraufführt – darunter als Headliner beim „Elsewhere“-Takeover von Perfectly Imperfect, beim „And Always Forever Festival“ und beim „Flower Moon Festival“ –, was ihre ersten Live-Auftritte seit ihrer Zeit als Vorband von Massive Attack in den 90er Jahren markiert.
In den letzten Jahren hat das Projekt eine beeindruckende Kult-Anhängerschaft aufgebaut. Das Publikum besteht nicht nur aus denen, die sich an seine Tourneen mit Autechre und Aphex Twin erinnern, sondern auch aus einer aufstrebenden jüngeren Generation, die Locust durch das Trip-Hop-Revival und die Präsenz in den sozialen Medien entdeckt hat.
Released first as three EPs, 9PM, 12AM and 3AM, each explores a different moment of the night, from the anticipation of getting ready, to the unifying energy of the dancefloor, and finally the conversations and reflections that linger long after the music stops. Together, they culminate in The Night's Not Dead, a complete body of work that celebrates nightlife as far more than a party.
The Hypnus clergy is pleased to present the debut album of our beloved initiate Luigi Tozzi.
Released in the light of the summer solstice full moon of 2016.
Supported by Cio D'Or, Claudio PRC, Deepbass, Evigt Morker, Ness, Svreca, Oscar Mulero, Artefakt, Ben Buitendijk, Giorgio Gigli, Exium, I/Y, Jonas Kopp, Kwartz, Samuli Kemppi, Eric Cloutier, Abstract Division, Brando Lupi, Nobody Home and many more.
The duo Jolie Gentiane come to us straight from a wild and unpredictable mountain peak, a perched place far from civilization, where the beauty and cruelty of mother nature reign but harmonize the elements. They walk the high, steep paths, looking down on the chaotic and industrial world. This increasingly smoky world, which, from the top of the mountains, looks metamorphosing dangeroulsy, but would only need a few changes to make it less crazy. Or perhaps infinitely more so. Jolie Gentiane is a skilful concoction of sound and daring. Unclassifiable, impalpable, the contemporary embracing the tradition and the acoustic swinging with the electronics. Autotuned/vocoderized vocals, 4th world, kitsch sax, psychedelic arpeggios, acoustic guitar, techno, it's all there: the story told by Jolie Gentiane on this album is rich and complete. Nature, love, celebration, struggle, work. Yes, even work. Because the energy deployed to create this album was surreal, patient, extremely methodical, and the abnegation of the protagonists has been vertiginous: the cliff of the highest peak is finally climbed. This album is like an ode to the earth, to the respect we owe it, an ode also to music in its purest essence, that which does not confine itself to borders, but shout for federation, dance and uprising.
OFF / GRID makes a captivating debut on Life In Patterns with his 'Sonic Spectrum' EP. Previously recognized as an underground gem in the techno scene due to his acclaimed, self-released EP, 'Time To Shine,' the Hamburg-based producer has garnered significant attention in 2023 with EP releases on labels like Planet Rhythm, Uncage, DifferentSound, and Entourage Concept.
On LIP009, he presents four meticulously crafted vinyl tracks and a digital bonus track, each a testament to his remarkable talent for creating hard-hitting, euphoric DJ tools. His music is distinguished by cutting stabs, hypnotic acid lines, and a distinct dub influence, all seamlessly woven together with powerful drum sounds.
We’re ecstatic to welcome to play:musik one of the scene’s most diverse producers, Sl8r, who brings with him some of the most eagerly anticipated music around currently. It also happens to be some of his finest work to date! Callisto EP covers different shades of jungle in a fresh, exciting way - from the wonderful loopy riff and shuffling beats of the title track, through a future ’95 hardstepping vibe, to deep synth grime influences, and a crazy jump-up meets edits workout.
Berlin (Germany) resident DELFONIC hits us with six Disco Edits/Remixes. Markus Lindner (Delfonic) has previously released music on label BBE. Here for the first time on HOT BISCUIT RECORDINGS
Next up on Voyager, we have someone who needs no introduction to techno. Jeroen Search lands on Voyager under his sci-fi "Echelon" alias with a stunningly deep 8 track album, available as always on Vinyl and Digital. Jeroen has been at the pinnacle of Techno music for a number of decades and has released on countless major techno labels, As Echelon, he has released on Jeff Mills' Axis Records and also on Srie Records Argentina. On Voyager, the remit was to go experimental with nothing off limits, and it shows within this stunning album.
The sun sat high above the desert outside Joshua Tree on October 17, 2024, baking the rocks and shrubbery outside the Farrington Observatory as a small group of invited guests ventured up a steep path towards the telescope. Kyle Simon, the artist and printmaker who founded the Observatory, was standing outside the print studio sat below the towering cylindrical building, greeting friends alongside his wife Sarah and lifelong friend Brian Weitz, the musician widely known as Geologist of Animal Collective. Simon and Weitz had spent the previous day testing and retesting a system that would transform the light of the oncoming full moon captured by the gigantic telescope into a signal that would modulate the control voltage of Weitz’s modular synthesizer. As the sun dipped below the horizon line, the audience gathered on a small wooden patio surrounded by speakers while Weitz readied himself behind the array of patches and knobs. Simon addressed the group, presenting the history of The Sirens, the sonic exploration of the night sky’s mystical and scientific significance about to unfold.
The music conjured under the Hunter’s Moon that night is now documented on this first official release of The Sirens, which was conceived by Simon and Weitz as a recurring performance piece and sound installation. Over a decade ago, Simon began immersing himself in literature on humanity’s sonic relationship to the celestial realm, including Homer’s Odyssey, Plato’s “Spindle of Necessity, ” Kepler’s Harmonices Mundi, and the field of astroseismology. He fitted homemade telescopes with photodiodes and optical sensors to make the images audible, finding latent patterns in the noisy sonic signals he began receiving from the stars. With Weitz, the process expanded as the signal was routed through an analog amplifier and set to modulate the pitch, filter, and other elements of his synthesizer. Together they developed a system of improvisation, with Simon adjusting the telescope to change the intensity of the light based on its relationship with the moon’s position (imagine a theremin player moving their hands in subtle, meaningful motion), and Weitz responding to that input in real time: bending it, amplifying it, or letting it stand on its own. The duo debuted the piece at the Integretron in Joshua Tree in 2018, providing a crucial proof of concept for the performance at Farrington featured here.
The first thing the listener hears on The Sirens is the opening of Farrington Observatory, the cranking of motor and metal. As the lens of the telescope is exposed to the evening air, a wavering drone emerges from the synthesizer, flickering at the margins, the tuning of the oscillators adjusting to the rapidly cooling desert air. The piece progresses and the drone becomes a luminous, spherical constant, bathing the listener in pure tone as Weitz draws out harmonically ambiguous melodies that spiral upwards. Electronics crackle and convulse, coalescing into dense dissonance before widening out into an open octave. Just as the moon orbits the Earth and the stars shift as the planet rotates, so each sonic element appears in flux, interrelationships slowly forming and falling away. Divided into two parts, The Sirens flows as a continuous conversation between the artists and the starlight completing its thousand-year journey across the galaxy.
The Sirens belongs primarily to a lineage beyond music: of sea captains navigating by looking skyward, of astrophysicists studying the formation of the Milky Way, of the modern myths of werewolves, of the stories embedded in constellations. As Simon writes in the album’s extensive liner notes, “These stories and explorations reveal a collective yearning to become conscious of our connection to the universe, our deep-seated desire to understand how we fit into it all.” This music underscores the history of the night sky as the place where poetry and science find common ground, where exploration hinges on the imagination. Driven by curiosity and ingenuity, Weitz and Simon look up and wonder.
Emerging from the dark Olympic forests with a new album and a full bag of chanterelles, fish narc's Ben Funkhouser has shifted the damp melancholy characteristic of his earlier work towards the sun. Uncle is at once a cry of resignation ("say uncle!") and a declaration of seniority, a set of observations steeped in the blues of youth, delivered with Westerbergian inclination. Recorded and produced by Alex Farrar, the album's 11 tracks bear the hallmarks of his style: textured rock `n' roll somehow both raw and polished. Neither waxing pathetic nor sugarcoating, fish narc and the band are at peak form on Uncle, strumming out the complexities of aging with the conviction of a group that's fully found its footing in well-crafted rock and powerpop. Uncle KLP313, is a culmination of the punk rock musical work fish narc has done in his native Northwest environs. Says Funkhouser, "I feel like Uncle is the best record I've ever made. The songs grew without changing, the textures are spot on, and Alex [Farrar] and I saw eye to eye about almost everything. The album represents what I want for my band and songwriting and is the touchstone on which all my future work will be based." fish narc is a rocker and producer from the Pacific Northwest, recently relocated to Los Angeles. As a member of GothBoiClique, his innovative guitar playing became iconic of the group and helped shape the style of the movement that they pioneered. As a songwriter, fish narc leans more on influences from SST, K and the diy scene he grew up in. Catch him with a full band for the true intended experience. Previous records include WiLDFiRE in 2020, Camouflage in 2022, fruiting body [KLP295] in 2023 and frog song [KLP298] in 2025. This autumn fish narc will tour the United States with his punk horde.
Over & Even was a breakout album for Joan Shelley. Originally released in 2015 and recorded in Louisville, Kentucky - with Shelley and her then neighbor Nathan Salsburg on guitar. The record was an album of the year at NPR Music and in The Los Angeles Times. Rolling Stone called it, "a masterfully turned set of folk reflections" in their 4 star review. This expanded edition features 8 never before heard demos, performed and recorded solo by Shelley who shared them only with Salsburg so he could learn the songs.
Reissued Rise Against: Revolutions Per Minute (2026) anlässlich der aktuellen Feierlichkeiten zum 35-jährigen Jubiläum von Fat Wreck auf violettem Vinyl gepresst! Ursprünglich 2003 über Fat Wreck Chords veröffentlicht, entstand das zweite Album von Rise Against "RPM" inmitten von Tourneen durch die USA, Kanada und Europa. Nach einigen Wochen im Studio Blasting Room Studio, wo sie gemeinsam mit Bill Stevenson (Descendents) und Jason Livermore die Aufnahmen einspielten, präsentierte sich das Quartett mit diesem von der Kritik gefeierten zweiten Studioalbum. Revolutions Per Minute verbindet auf meisterhafte Weise die rasante Energie des Punk mit scharfen, eingängigen Melodien. Tim McIlraths leidenschaftlicher Gesang transportiert gesellschaftskritische Texte in herausragenden Songs wie "Like the Angel" und "Black Masks & Gasoline". Das Album prägte den Punk der 2000er Jahre maßgeblich, schlug die Brücke zwischen rohem Underground-Hardcore und Mainstream-Rock und gilt heute als Meisterwerk des Genres sowie als das definitive Underground-Werk der Band. Band credited with creating a new sound - branch of melodic hardcore and political punk Rise Against's sophomore breakout album, produced by Bill Stevenson and Jason Livermore at Blasting Room Band has amassed 2 platinum records and 5+ gold records in multiple countries and 5+ Top-Charting Alternative Rock Radio hits Features hit singles "Heaven Knows", "Black Masks & Gasoline" and "Leaving Jesusland" Known for their progressive politics, veganism, and outspoken views
Once upoun a time Fat Mike came up with the idea of calling up 101 of the best old and new punk rock band around, have them each record a 30-second long song, then put all the tracks out on one record to make the best punk compilation ever. And guess what, the dream came true. The 101 most famous punk rock bands around doing each a 30 seconds long song Back in print for the first time in ten years! Pressed to Lime Vinyl Features super rare songs (recorded exclusively for this compilation) by Green Day, The Offspring, Blink- 182, Pennywise, Rancid, Less Than Jake, The Vandals, Bad Religion, and more
Healing Patterns is the debut full-length release on Appendix.files from Clima, following 2025's Transient State EP. Written between 2025 and 2026 during a period of chronic illness, the seven-track LP translates physical restriction into deep, spacious electronic compositions. Using palatial pads, slow-decaying echoes, and bodily low-end, Clima reminisces over residual club ambience and shared listening experiences with friends.
The record moves from the gradual, dub-heavy pressure of "Weight" through ASMR-like vocal glitter and tight rhythmic clusters, before dissolving into the quiet introspection of the title track's theme. Healing Patterns is a patient study in focus, repetition, and the spaces left behind.
Artist Info: Clima is an experimental electronic music project exploring spatial sound, texture, rhythm and the emotional residue of club culture. Their work moves between ambient environments, dub-weighted rhythm and abstract electronic composition, with a focus on deep listening and subtle shifts in perception.
Palace Limited presents it’s inaugural release from the early UK tech-house duo, Lo-Kee aka Julian Phethean (aka Mr Cenz) & Rafael de Swarte. The record features long awaited represses of three highly sought-after Lo-Kee records from 1998 - 2003 compiled onto a single 12”.
The record features A1 from Organised Sound 005 titled ‘Second Sight’, A1 ‘Human Affects’ and B1 ‘Earth Humm’ from Organised Sound 003 and the B2 from Affected Music 002. Seminal early UK fusion of house and techno with a minimalist approach which laid the foundations for much that followed.
Written and produced by Julian Phethean & Rafael de Swarte.
The latest transmission from Shadow Pressings comes courtesy of an unknown artist, with identities, backstories and social media profiles left at the door without a calling card. Five cuts of shadowy, hardware-focussed house music - no lengthy bios, no distractions, just some killer club grooves to move to.
Brand-new Legwork from Lance Desardi ft. Jesse Rennix. Dubbed out floor-fillers and deep introspection amalgamate for this special release. Lance and Jesse have done multiple releases together over the years, as great friends and comrades in sound. This one is four variations on a theme that will be familiar for a lot of folks.
Superfan is the songwriting veil of Kali Priya Flanagan, the Brooklyn-based multi-instrumentalist and producer. While initially imagined as a solo act, ambitious string arrangements crafted in collaboration with cellist Omeed Almassi have come to define Superfan’s noisy and magnetic pop soundscape.
Today, Superfan announces their forthcoming album ‘My Piledriver Heart’ (MPDH), out October 16 via new label home AD 93 (Joanne Robertson, Dagmar Zuniga, YHWH Nailgun). Along with the announcement, Superfan presents his new single “In the Gold Room” paired with the live version filmed by Garrett Winston inside Agger Fish Building in the Brooklyn Navy Yard.
MPDH marks the first release outside of the record deal Flanagan signed at age 14. The album finds Flanagan embracing a more expansive, experimental vision of indie rock - melding deeply tuned acoustic guitar, cello, and Eastern musical influences into what he calls his “Acousticello” sound. Recorded largely live with cellist Omeed Almassi and producer Hudson Pollock, the record explores heartbreak, independence, and hopeful melancholia. Kali says “This time around it was about being (myself) versus becoming myself. This album was made to acknowledge the ebbs and flows in chugging along with life and love, from a place of comfort within the self that opens you up to the beauty in everyday life.” He does so through intimate performances that blur the line between folk, chamber music, pop-rock ballads, and alternative rock. Last year, he released the singles “Apeiron (Fantasy Football)” and “Miss W Jones” and earlier this year he released “Picture of Return.”
Following his acclaimed debut Tow Truck Jesus, Flanagan opened for The Strokes at Red Rocks, and has quietly become a fixture of New York’s DIY scene, performing alongside artists like Horsegirl, Knifeplay, and Quiet Light, while also playing support shows with King Woman and Victoryland this summer. He is also in the rising emo band Holidays in United States.
Before Superfan, Flanagan found success during the pandemic under his first moniker, “KALI.” His initial releases garnered millions of streams and led to collaborations with seasoned high-profile producers and industry teams. Despite his budding career as an indie-pop star, Flanagan was dissatisfied with the conditions of his artistic output and community as he reached adulthood. His coming-of-age years in Los Angeles were marked by an ever-present new-wave pop music oblivion: “hits” made in 5-hour sessions with strangers, a social life suffocated by others’ aspirations for fame, and an absent audience for live music that pushed past the prescriptions of recorded music. On MPDH, Kali says “I can’t help my urge to write these pop-rock ballads, but we really wanted to push the boundary of genre and expressing the sentiments of the songs through experimentation.”
Jen Cardini & Shonky revive their 20 year old anthem August In Paris with remixes from Kasra V, Jennifer Loveless and Jump Source.
Originally released on Mobilee Records in 2006, Jen Cardini and Shonky’s record ‘August In Paris’ remains a defining statement from the minimal era. Ahead of its time upon release, the record distilled the genre to its essentials, bleeps, hypnotic grooves and impactful vocals, unfolding with the kind of restraint that continues to resonate two decades on.
To mark its 20th anniversary, ‘August In Paris’ returns with three distinctive reinterpretations from Kasra V, Jennifer Loveless and Jump Source plus a re-release of the original coming out on Jen Cardini’s formidable label Correspondant. As well as this Jen Cardini and Shonky will be playing an All Night Long set at Paris nightlife institution Rex Club on 29th August. Look out for merch on the night too.
Speaking about the project Jen Cardini discussed: “It is crazy to think this was two decades ago and that Shonky and I are still touring and sharing our love for music. For the anniversary, we decided to bring this special track to light again’.’
Each remix approaches the source material from a different perspective while preserving the essence of the original.
UK DJ and producer Kasra V leans further into the track’s skeletal framework, blending his signature sultry sonics into this hypnotic chunky groove to produce something entirely new but familiar.
Jennifer Loveless, an unearthed gem when it comes to production, strips things back even further, delivering a rough and tough uncompromising club version primed for sweaty dark dancefloors, it perfectly encapsulates the original without overshadowing it.
Closing the EP, Montreal duo Jump Source, Priori and Patrick Holland, take the record into more left of centre territory. Their version stretches the original into a warped, slow-burning electro excursion, perfectly suited to the blurred edges of the after-hours.
The Rio-based project Pra Gira Girar presents a new interpretation of the song Atabaque Chora, originally made famous by the trio Os Tincoãs. Written by Dadinho and Mateus Aleluia, the piece opens the group’s iconic 1977 album Os Tincoãs —and has now been chosen to mark the beginning of Pra Gira Girar’s own recording journey.
Formed by Alvaro Lancellotti, Michele Leal, and Alan de Deus on vocals, Pedro Costa on guitar, Kassin on bass, Zé Manoel on piano and vocals, Zero Telles (in memoriam) and Anna Magalhães on percussion, and Diogo Gomes on trumpet, the project was born from Alvaro Lancellotti’s long-standing admiration for the work of Os Tincoãs and his wish to create a live show celebrating the legendary trio.
For a year, Alvaro, Michele, Alan, and Pedro made up the core of the group, meeting weekly for rehearsals that became a deep dive into Os Tincoãs’ intricate vocal arrangements. These sessions were essential to recreating the grandeur and complexity of the Bahian trio’s music. Pedro Costa transcribed the vocal lines and, together with Michele Leal — a singer-songwriter with a background in choral singing — adapted the arrangements for a formation that, unlike Os Tincoãs, features a female voice.
Picking the best songs out of Focus’s legacy is no easy task: they have released so many top quality progressive songs it’s deemed almost impossible. However, Hocus Pocus (Best of Focus) manages to compile two records filled to the brim with the best that Focus has to offer.
The obvious tracks such as “Sylvia” and “Hocus Pocus” are included in the track list alongside “House Of The King”, “Harem Scarem” and “Anonymus”. A must for anyone wishing to recap on lost memories or as an introduction to the merits of Focus!
Hocus Pocus (Best of Focus) is available as a numbered limited edition of 1000 copies on red and white swirled vinyl
In 1990, Pop Will Eat Itself released their third studio album. The British alternative rock band drew on many popular genres of the time, making them their own. Hip hop, industrial rock and alternative dance are all featured on Cure For Sanity.
The band also enjoyed success in the UK Singles Chart, with four singles reaching the top 40.
This album contains 1991 reissue of the album and is now available on a 2LP set for the first time.
Cure For Sanity is available as a limited edition on purple coloured vinyl and includes an insert.
The small print:
• Due to rights restrictions, this item is only available for customers in Europe.
Almost immediately after hearing the Beatles' North American debut album at eight years old, Al Di Meola decided he wanted to become a musician. Just 11 years later, he was recruited by Chick Corea to replace Bill Connors in the legendary jazz fusion band Return to Forever, together with Stanley Clarke and Lenny White. His tenure turned out to be a short one—just two years—but turned out to coincide with the group's career peak.
Around the time the group broke up, he released his first record Land of the Midnight Sun, followed by Elegant Gypsy in 1977. On this album Al showcased his prowess for fast electric guitar riffs, lyrical acoustic passages, and every technique in between. The record clearly showcases his predilection for flamenco and Latin jazz, exemplified by the record's two most important tunes: "Mediterranean Sundance" and "Race With Devil On Spanish Highway".
Elegant Gypsy is available as a limited edition of 1000 individually numbered copies on red vinyl and includes in insert.
A glorious night of no particular significance, Totally, the new album by Baba Stiltz. Recorded in Helsinki in studio with a drummer and overdubs committed in 5 days. Ballroom- sink songs of loss, grief, long drives on the I-5, centralized acquisitions, and corrective conditioning towards the prolonged effects of computerized lifestyles.
Every song looks you straight in the eyes, crooked and veering towards a light fixture off the side of the mirror. Ambivalence and assertions track us, down some gauzy networked afternoon. Relatively, perfectly, three dimensional. Proportions as they appear to us from outer intuition. Sometimes meaning is evoked through pure nothingness. Concealed and nothing known. We have no need for any paradise informed by anything beyond what is directly in front of us.
Stone repetition thwarts the possibility of control and surrenders itself to understanding. Who are we, and what are we trying to understand? To understand being universally greater than being understood. There are soap operas everywhere for those with eyes to see. You don’t have to look as hard as we currently look. The dramatic is everywhere, we breathe it unintentionally, then we come to hate it. Haptic, embodied facts of a tedious life lodged in the jowls of history. Everything under the
sky being the best bedlam has to offer. Your family, your relationships, your memory. As you eat a burger you are reminded of every sharp protrusion and corner under the florescent lights, the same lights you see when you’re born, and although unconfirmed, when you die.
Some of these songs were written years ago, some recently. The bookshelf and television set come into full view. Women/men come and go. Stars and poseurs collapse under their alienated contradictions, the search for truth yields to continued gradients of probability (collapse). Spatial order maintains itself through perceptional feeling. Silence, singing along to Roger Miller, people entering and leaving, figures hovering over you in your dreams and waking hours. Cool and fun, Totally
Kvrk makes a debut on Distant Gaze with Synthetic Memories, a four-track EP exploring shadowy electronics where organic textures and synthetic forms constantly blur into one another.
Opening with Pulsewidth, the EP begins as a slow burn – a restrained piece of synthwave shaped by drifting ambience, hypnotic sequences and a steady sense of tension.
The pace gradually lifts with Void Caller and title track Synthetic Memory, pushing deeper into prog sound. Straight, driving rhythms form the backbone, occasionally dissolving into broken-beat passages, while warped synths and psychedelic details keep everything in constant motion.
Beneath the electronic framework runs something more primal: forest-like soundscapes, mystic undertones and subtly shamanic motifs give the music an earthy, ritualistic dimension.
Closing the release, Blu:sh reworks Void Caller through his signature deep and trippy approach, stretching the original into a spacious late-night interpretation with a submerged, dreamlike pull.
Greek producer, Lex (Athens) returns to Delusions of Grandeur with a four-track excursion into the deeper, more playful corners of house music, bringing together dusty Chicago grooves, Mediterranean warmth, jazz-inflected instrumentation, and a little Italian cosmic weirdness along the way.
The final chapter of Freerange’s 30th anniversary series arrives with Volume 5, bringing together six brand new and exclusive tracks from across the Freerange family, and beyond. As with the previous four volumes, it’s a snapshot of the label’s enduring musical DNA — deep, soulful, underground, and resolutely dancefloor-focussed.
Asphalt DJ lands with his second outing on Sentiment.
Following a more Detroit house & techno oriented first release, this EP fi nds itself in four club-focused, yet deeper house tracks. - - - - - - - - - - - - - - - - - - - - - - - - - - - - Sentiment is a label born from admiration for those who came long before us, who were driven by curiosity and experimented with early-day machinery. We want to create a home for music that carries that same spirit. A home founded on the bricks of house and techno and built together with artists who inspire us. Feel free to join building.
Community Function’s debut release presents four raw, floor-focused cuts from Detroit’s Hood: three originals spanning high-energy breakbeats and atmospheric techno-house and a low-slung, chest-rattling remix from France’s Cruise Control.
Rooted in traditional Middle Eastern music with a percussive background, Hood channels a rhythm-centric mindset through machines to deliver fat grooves, funky basslines and drums that don’t quit.
ANEMOIA opens as a lean, late-night warehouse tool locking a sultry breakbeat over a driving 4/4 pulse, bridging raw machine funk and classic electro with a cheeky vocal sample, a dominant low-slung bassline, and constantly shifting top-end percussion for unvarnished, high-energy club material. XATION shifts into heavy, driving yet atmospheric territory that blurs the line between Detroit Techno and '90s Tech House, held together inside a deeply textured sonic environment that moves between rhythm-centric and melodic structures before a massive breakdown of lush pads and warm strings lifts the floor and grounds it back in groove. PLAYTEST tracks out live with the foundational 707 and SH-101 combo, relying on a single chord, a dystopian vocal sample, and raw, on-the-fly programming to deliver a relentless, hypnotic chugger for the purists. XATION (Cruise Control Remix) closes out with a low, heavy bassline that hits the chest first, dragging bodies into its sway and taking its time to build tension before releasing it.
2026 re-issue, 180g vinyl, remastered from the original tapes
Be With have raided the KPM archives to re-issue another of our favourites from the KPM 1000 series. They say: Hard Afro Pop featuring large percussive rhythm section and front line. We say: One of the best-loved of all the KPM LPs. Afro Rock was recorded at Morgan Studios by John Cameron and Alan Parker in London in 1973 as a collection of stripped-down African rhythms, virtuoso jazz instrumentation, fuzzed up wah wah guitars and spaced out library breaks. The percussion is effortlessly funky, and those flutes so melodic, it’s as if the LP was crafted with the beat lovers of the future firmly in mind. As Cameron himself described it in Unusual Sounds, this is “heavy duty drum-and-bass salsa music”. As with all of our KPM re-issues, the audio for The Road Forward comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity. And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!
Father John Mistys bahnbrechendes zweites Album aus dem Jahr 2015, ,I Love You, Honeybear", ist zurück auf Vinyl, remastered und neu verpackt als Einzel-LP. Ursprünglich wurde es als Doppel-LP veröffentlicht. Das Album wird mittlerweile als Klassiker angesehen und enthält die Fan-Favoriten ,Chateau Lobby #4 (in C for Two Virgins)" und den Titelsong ,I Love You, Honeybear". Bei der Veröffentlichung erhielt ,I Love You, Honeybear" viel Kritikerlob, u.a. Pitchfork Best New Music, eine perfekte Bewertung von Exclaim! und begeisterte Kritiken von NME, Mojo, Q, Spin und anderen. Es wurde als eines der besten Alben des Jahres 2015 von Pitchfork, Billboard, The A.V. Club, NME und Stereogum gefeiert. ,I Love You, Honeybear" wurde von Josh Tillman und Jonathan Wilson produziert und von Phil Ek gemischt. Diese Ausgabe wurde 2024 von Adam Ayan bei Ayan Mastering neu gemastert. Diese zweite Ppressung kommt auf schwarzem Vinyl.
“Bloque 6” (1968), by Juan Carlos Calderón, is a landmark in the history of modern Spanish jazz, quite different from the later phase of his career, when he incorporated elements of fusion under the influence of funk, disco, and even flamenco. For the recording of this album, he was joined by prominent Spanish jazz musicians such as Pedro Iturralde, Vlady Bas, and Pepe Nieto.
In the United States, it was awarded Best International Jazz Album in 1969 and reissued on CD by Blue Note many years later.
Kingo Hamada's iconic 4th album, and acclaimed 1982 masterpiece, is a timeless blend of sophisticated urban grooves, mellow soul and City Pop elegance originally released during his time with the label Alfa Moon. Featuring a lineup of skilled musicians, including his close friend and ace guitarist Makoto Matsushita, who has been enjoying a surge of international popularity in recent years. Includes the fan-favorite 'Midnight Cruisin'.' Essential for fans of Japanese City Pop & Yacht Rock.
Trio Ternura was a true family project, made up of three Brazilian siblings with deep musical roots.
They recorded a couple of albums and quite a few 7”s with exclusive tracks that never made it into the LPs. Lesser known than the highly sought-after ‘A Gira’, yet every bit as perfect for the dancefloor, ‘Razão De Ser’ (1972) blends Brazilian scents, soul music, and stunning vocal harmonies into a timeless masterpiece. On the flip side we find ‘O Mensageiro’, an uptempo and catchy tune that’s sure to set the dance floor ablaze.
These single-only songs are reissued here for the first time and cut at 45 RPM for superior sound quality.
Inspired by the ska and reggae sounds crossing the border from Belize, the Mexican band Ely Combo was among the first in the country to incorporate Jamaican rhythms into its repertoire in the early 1970s. This single brings together two funk classics—Isaac Hayes’ ‘Shaft’ and the dancefloor favorite ‘Express Yourself,’ originally recorded by Charles Wright & The Watts 103rd St. Rhythm Band—reimagined here as two explosive reggae tracks.
A remarkable anomaly within the Latin American music scene of the 1970s.
It's hard to explain an album when one listen is enough. All the more so with MaMaMa: there's no room to stay passive. Listening to his new album, EST, means immersing yourself in an atmosphere that's softly psychedelic, comforting and organic all at once. A dreamy, electronic pop that proves this Strasbourg-at-heart, Paris-by-adoption musician, arranger, singer, songwriter and producer never stops reinventing himself. After changing his name — formerly Petit Prince — and delivering two critically acclaimed albums ("MaMaMa-gnificent." / "Hooks you carry in your head for a long time" / "sumptuous arrangements"), Elliott Diener now offers an even more sincere record. Real songs in French, after two albums where production sometimes took up all the space: "when you make heavily produced music, once you strip away the layers of sound, there's no fruit left underneath. On EST, I don't need makeup for the songs to work," he admits.
That's what this new album is about: the song and the French language first, then the pleasure of sound. An album less concerned with talking about its own making, more inhabited, more embodied, within a contemporary folklore. With this new album, don't expect to be bored: EST is his best record yet.
No pretense
Entirely conceived in his studio in Pantin — a room of his own, at last — imagined as a space free of any daydream, open to every sonic landscape, MaMaMa offers a record that's both hazy and downy soft. Often composed very early in the morning, it has become nostalgic without being dark, melancholic without being sad, with a few lineages showing through: Flavien Berger, Moodoïd, Feu! Chatterton for the taste for words and unease, Mount Kimbie for the approach to sound and rhythm. Unsurprising, given that EST was finalized with the British duo's producer. Live, MaMaMa is preparing a show in the style of Nicolas Jaar or UTO. Hypnotic and immersive.
The most liberating thing is that EST is an album without pretense. With it, we move through perseverance (in Aussi loin qu'il tiendra debout), the small arrangements we make to avoid facing reality (Tout sauf la vérité), and the fragility of bonds we thought were solid (Si bien ensemble). We also touch on lasting conflicts with the people we love (Anywhere You Are, There You Are), misunderstanding (Elle me parle une langue), and the erosion of friendships (S'envoler). EST draws an intimate and redemptive map of human relationships, in a body of work that's both lucid and sensitive — like when he also addresses social masks such as filial love (in Beau garçon, dedicated to his son) or relationships that have become impossible.
"It's really the album that sounds most like me, in terms of sonic landscape," Elliott points out. A record that rises above the noise of an imperfect, shifting world — like us — joyful in its words, liberating in its production. A true gem.
Selva Discos is proud to present its latest release: the EP by the band Discoteca Tropicana. This record features 4 original tracks that celebrate the rhythms that have influenced Brazilian disco music, showcasing the best of this fusion: the swing and tropical flavour that bring sunshine to any dance floor.
The project is the result of a collaboration between Kiko Costato, the enfant terrible of the Brazilian music scene, and Zé Nigro, a producer and multi-instrumentalist who has won two Grammy Awards and has worked with major names in Brazilian and international music such as João Donato, Antonio Carlos & Jocafi and Natasha Diggs.
This EP is based on 4 different themes. For each one, Kiko and Zé Nigro recruited some of Brazil’s finest studio musicians – people who work with Seu Jorge, Céu, Criolo, Metá Metá, Cidadão Instigado and Tulipa Ruiz – as well as pioneering artists from the Brazilian Black music scene, such as the backing vocalists who work with the legendary Gilberto Gil.
“Corpos Celestes” is a more classic “disco diva” track, featuring string arrangements and a grand piano, as if it were the start of the evening, a magical moment straight from the heyday of disco in the United States; “Corpo Treme” is the sweat, the vuco-vuco, a song for that moment when you’ve already let yourself go, a sprint to the frenetic rhythm of the carimbó; “Tobina” is the meeting of Brazil and Africa, from which Brazilian swing is born, an original chant straight from the Congo, with a characteristic African guitar, adapted to Brazilian rhythms, just like the afoxé. Finally, the dancefloor hit “Não Pode Acabar”, a more urban disco track, which works just as well for kicking off a party with the right vibe as for closing a set with the highest energy.
Iconic Dutch techno pioneer Stefan Robbers returns to De:tuned with Nodes, a mesmerizing new 8-track album under his legendary Terrace alias. Serving as the sixth Terrace LP and the highly anticipated follow-up to 2025's Branches, Nodes further refines Stefan's signature blend of Detroit-inspired futurism and warm, dub-infused textures. Drawing on decades of studio experience, he delivers another finely balanced collection of expertly produced techno, enriched with warmth, groove and precision. Stefan's relationship with De:tuned spans many years and reflects a shared passion for timeless electronic music. From his acclaimed Phosphenes EP (2017) and his memorable remix of LA Synthesis - Agraphobia, to standout appearances on label compilations such as 10 Years of De:tuned with Estrings, Terrace has remained an integral part of the label's catalogue. Nodes is the latest chapter in that enduring collaboration. Rich in detail, depth and emotion, Nodes once again demonstrates why Terrace remains one of the most respected and enduring names in Dutch techno. The creative heartbeat of Eindhoven is still beating stronger than ever. Artwork has once again been created by Al White and Kevin Foakes (Openmind, DJ Food, Ninja Tune), while mastering duties were handled by Matt Colton at Metropolis. A separate digital edition will also be available through all major digital platforms.
Iconic Dutch techno pioneer Stefan Robbers returns to De:tuned with Nodes, a mesmerizing new 8-track album under his legendary Terrace alias. Serving as the sixth Terrace LP and the highly anticipated follow-up to 2025's Branches, Nodes further refines Stefan's signature blend of Detroit-inspired futurism and warm, dub-infused textures. Drawing on decades of studio experience, he delivers another finely balanced collection of expertly produced techno, enriched with warmth, groove and precision. Stefan's relationship with De:tuned spans many years and reflects a shared passion for timeless electronic music. From his acclaimed Phosphenes EP (2017) and his memorable remix of LA Synthesis - Agraphobia, to standout appearances on label compilations such as 10 Years of De:tuned with Estrings, Terrace has remained an integral part of the label's catalogue. Nodes is the latest chapter in that enduring collaboration. Rich in detail, depth and emotion, Nodes once again demonstrates why Terrace remains one of the most respected and enduring names in Dutch techno. The creative heartbeat of Eindhoven is still beating stronger than ever. Artwork has once again been created by Al White and Kevin Foakes (Openmind, DJ Food, Ninja Tune), while mastering duties were handled by Matt Colton at Metropolis. A separate digital edition will also be available through all major digital platforms.
VV001 marks the debut release on Varco Vivo, an independent techno label based in Italy. Rooted in decades of club culture and shaped by contemporary vision, Varco Vivo brings rhythm and emotion together, creating music that moves the body while leaving something behind.
TIM HECKER’s latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality.
Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine.
While the title of the piece “Hatred of Music” might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. They also really didn't at all. Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Heckerʼs continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears.
This work is a significant contribution to Hecker's oeuvre, one which spans over ten years of musical production. Ravedeath is an enigmatic document of beauty and force. The album was recorded mostly over the period of one day in July of 2010. Iceland-based musician Ben Frost assisted with the engineering and performs on this recording.
RECEIVED AN 8.6 BEST NEW MUSIC RATING FROM PITCHFORK.
4/5 REVIEW IN MOJO: “HEARTBEAT TONES DISSOLVE INTO BEAUTEOUS SHIMMER AND STELLAR SYNTH MEDITATIONS GIVE WAY TO CAREFULLY ORCHESTRATED ELECTRONICA.”
4/5 REVIEW IN UNCUT: “IT'S MASTERFUL, THOUGH IT WILL LEAVE YOU FEELING LIKE A SPECK OF GRAVEL IN A SELF-DESTRUCTING WORLD.”
NME - 8/10 review (w/c 14 October) "He’s mastered this stylistic skittishness and you’ll do well to find much dispute about his talent."
NARC - 5/5 review (October issue) "An immersive soundtrack to your own personal psychodrama."
WIRE - ONE PAGE REVIEW (October issue) "The sentiments it stirs to life are shadowed and ambiguous, simultaneously personal and impersonal. It is also fantastically immersive, dragging the listener into its turbulent undertows, then washing them back on dry land, intact but changed.’’
Virgins was recorded during three periods in 2012, mostly in Reykjavik, Montreal and Seattle, using ensembles in live performance.
While this album remains committed to a painterly form of musical abstraction, it is also a record of restrained composition recorded live primarily in intimate studio rooms. This record employs woodwinds, piano and synthesizers towards an effort at doing what digital music does not do naturally—making music that is out of time, out of tune and out of phase.
Some pieces go off the rails before forming into anything, others eschew crescendo
compositional structures or bombastic density while going sideways instead. It points to the ongoing development of Hecker's work. It suggests illusory memories of drug- hazed jams or communal music performance that may have never been performed or been heard.
It is an offering of music into the void, a gift of digital filler between distractions. Yet hopefully it also stands as a document of the enduring faith in the narcotic, enigmatic function of music as long-form expression.
Mixed by Valgeir Sigurðsson and Tim Hecker. Additional assistance by Randall Dunn and Ben Frost. Mastered by Mandy Parnell at Black Saloon Studios in London, UK.
Father John Mistys bahnbrechendes zweites Album aus dem Jahr 2015, ,I Love You, Honeybear", ist zurück auf Vinyl, remastered und neu verpackt als Einzel-LP. Ursprünglich wurde es als Doppel-LP veröffentlicht. Das Album wird mittlerweile als Klassiker angesehen und enthält die Fan-Favoriten ,Chateau Lobby #4 (in C for Two Virgins)" und den Titelsong ,I Love You, Honeybear". Bei der Veröffentlichung erhielt ,I Love You, Honeybear" viel Kritikerlob, u.a. Pitchfork Best New Music, eine perfekte Bewertung von Exclaim! und begeisterte Kritiken von NME, Mojo, Q, Spin und anderen. Es wurde als eines der besten Alben des Jahres 2015 von Pitchfork, Billboard, The A.V. Club, NME und Stereogum gefeiert. ,I Love You, Honeybear" wurde von Josh Tillman und Jonathan Wilson produziert und von Phil Ek gemischt. Diese Ausgabe wurde 2024 von Adam Ayan bei Ayan Mastering neu gemastert. Diese zweite Ppressung kommt auf schwarzem Vinyl.
Dja Dja is Marina Herlop"s most ambitious work yet, blending emotional intensity, self-affirmation, and cathartic release into a deeply personal musical journey. Conceived as a single interconnected piece, the album follows an intricate structure inspired by the Hero"s Journey while remaining open to individual interpretation. Combining avant-garde experimentation, classical composition, orchestral brass, and Balinese gamelan, it expands Herlop"s sonic palette in bold new directions. Entirely self-released and largely handcrafted, Dja Dja reflects Herlop"s commitment to artistic autonomy and music as a self-sufficient form of storytelling.
DjRUM"s DJ-Kicks mix brings together his work as a DJ, producer and composer. Built around four new original compositions and exclusive contributions, "Flip" by Skee Mask and "Clonk Dual" by Clark, the release was developed from live vinyl mixes that were subsequently edited, collaged and expanded with overdubs. The mix moves between ambient, breakcore, classical music, punk, acid and experimental electronic sounds, combining a wide range of styles into a continuous sound collage.
A cosmic collision between Perzeptiverdampfkesselqualmtbesinnlich, the psycho-cognitive alter ego of acclaimed electro alien entity pdqb, and Edward Ka-Spel, experimental music icon, apparent half-Earthling and vocalist of The Legendary Pink Dots and The Tear Garden - and, according to pdqb, the owner of the most beautiful voice in the universe.
A storytelling dream team brought together by a fortunate twist of fate, with visual transmissions by the enigmatic Nicola Samorì.
Two Songs. Four Transmissions. One Missing Captain.
Corps Perdu emerges from Lamin Fofana’s ongoing practice of creating immersive and multisensory sound environments, informed and inspired by the historically rich texts of scholars and poets working in the tradition of Black Studies. The words of W.E.B. Du Bois, Sylvia Wynter, Dionne Brand, Fred Moten, Édouard Glissant, Suzanne Césaire and Aimé Césaire are transmuted and circulated as sound, offered to listeners through radio, live events, albums and installations. Fofana honours his sources with an audible historical awareness, yet his sounds always simultaneously open out into the turbulent uncertainties of the present.
The music we hear on the album Corps Perdu was previewed within a series of collective reading and listening sessions carried out in Paris, Barcelona, Tunis and New York City, where voices from the audience read aloud fragments from a body of texts Fofana had selected. The spontaneous unfolding of close reading and listening, mixed live by Fofana in these collective listening experiences, speaks to the open-ended quality of Corps Perdu. The album, now published, is but one iteration of this ongoing inquiry into the relationship between sound and text.
Corps Perdu presents an introspective journey with no return, and as such is full of omens of all kinds. Across ten tracks Lamin Fofana creates a sibling or companion to the transformation he initiated in his previous album Works in Metal, building a narrative that takes us into Krakatoa prior to its eruption, and lets us listen to Césaire’s ‘flying seed dreaming very loudly’. The album’s track titles and narrative arc hum in and out and alongside Césaire’s poetry, mainly Césaire’s 1950 collection Corps Perdu, in which the ten poems are accompanied by engravings by Picasso merging fragments of bodies and plants—a collaboration that emerged from their first encounter two years earlier, at the Communist-led World Congress of Intellectuals for Peace, in Wroclaw, Poland.
The music on Corps Perdu labours intuitive hand-held melodies through dense processing. There are many rhythms throughout, though these never surrender to the density of the dancefloor grooves we’ve heard Fofana craft on previous albums (think of the ‘Obscure Light’ pair from Works in Metal for example). Instead, Fofana gently releases the clenched hands Césaire’s Corps Perdu begins with: ‘Among me, from myself, to myself, outside any constellation, clenched in my hands only, the rare hiccup of an ultimate raving spasm, keep vibrating word’. The album carries through sound the scattering and liquid fragmentation that shape the desperate metamorphosis of a ‘lost body’.
Detroit techno visionary Keith Tucker returns through his acclaimed alter ego Optic Nerve with AUGMENTATIONS EP, a forward-thinking exploration of minimalist machine funk, futuristic sound design, and deep electronic movement.
Crafted with precision and unmistakable Detroit character, AUGMENTATIONS merges hypnotic analog sequences, mechanical rhythm structures, atmospheric synth textures, and driving electronic beats into a powerful sonic statement rooted in the city’s enduring techno legacy. Sparse yet immersive, the EP balances raw underground energy with cinematic futurism — designed equally for dark warehouse floors and deep headphone listening.
Pressed as a Limited Collector’s Edition Clear Vinyl 12-inch, PBX-38 captures the sleek, transparent aesthetic of the music itself: pure signal, machine emotion, and uncompromising Detroit innovation.
A1 — Augmented 1 (Optic Nerve Original Mix)
A deep, stripped down Detroit techno workout driven by pulsing drum programming, evolving synth modulation, and hypnotic minimalist sequencing. Functional futurism engineered for late-night motion.
B1 — Augmented 2 (Infinite Worlds Mix)
Built around a rolling funky bass line and eerie flowing string textures, this expansive composition moves through layers of atmospheric electronics and mechanical groove architecture. The track creates an immersive sense of drifting through endless digital landscapes while maintaining a sharp rhythmic intensity designed for the underground dance floor.
B2 — Augmented 3 (Visual Shapes Mix)
Abstract melodic fragments, and precision electronic rhythms collide to form a futuristic minimalist soundscape filled with movement, tension, and cinematic pulsed chords.
In a blizzard of crushed breaks and dissonant tones, Shelley Parker lands on Sneaker Social Club with her third album, Screed. Taking a forensic approach to noise sculpture and harmonic interference, the UK-based artist maintains a fringe perspective on the legacy of hardcore-derived dance music, extrapolating the renegade spirit of the earliest innovators into unexplored zones where sound art and sound systems collide.
Parker's path through the underground has been informed by her art school background, equally at home in the parallel world of galleries, installations and institutions as she is in the club. This dualistic dimension to her practice charges her music with an outsider spirit that manifests across 10 striking new productions on Screed. Focusing on the sound over an umbrella concept, it's an album that rejects comfortable, functional formulae in favour of original expression.
There are plenty of forthright structures for DJs and dancers to lock onto, from the militaristic techno thrust and tightly clipped breakbeat loop of 'Relentless' to the splayed boom bap guiding the giddy string sequences of 'Stargazer Lily'. The insistent pulse of 'April' meanwhile offers only the faintest of paths to navigate dense thickets of jerky, swinging static and metallic clamour. 'Georgian Wire' closes the record out on dissembled drum licks with a brittle patina - a scooped out closer with the skeletal remains of a rave dialect that's second nature to someone with as much skin in the game as Parker.
In amongst those tracks lies a wide-ranging tapestry of rhythmic, textural and emotional approaches, from head-knocking beatdowns to billowing clouds of dub techno, angular stabs and industrial smudges. On Screed, Parker proves herself to be peerless and purposeful in her quest to find new forms within the well-worn canon of hardcore and rave.
Metal is the debut EP from elisanyhm, an electronic and experimental musician who is based in Berlin.
The tracks that constitute Metal draw on a variety of materials and methods, yet they are commonly marked by an attempt to compose music in connection with a logic of refusal. This results in pieces that are both singular and capable of being set together.
A central tendency of the pieces on Metal is to stretch out time. This tendency could also be understood as: sounding time itself, without the rush of determination.
What might initially seem static can also, eventually, and ultimately be encountered as moving through dense layers. The deconstruction of direction leaves one affected by an indeterminate multiplicity of rhythms, voices, field recordings, and electronic sounds that are more than what one is supposed to construct.
Die hochgeschätzte Sängerin, Songwriterin und Produzentin Mary Bragg aus Nashville legt ihr erstes neues Album seit über vier Jahren vor, das in den FAME Studios in Muscle Shoals zusammen mit dem Grammy-Gewinner John Paul White und dem gefeierten Produzenten, Toningenieur und Keyboarder Ben Tanner aufgenommen wurde. Jeder Song ist im Grunde ein Geheimnis, das man einem Fremden anvertraut. Wenn die Wahrheit klar wird, erkennt sich der Fremde darin wieder. Mit ihrem sechsten Album in voller Länge präsentiert Bragg der Außenwelt eine Sammlung zutiefst persönlicher Geschichten. Mary Bragg wird von einer Begleitband aus Größen des Southern Rock unterstützt, darunter Chad Gamble (Jason Isbell & the 400 Unit), Zac Cockrell (Alabama Shakes) und Jay Gonzalez (Drive-By Truckers), und liefert ein Album, das zugleich weitreichend und intim ist. Secrets to Strangers" ist ihr eindrucksvollster Beweis für Seele, Verletzlichkeit und hart erkämpftes Selbstbewusstsein, getragen von prägnantem Songwriting und unbestreitbarer Kunstfertigkeit. Auch wenn frühere Beiträge in Rolling Stone, NPR und Forbes bereits für sie gesprochen haben, zeigt sich Bragg hier in absoluter Bestform.
GERBlair / Huber - ECLIPSE ist das eindrucksvolle Debut eines der spannendsten neuen Jazz-Duos Europas. Der preisgekronte Frankfurter Saxophonist Darius Blair und Gitarrist Niko Huber entwickeln in reduzierter Besetzung einen eigenstandigen, modernen Sound zwischen Jazz, Hip-Hop-Asthetik und improvisierter Musik. Entstanden aus ihrer langjahrigen Freundschaft und intensiven Zusammenarbeit seit der Pandemie, lebt das Album von intuitiver Interaktion, klanglicher Prazision und emotionaler Tiefe. Die neun kompakten Stucke verbinden subtile Grooves, atmospharische Weite und starke melodische Ideen. Aufgenommen im Berliner Funkhaus mit einem Grammy-pramierten Produktionsteam, steht ECLIPSE fur die kraftvolle Verschmelzung zweier musikalischer Personlichkeiten - reduziert, innovativ und zeitlos.ENGBlair / Huber - ECLIPSE marks the striking debut of one of Europe's most exciting emerging jazz duos. Award-winning Frankfurt saxophonist Darius Blair and guitarist Niko Huber craft a distinctive and modern sound from a minimalist setup, blending jazz, hip-hop influences, and improvisation. Rooted in a long-standing musical partnership, the album thrives on intuitive interplay, sonic clarity, and emotional depth. Across nine concise tracks, the duo balances subtle grooves, open textures, and strong melodic ideas. Recorded at Berlin's renowned Funkhaus with a Grammy-winning production team, ECLIPSE captures the powerful alignment of two artistic voices-refined, innovative, and timeless.
‘I have always been drawn to those ambiguous territories between beauty and terror, and the Trinity test is their epitome: magnificent, sublime, terrifying, annihilating. A destructive power that, somehow, only love can compare with.’
The prescriptive art and performance of Berlin based, French producer, Julienne Dessagne, has concluded with a starkly beautiful reimagining of Chris Isaak’s Wicked Game.
As Fantastic Twins, her continuing creative manifestation for music and performance, has released an array of electronic art for the body and mind. A sonic exploration of dual characters shaped through experimental pop, cinematic electronics and the outer edges of techno.
First appearing on the cult Hippie Dance label, before establishing a long and warm collaboration with Keith McIvor aka JD Twitch and his inspiring Optimo Music label, as well as her own House Of Slessor label, this release comes full of mythology and symbolism.
Immersive sound design, narrative tension, and emotionally charged atmospheres, the origin of the project – Wicked Game (Trinity Version) – was composed for a live performance at the Beta Biennale Of Architecture Of Timișoara in September 2024 and given a limited digital release soon after.
The impact on the artist and the music was multi-layered:
‘While recording this cover, images of the Trinity nuclear test, as reimagined by David Lynch in Twin Peaks (Season 3 / Episode 8) kept resurfacing, almost on a subliminal level, suggesting another wicked game: humanity’s love affair with science and technology, driven by the same mix of desire fascination and inevitability that animates Chris Isaak’s original song.’
Approached by Emotional Response, this updated “vinyl” edition is re-recorded / remastered and comes with new interpretations by Julienne herself, as well as remixes by Aho Ssan and Optimo (Espacio).
Dessagne offers a spectrum of mixes and moods; the centrifugal ‘Trinity Version’ a sweeping cinematic masterpiece, between beauty and terror, the artist transmits the aesthetics of sublime; while ‘Thousand Suns Version’ fuses industrial and techno soundscapes for a beatdown reimagining; the melancholia ‘Atomic Love Version’, where the beautiful vocals are matched with a glitchy, clipping ambience; and the finale, the ‘Core Version’ shines a personal, drifting odyssey.
The accompanying remixes see Aho Ssan (Niamké Désiré), composer and sound artist, his remake merging a love of darkcore drone with moments of uplifting energy, the ‘Core Version Aho Ssan Remix’, a fusion of craft and Dessagne’s vocals.
To close, taking up the Optimo remix mantle, Jonnie Wilkes embraces the propulsion, his ‘Thousand Suns Version Optimo (Espacio) Remix’, offering brooding, electro-driven percussion that overflows with emotion and completes this stunning, evolving, organic and singular remake.
The Civil Wars is the second and final album by americana/folk duo The Civil Wars (Joy Williams and John Paul White). Their songs can only be described as intimate and deeply personal. Although John and Joy's collaboration only lasted from 2009 to 2013, the duo was highly acclaimed, won 4 Grammy Awards, worked with Taylor Swift and toured with Adele.
Their swansong studio album features the Grammy Award Winning Song “From This Valley” plus the singles “The One That Got Away” & “Dust To Dust”. The album also includes a brilliant cover of the Smashing Pumpkins classic “Disarm”.
James McKeown aka Hawksmoor aus Brighton meldet sich mit "Yclept Thorn" auf Library Of The Occult zurück. Auf seinem neuen Werk hält er die Atmosphäre in einem Zustand von Dringlichkeit und unterschwelliger Spannungm wobei eine archaisch-mittelalterliche Note mitschwingt. Von organischer Perkussion bis zu ätherisch-elektronischen Klängen, die Tore zu in der Zeit erstarrten Dörfern und uralten ländlichen Mysterien öffnen, ist "Yclept Thorn" ein Meisterstück des Dark-Folk-Storytellings.
Following hot on the heels of the Frequency Damage EP, DJ Quest returns to Cyberfunk with Squeaks / Snake Style— a two-track release that dives deep into the unmistakable sound that made Quest’s productions stand out during the early 2000s.
Rather than simply recreating the past, both tracks tap directly into the DNA of the original Cyberfunk sound: rolling breakbeats, huge basslines, twisted analogue synths and the kind of distinctive production that became synonymous with DJ Quest at the height of the Bassline Breaks era.
Built around original analogue synth work throughout, Squeaks / Snake Style is a deliberate throwback to the raw, futuristic sound of the early 2000s, produced with the weight and clarity needed for today’s sound systems.
It’s classic Quest, strange noises, big bass, rolling drums and plenty of attitude.
A. Squeaks
Everything DJ Quest became known for rolled into one track. Squeaks is an unapologetic throwback to the classic Quest sound of the early 2000s, driven by heavyweight breaks, deep bass and original analogue synth work throughout.
Twisted electronic squeaks and evolving analogue sounds weave their way around the drums, giving the track that instantly recognisable combination of funk, darkness and futuristic weirdness that characterised so many of Quest’s early productions.
Raw, energetic and built firmly for the dancefloor, Squeaks takes the spirit of the original Bassline Breaks era and brings it straight back onto a modern sound system.
AA. Snake Style
On the flip, Snake Style takes the same analogue-driven approach but moves into deeper rolling territory.
A more hypnotic, heads-down breaks roller, the track develops around a heavyweight bass groove, rolling drums and constantly shifting analogue synth lines. There’s less emphasis on the immediate impact of the A-side and more on building a groove that locks into a DJ set and keeps moving.
Still unmistakably Quest, Snake Style combines the rawness and character of early-2000s breakbeat with modern low-end weight and production, proper rolling Cyberfunk business.
Special Vinyl Edition
Making this release particularly special for collectors, the 12” vinyl comes with an exclusive book showcasing the artwork from some of DJ Quest’s biggest and most memorable releases.
The book looks back through Quest’s extensive catalogue and the visual identity that accompanied the records, bringing together a selection of classic release artwork from across his career plus photo collages of memories made across his journey.
It turns Squeaks / Snake Style into more than just a new DJ Quest 12”, it’s also a celebration of the music, artwork and history surrounding one of the original pioneers of the Bassline Breaks sound.
For long-time followers it offers a piece of Quest history alongside two brand-new productions, while newer listeners get an introduction to the catalogue and imagery behind the sound
Renowned London producer, DJ, and Apron Records founder Steven Julien taps into his alter-ego with his new album, 808 PRINCE out 16th October.
Written and produced around iconic drum machines, 808 Prince embraces raw drum programming,
analogue textures, and bass-heavy compositions.The record moves fluidly between peak-time club energy and experimental rhythm studies, exploring the shared languages of techno, house, acid house, grime, and electro. Rather than looking back, the album reimagines the influence of the 808 through Julien’s distinct production style, creating a body of work that is both timeless and forward-looking.
The album features a strong lineup of collaborators, including James Massiah, J. Caesar, Jarren, Touch Sensitive, and KIAH, expanding Julien’s sonic universe while remaining anchored in pure groove and movement. More than an album, 808 PRINCE marks a new chapter in Steven Julien’s artistic practice, bringing together decades of club music influence, hands-on studio craftsmanship, and a lifelong fascination with rhythm into a singular statement designed for dance floors worldwide.
The Sound Of Soulfuric Vol. 3 continues the label’s commitment to vocal-led, soulful house music, bringing together four standout cuts that balance classic songwriting with contemporary club production.
This is another DJ-focused selection built for the dancefloor, moving between uplifting vocal house, deep grooves and energetic remixes. From the driving Romeo Louisa rework of Urban Blues Project’s ‘Testify’ to Souldynamic’s take on The Lab Rats’ ‘Music Is My Way Of Life’, each track brings its own character while keeping the Soulfuric sound firmly in focus.
Featuring vocals from Jay Williams, Lisa Millett, Michelle Weeks and Kelli Sae, with remixes from Romeo Louisa, Souldynamic, Fouk and D’Ambrosio & Tappert, Vol. 3 brings together some of the scene’s strongest vocal talent and production names across four highly playable house cuts.
Life In Patterns welcomes Uncertain for his first appearance on the label with “Defeat”, a five-track EP bringing together five warehouse-focused techno tracks, moving between darker industrial tones and the classic rave influences that have long been part of his sound. “Defeat” will release on vinyl and digital formats on 16 October 2026. Across the EP, Uncertain explores a broad range of peak-time energy. “Anxiety” and “Dismiss” take a darker route, built around tense atmospheres, heavy percussion, and industrial textures, while the remaining tracks introduce classic rave chords and a more open, melodic character. Despite the differences in tone, the five tracks share the same directness and focus, designed with the dance floor firmly in mind. Uncertain, formerly known as Boriqua Tribez, has been active in electronic music since 1989. Over the past two decades, he has released and remixed more than 50 tracks for labels including KMS, Recycled Loops, and Ingoma, before starting a new chapter under the Uncertain name in 2018. Since then, his more frantic approach to techno has found a home on labels such as Rekids, Symbolism, Beard Man, H-Productions, WRKTRX, ANAOH, Illegal Alien, Mind Medizin, Intec, and Uncage. Alongside his productions, Uncertain is an experienced DJ known for fast, precise three-deck sets, with international performances and support from artists including Ben Sims, Radio Slave, Truncate, Mark Broom, Carl Cox, Blasha & Allatt, Chris Liebing, Richie Hawtin, Luke Slater, DJ Rush, DJ Bone, and others. With “Defeat”, Uncertain makes his Life In Patterns debut with a focused collection of five techno tracks — from dark industrial pressure to classic rave energy, all built for the warehouse.
Verdad Y Error (2026) resides in the tension between the thrashing of external noise and beating centred internal calm. Gibrana Cervantes is known for her work across experimental music and contemporary performance, a practice with focussed intensity and surging physicality, often pushing the limits of endurance, presence, and embodiment. A central axis of her performance practice is her ongoing collaboration with acclaimed choreographer Florentina Holzinger, including composing the music for SEA WORLD (2026), Florentina Holzinger’s critically acclaimed installation for the Austrian Pavilion at the Venice Biennale. Alongside this, she is a core member of the experimental ensemble Amor Muere (Mabe Fratti, Concepción Huerta, and Camille Mandoki). Cervantes maintains an active recording practice that directly informs her live output including her collaboration Memoria (2025), with Colombian Drone Mafia (Nyksan) for Ambie-Tón (Tratratrax),
Verdad y Error is a record of her artistic approach which expands her body and the violin’s horizon of possibility to near breaking point. Cervantes uses a register closely associated with Metal, yet buried deep in the alchemy of these pieces are motifs which hark back to her classical background. Across these pieces the violin is used as an instrument with a fragmented and shifting voice — blurred, repeated, and reshaped through distortion. “Many of these pieces come from images, memories, and sensations that have stayed with me for years. I'm interested in the blurring of what actually happened and what time transforms.” The recordings are built with layers of violin tones which oscillate between recognisable, processed, stretched and shifted, and lay embedded in a frequency stratum of volatile static and noise. “The violin on this album doesn't appear as a clean instrument. I process it, repeat it, distort it, and multiply it until it begins to feel more like memory than melody. Something blurry, shifting, difficult to grasp.” The origins of the album were born at a time when Cervantes was seeking inner calm amidst a relentless external noise, questioning the validity or possibility of memory and its radically changing perception in relation to experience. Subsequent reflection on this contemplative moment allowed her to develop a relational music which moves through memory, erosion, repetition, and emotional ambiguity. Creating a space that feels both intimate and unstable, mercurial with the patina of lived imperfection.
Akin to the unreliable narrator and linguistic instability, each piece functions as an emotional landscape suspended between clarity and confusion. An album which balances melody, brutality, fragility and noise
throughout its sprawling recordings and artwork, which operates as an analogue to the music. The visual world of the album developed in collaboration with Mauro Ventura was compiled across various media with a mix of handwritten texts, burned typography, metallic textures, and fragile physical materials. “I wanted the record to feel tactile and imperfect — something emotionally direct but physically worn.” says Cervantes. More than offering explanations, verdad y error exists as a conversation between memory and disappearance, noise and stillness, truth and error.
Naya Beat presents ‘Select Remixes and Reworks 2', a selection of new and exclusive dancefloor remixes featuring Thomaas Banks (Psychemagik), Dino Soccio (Pleasure of Love), Turbotito & Ragz (Naya Beat), and Woolfy vs. Projections. Putting a South Asian twist on the classic disco 12” remix format, Naya Beat have given some of dance music’s most exciting producers access to their storied back catalogue. Torchbearers of West Coast balearic, the California duo Woolfy vs Projections deliver an infectiously groovy electro funk version of Nainan Da Pyar De Gaya by Turbotito & Ragz and Say She She’s Piya Malik. Label cofounders, Turbotito & Ragz add some Naya Beat house flavour to Greek duo Boys’ Shorts Going Out Hoping To See You adding vocals by Australian Indian actress Pallavi Sharda. Thomaas Banks, one half of the celebrated UK duo Psychemagik, provides a scintillating dark wave remix of Tu Aaja by British Asian new wave pioneers Pinky Ann Rihal. And finally, Dino Soccio, head honcho of the LA-based disco edits label Pleasure of Love brings us a smooth as butter extended disco remix of Asha Puthli & Say She She’s recent classic Pawa! Cut to vinyl for the discerning DJ and listener by multi-Grammy-nominated Frank Merritt at The Carvery, the EP comes in a beautifully designed 12” disco sleeve with centre label cutout.
Singer-songwriter Willis Alan Ramsey was 20 years old when he became the third signing to Leon Russell and Denny Cordell's Shelter Records – after Russell himself and the legendary J.J. Cale. The result was Ramsey's 1972 eponymous debut, a masterpiece of laid-back Texas country-rock, blues-inflected folk and outlaw ballads.
As a child, Ramsey was an obsessive radio listener – from Elvis and the Beatles to Delta blues, country and even classical music. By middle school, he had formed his first garage band and started writing songs. After a brief stint at the University of Texas, he took to the burgeoning coffeehouse circuit where he toured alongside folks like Townes Van Zandt, Jerry Jeff Walker and Keith Sykes. It was during these shows that Ramsey developed much of the material for his LP, a diverse yet coherent mix that revealed his varied influences.
Recorded in Memphis, Nashville and at Russell's home studio in the Hollywood Hills, the album features some of the era's greatest session musicians: Eddie Hinton on guitar, Red Rhodes on pedal steel and the rhythm section of Leland Sklar and Jim Keltner. A true songwriter's songwriter album, its tunes have been covered by Waylon Jennings ("Satin Sheets"), Jimmy Buffett ("The Ballad of Spider John") and, most famously, Captain & Tennille ("Muskrat Love"), but no cover can beat the originals from the wise-beyond-his-years Ramsey.
Though Willis Alan Ramsey has continued to perform regularly and write new songs, a second album is yet to be released. For years, whenever someone asked about it, Ramsey was known to answer "What's wrong with the first one?" The answer is, of course, absolutely nothing. In fact, it's perfect.
This first-time vinyl reissue reproduces the original lyric sheet. Includes new interview with Ramsey and liner notes by author Richie Unterberger.
David Norland is an Emmy-nominated English composer, known for his scores for drama and documentary, alongside his experimental choral and electronic music. Bringing stories to life through sound, he received critical acclaim for his debut solo album ‘Glam Tear Stain’ (2019) and is set to release follow-up album ‘La Source’ in June 2026 via Denovali Records.
Relocated back to his London home after many years in Los Angeles, and free from years of drug and alcohol problems, recent commissions for two choral works allowed Norland to return to the innocent origin of his musical world, and his experience as a parent prompted a lot of outward reflection. What kind of world are we leaving to our children?
Inspired by his score to the forthcoming silent black and white film ‘Carousel’ (2026), Norland found other music emerging that refused to be ignored. The film’s director opened the door to an entirely free scoring process – no temp music, no expectation, no guidelines, just pure intuitive expression. ‘La Source’ draws on this experience, alongside his childhood as a touring chorister, the honkytonk upright piano in the north-east London bedroom of his early 20s, his early recording experiments with a TASCAM 4-track cassette recorder, and his intense preoccupation with bells, flutes, stone architecture, and mysticism.
From the haunting, choral beauty of ‘E-Car Soul’ to the breezy album title track, Norland blends minimalist classical structures with electronics. A unified tapestry of blended voices, harmonies and textures, ‘La Source’ is a deeply emotional and melancholic journey for Norland. “In the end, I’m looking to find meaning through the music, like when I was a kid singing in choirs. But I get the most sense of meaning through transcendent experiences, rather than anything intellectual or dogmatic. I have to feel it, not think it. I’m trying to make work that’s luminous, wondrous, shimmering and strange, so I can keep having those experiences,” says Norland.
On his inspiration for the album, Norland adds, “I love making patterns in things and finding patterns. That’s why minimalism was so enticing to me, the patterns are so explicit. I love word play and anagrams. The big sadness coming through as I was making the record is this clarity over the future of my kids. Everything else is a complete distraction. This incredible nurturing planet and its ecosystem are being rapidly destroyed, and the forces destroying it are relentless and punitive. And they seem to be fine with consigning our children to live in an ever-more-hostile wasteland. You can’t pretend that’s not coming, if you do I think you’re lying to yourself. And perhaps eventually it will be the fact that people love their kids that will stir wider fear and action. It’s hard to think of anything more connected to the idea of spirit.” The result is the reflective, ecstatic, mystical and sad world of ‘La Source.’
Norland’s screen work includes the award-winning documentary Anvil! The Story Of Anvil (2008), directed by Sacha Gervasi, and since 2010, he has composed much of the music for US broadcasting giant ABC’s primetime news documentaries. His work for ABC is broadcast in the US and around the world on a daily basis.
In 2012, he was the music supervisor for Hitchcock (2012) featuring Anthony Hopkins, Helen Mirren & Scarlett Johansson and in 2017, he teamed up once again with Gervasi for the score to November Criminals starring Chloe Moretz and Ansel Elgort. The following year, he composed the score for the Emmy-nominated HBO film My Dinner With Herve, starring Peter Dinklage and Jamie Dornan.
Norland will be performing the score of Carousel later this year, and the score itself will be a forthcoming release on Denovali. 2026 will also see the release of documentary All Permits Secured, a valentine to the history of EDM, featuring Norland’s score.
Seven years after 2019’s ‘The Dusk Loom’, Petrels returns with a pair of new albums, Infangthief and Outfangthief. The first of these releases, Infangthief, was originally written and recorded in 2022, before being reworked in light of a subsequent album, Outfangthief, due to be released later this year.
The two albums act as companion pieces, mirrors revealing facets of the other, overlapping in sound and subject matter. Though Outfangthief may have been written after Infangthief, it is no mere follow-up, with it's own creation causing a re-visiting and re-working of the earlier album, which in turn informed the writing of its twin.
Taking their titles from Old English legal terms ("thief seized without" and "thief seized within”), the central thread running through both albums is the illusion of assumed human authority - that which is given and that which is taken by force. With Western society seemingly hellbent on willingly embracing a brutally destructive economic model (even in its death throes), these albums attempt - in their own small way - to undertake the essential task of imagining alternative ways of being.
Petrels is the solo project of musician and artist, Oliver Barrett. Since releasing his debut, Haeligewielle, in 2011 (#9 in A Closer Listen's Best Albums of the Decade), Petrels has toured across Europe and shared a stage with the likes of Jóhann Jóhannsson, Tim Hecker, FIRE!, Nate Young (Wolf Eyes), Trouble Books, Demdike Stare, Nadja, and Hans-Joachim Roedelius (Cluster). Working from his home in Somerset, UK, Barrett has released numerous albums through his Floating Limb imprint, as well as mixing and/or mastering hundreds of releases for the likes of Keiji Haino, Loren Connors & Alan Licht, Judith Hamann, Incapacitants, Mette Rasmussen & Sofia Jernberg, Yasunao Tone and more
“Petrels sidesteps the chilliness found in much of the music of his peers, replacing it instead with an almost spiritual ecstasy, his ravishing synths and almost choral vocal treatments calling out in cosmic, wide eyed wonder at the universe.” – Paul Margree, Louder Than War
Trumpeter, rapper and sonic wanderer Pan Amsterdam has carved out one of the most distinctive voices operating at the intersection of jazz and hip-hop today.
Pan Amsterdam is a musical enigma wrapped in an enduring riddle. His creator is a jazz musician from Houston who’s found fame working with Detroit punk rock God, Iggy Pop, and British indie royalty, Metronomy, and now makes shapeshifting, adventurous hip hop out of the music’s spiritual home, New York.
He’s an irreverent character born out of frustration and named after a misunderstanding, yet one who’s on the verge of releasing his fifth album of truth-slaying, genre-crossing rhymes and beats. The result is a catalogue that feels both deeply rooted in Black American musical tradition and completely untethered by convention.
Pan Amsterdam returns with ‘Panarama’, his fourth full length album and a bold reassertion of his hip hop identity, released via Def Pressé. Created by Houston-born, New York-based musician and composer Leron Thomas, the record finds Pan Amsterdam embracing the harder edges of his sound while continuing to blur the lines between jazz improvisation, abstract rap, punk attitude, and experimental production
Written as a response to contemporary life and the endless cycle of information, conflict and distraction that defines modern culture, ‘Panarama’ unfolds as a stream of consciousness journey through hyper-normalised realities. Across sixteen tracks, Thomas navigates social commentary, personal reflection, absurdist humour, and cultural critique, delivering his observations with the same spontaneity and freedom that have become central to the Pan Amsterdam project
Lead single ‘Szechuan Beef’, produced by acclaimed collaborator 1FS, serves as one of the album’s defining statements. Built around Thomas’ signature free-flowing delivery, the track explores the overwhelming nature of contemporary life, where domestic conflict, social division, entertainment scandals and political discourse become flattened into a constant stream of content.
In Thomas’ own words: “My stream of consciousness style comes quite naturally to me due to the conditioning of scroll down culture where everything, no matter how minor or extreme, is hyper normalised.”
Elsewhere, the track ‘Vanilla Ice’ was written in response to widely publicised ICE killings and the speed at which tragedy is absorbed and forgotten within online culture. Thomas channels the anxiety and emotional disorientation of endlessly consuming information, allowing his thoughts to unfold in real time as social commentary collides with everyday digital noise. The result is both deeply personal and sharply observational, reflecting the fragmented reality of modern life. Other album highlights include the cinematic, Interpol-esque opener - ‘Old Friend’ complete with shimmering guitar lines and an far-reaching introspective, no-filter vocal as Thomas teams up with Nick Zinner (Yeah Yeah Yeahs) and Brad Truax (Interpol) across multiple tracks, often the production traverses left-field indie territory, but always maintaining Pan Amsterdam’s unique musical identity throughout. For the hip hop purists and beats lovers there are plenty of riches to discover from the clever nostalgic sample flips of ‘Cutlery’, the sleepy lofi of ‘Shuriken’ and the wonky LA beat scene / early Flying Lotus era beats of ‘Drunken Noodles’ - all boasting quick witted lyricism. ‘Deep Fried Shiney Things’ explores early electro and industrial sonics while album finisher is an upbeat new wave / indie band cut which sees Thomas take a break from rapping, but of course never letting up on the sharp observations nonetheless
While his previous record explored more alternative territory, ‘Panarama’ marks a deliberate return to rap, as Pan Amsterdam explains:
“I just wanted to do a rap album again.I enjoyed making my last album, but I felt like rapping again. I like to have the freedom to move in between musical worlds that suit the current state I’m in. Frequency accommodating frequency.”
This philosophy runs throughout the album. Tracks move effortlessly between jazz-inflected arrangements, experimental beats, punk energy and underground hip hop aesthetics, allowing ideas to evolve organically rather than conforming to traditional structures. Thomas describes himself as an improviser first and foremost: “I think like an improvisor. That’s how my albums pretty much move. It’s improvisation.”
Featuring additional contributions from Spice Programmers, AnOtter and Mr. Shn, ‘Panarama’ presents a wide-ranging cast of collaborators while remaining firmly rooted in Thomas’ singular creative vision. The record embraces contradiction, humour and unpredictability, capturing fleeting thoughts and observations with the same freedom and spontaneity that define jazz improvisation itself.
A musical enigma wrapped in an enduring riddle, Pan Amsterdam has built a reputation as one of contemporary music’s true outsiders. The project emerged from frustration, experimentation and artistic freedom, with Thomas drawing equally from his background as a jazz musician and his collaborations with artists including Iggy Pop and Metronomy. Operating from New York while carrying the spirit of Houston’s musical heritage, Pan Amsterdam has developed a distinctive voice that sits comfortably between avant-garde jazz, underground hip hop and experimental music.
Reuniting with Def Pressé for ‘Panarama’, Thomas explores what he describes as the more hardcore side of his artistic identity:
“They let me do anything and everything I wanna do so long as it’s on audio, and I need that freedom. What may verbally be perceived as vulgar to one group of people may be very thoughtful and a poignant description of the times that we’re presently in, so I’m glad that I’m part of a label home that understands that.”
For more than 20 years, every CASPIAN album has been driven by a desire to stretch boundaries — a relentless ambition that's resulted in one of post-rock's most revered catalogs and established the Massachusetts quintet as an enduring, global force in the genre's modern era. On CASPIAN, the band’s first album in six years and debut for Wax Bodega, the more unexpected way forward was to stop searching for what they hadn’t yet done and instead trust what had defined them from the beginning.
The six-song, 39-minute effort draws freely from the musical vocabulary the band have spent their career writing: evocative melodic themes, dense textures, swelling crescendos and crushing heaviness that rolls in like a slow-moving storm on the horizon. But they still find new possibilities within those familiar contours, allowing patient development and repetition to carry as much weight as surprise. The nine-minute “Remain” turns a recurring melody into a sweeping study in tension and release, while “No One Left to Tell” layers subtle shifts around a hypnotic tremolo figure and “A Great Fire” sends serpentine guitars crashing into buzzsaw riffs. Even the graceful 3/4-time closer “Waltz for the End,” completed in a half-hour burst of inspiration, reflects the quiet confidence of five musicians comfortable enough in their skin to resist tearing everything down for the sake of reinvention, even as the circumstances surrounding them change dramatically.
"Things are looking better than ever for GENERATION STEEL! The quintet from Wetzlar/Germany, has reinvented itself on all fronts and is set to take the music world by storm with its upcoming third studio album, Steelmachine.
With the addition of guitar wizard and songwriter Thilo Herrmann - who made his debut in 1985 on the FAITHFUL BREATH classic “Skol” and has written heavy metal history throughout his career with RISK (including “Ratman”), RUNNING WILD (including “Black Hand Inn”, “Masquerade”), and GRAVE DIGGER (including “Ballads of a Hangman”) - bandleader and guitarist Jack the Riffer now has a living legend by his side.
There has also been a change behind the mic: from now on, Swedish vocalist Mike Stark - who currently sings for the Argentinian band FEANOR and the Swedish group STORMBURNER - is setting the tone. His powerful, high-pitched yet dynamic voice gives the new tracks an absolute seal of quality.
GENERATION STEEL stands for authentic, traditional, '80s-influenced heavy metal, combining the styles of ACCEPT and JUDAS PRIEST.
The ten neck-breaking tracks on the band's third full-length album were produced by Piet Sielck (IRON SAVIOR), who has previously refined classics by GAMMA RAY, GRAVE DIGGER, HEADHUNTER, STORMWARRIOR and BLIND GUARDIAN.
The cover artwork, designed by Gyula Havancsak (who has also created artworks for POWERWOLF, ACCEPT and BLIND GUARDIAN, among others), is equally eye-catching.
Anyone who loves honest, traditional German metal will quickly embrace “Steelmachine”, because the quintet not only takes us back to the '80s, but also shows just how timeless true metal is. Ten home runs, including the four singles “Steelmachine”, “Witches Cross”, “Wings of Fire” and “Fields of Pain”.
Stay Metal – Stay Steel!"
Hopsydian are an Italian pop-metalcore outfit from Milan, formed in 2024, combining alluring and sacral atmospheres with modern metalcore power, alt-metal edge, and post-hardcore urgency.
Built on cinematic tension and explosive dynamics, their sound fuses dark, ritualistic undertones with sleek contemporary production and massive, chant-ready choruses
where beauty and brutality collide in equal measure.
The band was formed by vocalist Myles Idolo alongside guitarists Loris Ronchi and Nikolay Deliyski, later completed by bassist Roberto Vezi. The drummer remains anonymous. Their name--Hopsydian--comes from Hope and Obsidian, a ""magic rock"" symbolizing resilience, shadow, and rebirth, perfectly reflecting the duality at the heart of their music.
Hopsydian revolve around worship, love, obsession, sin, and the temptation of becoming God--balancing the holiness of gold with the black of transgression. Hopsydian balance modern heaviness with cinematic elegance--where intimate melodies and shimmering textures collide with crushing riffs and commanding rhythm sections. Their songs move like a ceremony: building atmosphere, sharpening emotion, and detonating into choruses designed to be shouted back from the crowd. Hopsydian explore the most dangerous forms of faith:
worship, love, obsession, sin, and the seduction of becoming God. Their narratives live in extremes:
desire framed as devotion, temptation disguised as salvation, and beauty that burns at the edges. It's an aesthetic of contrast: the holiness of gold set against the darkness that it can't fully conquer.
Benjamin Wilson from band Caskets helped the band develop their album artistic direction
Despite having released only six songs, Hopsydian have already proven their live impact. In 2025, they debuted on the Slam Dunk Italy main stage, sharing the bill with names such as LANDMVRKS, A Day To Remember, and Caskets, before going on to support Caskets in Milan shortly after. Momentum is building fast--and with a fanbase already demanding the next step, Hopsydian are poised to turn their growing catalogue into what it's meant to become: a fully-fledged era, and the tour that brings it to life.
SIGNUM REGIS was founded in 2007 and stands for finest melodic Power Metal with both progressive and symphonic elements. Their upcoming new and eighth studio album „Beyond Spacetime“ will be released on October 9th through Fireflash Records and will feature different vocalists. Among them their current singer Mayo Petranen, who just returned to the band, his successor Jota Fortinho as well as top class names, such as Ripper Owens (ex-JUDAS PRIEST), Matt Smith (THEOCRACY), Ralf Scheepers (PRIMAL FEAR), Johnny Gioeli (HARDLINE, AXEL RUDI PELL), Tasos Lazaris (STEEL ARCTUS, WHITE WIZZARD), David Åkesson (SYMPHONITY; QUANTICE), but also Victor Smolski (ALMANAC, ex-RAGE), with a guitar solo on the first single-release „Throne Of Gold“.
„We are so satisfied and proud of it! Even though the last 3 years were not easy for the band, this is definitely not just a ""next"" Signum Regis"" album, we are a band, we are always aiming to create something special - for us and for fans“, comments guitarist Filip Koluš, who also mixed and produced the album.
„Beyond Spacetime“ is rounded up by an excellent artwork from Uwe Jarling, known for his work for acts like HEAVEN’S GATE, GRAVE DIGGER or recently FRONT ROW WARRIORS. „The result is awesome! We are definitely a band that considers the artwork a very important part of our artistic vision. Over the years this approach has only grown stronger, so having a real cover artist has become an absolute must for us“, comments Tommy.
SIGNUM REGIS will celebrate their 20th anniversary next year. „Beyond Spacetime“ already feels like kind of a best-of journey through their past, present and future. „We grew up on the values of traditional melodic metal - this focus will most probably never change“, says Filip Koluš and explains: „At the same time, we are also a group of great friends, who have a common goal - to make the best quality metal music together.“
Produced by François Tétaz and Luke Howard and recorded primarily at Melbourne's Synth Temple, Tina Arena's Way Of The World reimagines “True Faith” (New Order), “Way of the World” (Max Q / Michael Hutchence), “Enjoy the Silence” (Depeche Mode), “Ordinary World” (Duran Duran), “Torno Bambina” (Ada Mori) and “Cayendo” (Frank Ocean) through stunning orchestral arrangements, prepared piano, analogue synthesis and electronic textures.
Rather than traditional cover versions, these are complete artistic reimaginings that reaffirm Tina Arena as one of Australia's most expressive and enduring vocalists. Of first single “True Faith”, Tina says: “Making the deliberate choice to focus on the lyric of true faith was musically revelatory for me. It presented a blank musical canvas with endless vulnerability and space for me to explore.”
François Tétaz, a Grammy and ARIA-winning producer known for his work with Gotye, Kimbra and Architecture in Helsinki, contributes synthesisers, Rhodes, prepared piano and drum machines throughout, while pianist and composer Luke Howard shapes the EP's restrained, cinematic language. The pair are joined by an ensemble including the Budapest Art Orchestra, Peter Knight, James Rushford, Mindy Meng Wang and orchestrator Felix Watson, giving the collection its rich, orchestral backbone.
The EP announcement lands amid a landmark 50-year career anniversary for Tina — one of Australia's highest-selling artists of all time, having sold more than 10 million albums worldwide.
With Golden Crown and his interpretation of Prefab Sprout’s Enchanted, Forest Law brings together two songs that reflect both his songwriting and his musical influences. One is an original composition from 2018, rediscovered years later and revived almost unchanged, pairing bright pop melodies with a sharp meditation on power.
The other pays tribute to a song that became a personal obsession after his long-overdue discovery of Prefab Sprout. Together, these recordings highlight Forest Law’s gift for understated arrangements, memorable melodies and lyrics whose depth unfolds with every listen.
Colorize presents Echoes, the highly anticipated debut album from Massachusetts songwriter, producer and musician Jack Willard, a richly melodic body of work.
Jack Willard blends organic songwriting with modern electronic production, cinematic storytelling and immersive sound design, an emotionally driven style that has earned support from Above & Beyond, Tritonal, Yotto, Nora En Pure and Bob Moses since debut single Celsius, alongside airplay on SiriusXM Chill and BBC Radio 1 and millions of streams worldwide. The Massachusetts native made his Colorize debut in 2023 with Big Sky, an instrumental favourite still in regular SiriusXM Chill rotation, before expanding his sound on the Patterns EP with his first larger scale vocal collaborations, including fan favourites Everything All At Once and Wanna Know. Following performances across both U.S. coasts, Echoes arrives as Willard’s most ambitious project to date.
The first INVT album to get pressed on vinyl, 8 AM Swim captures the Miami duo's swung, dub-influenced take on tech house, garage, Miami bass, and Latin club music. Pressed on 12" black vinyl. Housed in a matte sleeve featuring a washed lilac-purple texture. INVT-001 Written, Produced, & Mixed by INVT Mastered at Analogcut Mastering Distributed by Clone bandcamp for all INVT releases
After establishing their identity with their debut EP, Alma de Baile, Geneva-based duo Roshâni unveil Planet R, their first album, set for release on October 15, 2026, via Stonepixels and distributed by The Orchard.
More than just a record, Planet R is a world of its own: a planet shaped like a disco ball, where languages blend, synthesizers intertwine with organic grooves, and dancing becomes a form of futuristic therapy. Sung in Farsi, Spanish, French, and English, the album moves freely between futuristic disco, alternative pop, experimental electronic music, and contemplative ballads, never seeking to belong to a single scene or territory.
Norman Gervais and Charles Bals return after last year’s Transcoastal compilation with their first project for the Italian label Periodica Records and its newly founded imprint, Periodica International.
The concept behind SiRENE 89 is quite particular and took six years to develop. It is presented as the live recording of one long evening, with different bands taking the stage one after another on the terrace of a Mediterranean holiday resort in 1989, inspired by the places Charles and Norm remember from their summer holidays around that time.
The songs were recorded between 1982 and 1993 and gathered from small-time artists, beach-club vagabonds, local micro-labels, library records and privately released tapes. The music moves lightly between mystical ballads, digital samba and loose, sunburnt dance songs, carried by drum machines, not-quite-tuned guitars and college-band voices.
The audience on the terrace remains quietly present throughout, joining the tracks into one continuous, partly improvised set. By the end, it feels less like a compilation and more like a place where you have spent the night, proving that charm can carry further than perfection.
Multi-Platinum-certified singer-songwriter Ashe will release her highly anticipated fourth studio album, The Girl Of Your Dreams, October 16, 2026, marking her Atlantic Records debut. The album features the hit single “Stop The Wedding!” and follows her acclaimed trilogy of albums — Ashlyn, Rae, and Willson — as well as her recent collaboration with FINNEAS on “The Favors.
Mutant präsentiert in Zusammenarbeit mit WaterTower Music und DC Studios stolz die erste physische Veröffentlichung von Claudia Sarne’s Original-Soundtrack zu „Supergirl“. Die Komponistin Claudia Sarne sagte über die Entstehung der Musik für „Supergirl“: „Die Vertonung von ‚Supergirl‘ war wie ein wilder Fiebertraum. Ich habe mich besonders mit der Unordnung und Komplexität ihrer Figur identifiziert und liebte die Bandbreite, die der Film erforderte. Die Möglichkeit, von dreckigen Synth-Basslinien und -Sequenzen zu großen thematischen Orchesterstücken und traurigen Solo-Klavierpassagen zu wechseln, war eine unglaubliche Reise. Craig wünschte sich Musik, die das Gefühlsleben der Figuren zum Ausdruck bringt – von Ruthyes Herzschmerz und Idealismus über Karas Verzweiflung und Rebellion bis hin zu Lobos Nihilismus und Krem’s Schrecken; all das verbunden durch die Liebesgeschichte zwischen Kara und Krypto.“ Mit einem Cover-Artwork von Bilquis Evely, gepresst auf 2x 140 gm Farbvinyl, mit einer im Siebdruckverfahren bedruckten D-Seite.
Mink & Shoes' is a gooey drip of murky low slung slinky disco, falling somewhere in between smokey retro-futurism and hazy desolation.
It's a seductively squiggling romp through the outer reaches of the cosmos — sky-crawlingly atmospheric, slow-motion dance floor abstraction for acid heads and space cadets. With Navid Izadi's intoxicating vocals it's quite something, and comes in three flavours: dub, radio and original.
BAUGRUPPE90 return to their MONTAGE imprint with a four-track release built around different shades of peak-time functionality, moving between emotional warehouse pressure, stripped-back bounce and rolling club mechanics. A1 “Crowd Can’t Sit Down” sets the tone with an emotional big-room charge: a warehouse stomper driven by scale, tension and a sense of release without losing its physical weight. “The Bell” follows with a cleaner, more direct approach, pairing old-school energy with a bouncy, forward-pushing groove and a distinct FM-driven sound that gives the track its sharp, instantly recognizable character. On the flip, “Gummy Cluster” moves into more unconventional territory. Built around inventive sound design, shifting textures and an unusual rhythmic vocabulary, the track functions as a club tool while maintaining a character of its own. Closing track “Roller” is exactly what its title suggests: a locked-in, propulsive groove designed to keep moving without unnecessary detours. Across four tracks, BAUGRUPPE90 balance personality with utility, keeping MONTAGE firmly focused on music made for the floor.
For more than 20 years, every CASPIAN album has been driven by a desire to stretch boundaries — a relentless ambition that's resulted in one of post-rock's most revered catalogs and established the Massachusetts quintet as an enduring, global force in the genre's modern era. On CASPIAN, the band’s first album in six years and debut for Wax Bodega, the more unexpected way forward was to stop searching for what they hadn’t yet done and instead trust what had defined them from the beginning.
The six-song, 39-minute effort draws freely from the musical vocabulary the band have spent their career writing: evocative melodic themes, dense textures, swelling crescendos and crushing heaviness that rolls in like a slow-moving storm on the horizon. But they still find new possibilities within those familiar contours, allowing patient development and repetition to carry as much weight as surprise. The nine-minute “Remain” turns a recurring melody into a sweeping study in tension and release, while “No One Left to Tell” layers subtle shifts around a hypnotic tremolo figure and “A Great Fire” sends serpentine guitars crashing into buzzsaw riffs. Even the graceful 3/4-time closer “Waltz for the End,” completed in a half-hour burst of inspiration, reflects the quiet confidence of five musicians comfortable enough in their skin to resist tearing everything down for the sake of reinvention, even as the circumstances surrounding them change dramatically.
Label co-founder CRYME releases his third solo EP on the Berlin-based imprint, paving the way for a new, more subtle direction. Across these four tracks we find the artist diving deeper into a sound he's been shaping over the last few months. More adventurous, experimental, still driving and dancefloor-focused. This one is for the early mornings at festivals - that moment when the sunlight starts to break through the fog and the night turns into day. From bubbly, techy and quirky minimal on the A-side to more dubbed and spaced-out cuts on the B-side with a more atmospheric feel. Overall complex music full of movement that's still easy to listen to but keeps the crowd moving.
Label co-founder CRYME releases his third solo EP on the Berlin-based imprint, paving the way for a new, more subtle direction. Across these four tracks we find the artist diving deeper into a sound he's been shaping over the last few months. More adventurous, experimental, still driving and dancefloor-focused. This one is for the early mornings at festivals - that moment when the sunlight starts to break through the fog and the night turns into day. From bubbly, techy and quirky minimal on the A-side to more dubbed and spaced-out cuts on the B-side with a more atmospheric feel. Overall complex music full of movement that's still easy to listen to but keeps the crowd moving.
Marcos Valle is one of those artists you simply can't overlook if you have even a passing interest in Brazilian music. Whether your taste leans toward bossa jazz, samba, psychedelic folk, or modern soul, Valle has surely recorded a great album for you. By the late 1960s he had already released enough outstanding records to secure a place among the greatest Brazilian artists of all time, but fortunately his career didn't stop there. He has continued recording fabulous albums over the following decades, right up to the present day. Widely regarded as one of the finest recordings in Marcos Valle's catalog, Vento Sul (1972) represents a pivotal moment in his artistic evolution, revealing a composer unafraid to reinvent himself and push the boundaries of Brazilian popular music. From the hypnotic title track to highlights such as "Democústico," "Revolução Orgânica," "Paisagem de Mariana," and "Pista O2," the album remains a breathtaking achievement whose influence continues to resonate more than five decades later. This reissue shines a well-deserved spotlight on a landmark recording -- an essential chapter in Brazilian music and an indispensable addition to any collection of psychedelic, progressive, jazz, or MPB classics. Pressed on 180g vinyl.
The “Kisses at Midnight” remix is an explosion of pure energy, designed for those who experience music directly on their skin. The track stands out for its rich sound design of open, sharp, and percussive sounds, capable of filling the room and creating a magnetic atmosphere from the very first seconds—thanks in no small part to the high-quality original sounds that define its sonic texture.
The real driving force of the track is its driving, arpeggiated rhythm: a continuous, hypnotic flow that doesn’t let you go for a single second, sweeping the listener into a non-stop journey from start to finish.
A physical and overwhelming track that hits you straight in the chest, giving no respite to anyone who wants to feel like an active part of the dancefloor.
– INCOGNITO
There are sounds that transcend time, capable of evoking entire worlds without needing any introduction. “Incognito” is exactly that: a visceral and modern tribute to the golden years of Italian progressive techno—an era that rewrote the rules of global clubbing.
The beating heart of the track lies in its hypnotic power. From the very first beats, you are captured by a perfect interplay of tight percussive rhythms and magnetic arpeggios, elements engineered to lock the listener to the groove and never let go. It is a continuous evolution, a sonic flow that destabilizes and fascinates, carrying us on a unique, mental journey.
Angelo Bass is an Italian DJ and producer known for his seamless blend of sophisticated electronica, house, and techno. After rising as a resident for the Push collective, he has graced the decks of top-tier clubs like Cocoricò, Sankeys Ibiza, and Veniceberg Verona. His production footprint is equally strong, featuring the highly supported “Drawn to the Floor EP” (Trend Records), his latest “Raw Luv EP” (Sengiley Wax), and key releases on Less Is More and Blackboard. Currently based in Ibiza, Angelo balances international club gigs with his role as an instructor at Accademia Italiana DJ.
A landmark in Detroit deep house, Forevernevermore is Moodymann’s second full-length album on Peacefrog Records. This 2000 release sees Kenny Dixon Jr. at his most soulful and experimental, blending dusty samples, live instrumentation, and hypnotic grooves into a deeply personal sonic collage. Drawing from his earlier KDJ releases, the album reimagines rare cuts into a cohesive, emotionally rich journey through love, loss, and the spirit of the Motor City. Essential for fans of deep, narrative-driven house music.
Smokey 2LP with limited edition Obi Stip to celebrate the 35-year anniversary
The threeway combo you never knew you needed. Sam Binga, Machinedrum and Cesco built the raw bones of these tunes across a single morning in LA, overlooking MacArthur Park, in an intense session that saw them throwing live Bingerian vocals, raw Brazilian shrimp-sellers and tweaked-out Acid lines into the melting pot.
Further sessions between Highland Park and Stokes Croft saw these bare bones jams get fleshed out into the four genre-bending tracks that make up the Niche Flex EP, all of which have been tested out in clubs and festivals across the world, and which land this September via Binga's Pineapple Records imprint, on both vinyl and digital formats.
While obviously handy in the studio, Team MACESGA (as nobody calls them) also can operate a DJ booth to a reasonably high standard, as witnessed at the raucous Pineapple Takeover at the Beatport HQ in LA, and are available to showcase their Transatlantic Threesome at a Quality Music Venue or Devious Fetish Spot near you.
Introducing the first unknown - untitled release to Kudos, a concept record label where the releases are previewed anonymously, with the artist info found in the record sleeve. quality of the music comes first.
Fontaines D.C. announce their fifth studio album, Dopamine Chamber, released on 16th October via XL Recordings. Produced by James Ford, it is the follow-up to 2024’s UK platinum-certified Romance – and the sound of a band moving decisively away from the guitar language of their early records into something colder, stranger and more synthetic. It arrives today alongside lead single “Marianne” and its accompanying video, directed by Dave Meyers.
Dopamine Chamber arrives like a constellation behind undulating sighs of smog: potent balladry, anthemic melodies glinting through the murk. In a world tipping towards collapse, it asks how pleasure mutates amid peril—and what our pursuit of it reveals about us. Across the album, Fontaines D.C. – Grian Chatten, Carlos O’Connell, Conor Curley, Conor Deegan and Tom Coll – move between gratification and dread until the two meld together, reflecting the overwhelm of artificial intelligence, environmental collapse and political violence all riding the same algorithms as memes, jokes and celebrity culture. “The album itself is a dopamine chamber,” says Chatten. “You step inside and we test these different mind- or mood-altering pieces of music on you.”
Where Romance held its tension in balance, this record tips it. “I think Romance was maybe 60 per cent human and 40 per cent corrupted by automation, and a loss of feeling,” says Chatten, who spent time among the faded grandeur of Venice, Vienna and Sicily in search of lyrical inspiration. “This one feels more like 60 per cent corrupted — the mask is wearing the face a little more.” He resisted any pull towards easy optimism: “I felt it would be more powerful to leave the hope out and reflect the ugliness honestly. This one needed to feel more like a catastrophic warning.”
“Our albums have always questioned a sense of place,” says bassist Conor Deegan. “First Dublin, then being away from Dublin, and then trying to find the romance elsewhere. On this record, the question became: where do you escape to?” Into the self, perhaps – or hedonism, fantasy, cosmetic perfection, eternal youth or the endless refresh of a screen.
Fontaines D.C. have spent five albums refusing to repeat themselves – from Dogrel (2019) through A Hero’s Death (2020), the No. 1 Skinty Fia (2022) and the anarchic, kaleidoscopic Romance (2024). Dopamine Chamber is their most radical turn yet: cold synthesiser tones, marching drums, samples and triggers, several songs with no guitars at all, and the swooning strings of 1960s Italian pop pulled into something synthetic. For guitarist Conor Curley, the aim was to break from the band’s own reference points: “I was trying to find stuff that pointed into the future.” It was made with James Ford between London, the English countryside and Palermo, where Chatten recorded vocals in a makeshift booth built from mattresses and cushions.
“There’s a poignant sense of us being on the brink of some other kind of form of humanity, or non-humanity,” says Chatten. For their fifth album, Fontaines D.C. have built the chamber. What happens to the listener inside it will be the experiment.
Fontaines D.C. announce their fifth studio album, Dopamine Chamber, released on 16th October via XL Recordings. Produced by James Ford, it is the follow-up to 2024’s UK platinum-certified Romance – and the sound of a band moving decisively away from the guitar language of their early records into something colder, stranger and more synthetic. It arrives today alongside lead single “Marianne” and its accompanying video, directed by Dave Meyers.
Dopamine Chamber arrives like a constellation behind undulating sighs of smog: potent balladry, anthemic melodies glinting through the murk. In a world tipping towards collapse, it asks how pleasure mutates amid peril—and what our pursuit of it reveals about us. Across the album, Fontaines D.C. – Grian Chatten, Carlos O’Connell, Conor Curley, Conor Deegan and Tom Coll – move between gratification and dread until the two meld together, reflecting the overwhelm of artificial intelligence, environmental collapse and political violence all riding the same algorithms as memes, jokes and celebrity culture. “The album itself is a dopamine chamber,” says Chatten. “You step inside and we test these different mind- or mood-altering pieces of music on you.”
Where Romance held its tension in balance, this record tips it. “I think Romance was maybe 60 per cent human and 40 per cent corrupted by automation, and a loss of feeling,” says Chatten, who spent time among the faded grandeur of Venice, Vienna and Sicily in search of lyrical inspiration. “This one feels more like 60 per cent corrupted — the mask is wearing the face a little more.” He resisted any pull towards easy optimism: “I felt it would be more powerful to leave the hope out and reflect the ugliness honestly. This one needed to feel more like a catastrophic warning.”
“Our albums have always questioned a sense of place,” says bassist Conor Deegan. “First Dublin, then being away from Dublin, and then trying to find the romance elsewhere. On this record, the question became: where do you escape to?” Into the self, perhaps – or hedonism, fantasy, cosmetic perfection, eternal youth or the endless refresh of a screen.
Fontaines D.C. have spent five albums refusing to repeat themselves – from Dogrel (2019) through A Hero’s Death (2020), the No. 1 Skinty Fia (2022) and the anarchic, kaleidoscopic Romance (2024). Dopamine Chamber is their most radical turn yet: cold synthesiser tones, marching drums, samples and triggers, several songs with no guitars at all, and the swooning strings of 1960s Italian pop pulled into something synthetic. For guitarist Conor Curley, the aim was to break from the band’s own reference points: “I was trying to find stuff that pointed into the future.” It was made with James Ford between London, the English countryside and Palermo, where Chatten recorded vocals in a makeshift booth built from mattresses and cushions.
“There’s a poignant sense of us being on the brink of some other kind of form of humanity, or non-humanity,” says Chatten. For their fifth album, Fontaines D.C. have built the chamber. What happens to the listener inside it will be the experiment.
shishi, das sind drei Frauen, die an den Ufern der litauischen Ostsee Post-Punk und Indie-Rock mit Surf-Einflüssen spielen. Diese physische Split-EP (und ihr Debüt auf Vinyl) enthält die neue QUEEN DEYONNA-EP und die frühere FAQ-EP. Ihre Musik verwandelt die Angst und Paranoia einer Welt im Umbruch in kathartische Verrücktheit. Ihre Live-Auftritte sind legendär - voller reichhaltiger dreistimmiger Harmonien, ineinander verwobener Gitarrenparts, grooviger Basslinien und treibender Schlagzeugbeats.
"Broken Home"tells the story of an escape that doesn"t really lead anywhere. The song depicts leaving a dysfunctional home hoping to find something better,only to end up in a worldthat feels just as chaotic and empty. The journey takes on a surreal tone, filled with striking, symbolic images: glittering but hollow figures, cheap messiahs, plastic saints-signs of a society that builds superficial, interchangeable idols. Surrounded by a hyperconnected crowd, there"s still a deep sense of isolation running through everything. The city itself feels saturated with excess, addiction, and illusion, where even moments of "cleanliness" or redemption seem fake, as if something as simple as rain could wash everything away. At its core, the song explores alienation and disillusionment, suggesting that escaping your past doesn"t mean much if the world you run into is just as broken.
ADULT. kooperiert nicht. Seit über 25 Jahren verkörpert die dystopische Detroit-Synth-Punk-Institution, gegründet von Nicola Kuperus und Adam Lee Miller, unbeirrbare Frustration, Misstrauen und Beklemmung. Man könnte erwarten, dass sich die Kanten mit der Zeit abschleifen, doch ADULT. hat kein Interesse am Komfort eines Vermächtnisses. Noch nie klang die Musik des Duos so unmittelbar, so dringlich und so unverhohlen wütend wie auf dem abschließenden, kompromisslosen Kissing Luck Goodbye.Mit aufgerüstetem Equipment und einer neuen Klangbibliothek gebaut, ist das Material erdrückend dynamisch, lauter - und zugleich klarer. Kuperus' dominante Darbietung rückt im Mix stärker in den Vordergrund und skizziert ein Arsenal aus lebhaften, ätzenden Rufen, Sprechchören und Gedankensplittern. Lachen - ob in den Texten oder als besessene Präsenz - fungiert als Leitmotiv und verweist auf die bedrohliche Absurdität der modernen Zeit.,THE CHAOS IS WHAT THEY WANT", singt sie in ,R U 4 $ALE" - zugleich eine Absichtserklärung: einer brennenden Welt aus Gier und Unordnung mit trotzigem, meisterhaft zusammengebautem Chaos zu begegnen. ,Du hast in dieser Höllenlandschaft, in der wir gerade leben, zwei Möglichkeiten: kämpfen oder depressiv sein", sagt Miller. ,Beides ist okay. Aber, na ja, die Entscheidung war einfach."ADULT. ist bekannt für hochriskante Katharsis auf der Bühne und griff kürzlich auf seinen Backkatalog an Bassgitarren-Songs aus den 2000ern zurück, wobei sie die vorausschauende Anxiety Always-Ära erneut nachzeichneten - teils aus Notwendigkeit angesichts der heutigen politischen und technologischen Angsttemperatur. Die Reaktion war sofort spürbar: ,Wir waren in Paris, und die Kids sind von der Bühne gesprungen. Und ich dachte nur: Das ist großartig. Das ist irgendwie die Energie, in die ich wieder zurückwill", sagt Kuperus.Diese Erkenntnis fiel mit einer Reihe von Rückschlägen zusammen - Kuperus' Anfällen von chronischem Schwindel, dem Verlust ihres engen Freundes und Kollaborateurs Douglas McCarthy von Nitzer Ebb, dem das Album gewidmet ist - alles unter dem drohenden Regime noch einmal erheblich verschärft. ,Wir dachten nur: Alles zerbricht. Wir zerbrechen. Wir sind kaputt." Dieses Gefühl hielt jedoch nicht an, denn letztlich waren sie viel zu sehr von Wut aufgeladen, um stillzuhalten. Die Stimmung vor Kissing Luck Goodbye waren vier Mittelfinger, die kerzengerade nach oben zeigten.Anstatt sich zurückzuziehen, konzentrierten sie sich auf den Prozess und überarbeiteten ihr Setup - inklusive der ersten neuen Mikrofone seit 20 Jahren. Hält man das Album an irgendeiner Stelle an, zählt man wahrscheinlich ein Dutzend Dinge, die gleichzeitig passieren, in seltsamer, schwindelerregender und dissonanter Harmonie. ,No One Is Coming" attackiert Untätigkeit angesichts des Faschismus - ,NO ONE IS COMING TO YOUR RESCUE". ,None of It's Fun" feuert mit atemloser Dringlichkeit, rasenden Glissandi und pointierten Zeilen wie: ,OH I AM TEARING MY GUTS OUT / LOOK AT ME_ DO YOU THINK THAT THIS IS AMUSING?"Eine geradlinige Basslinie und Kickdrum prallen im Abschlusstrack ,Destroyers" auf pulsierende Mantras, werden dann vollständig gesättigt und kakophonisch. Ihre jüngeren Ichs hätten den Song vielleicht sich selbst zerstören lassen, doch hier gelang es ihnen, die Lautstärke durch alle Extreme hindurch zu stabilisieren und Raum für ein eindringliches, abschließendes A-cappella zu schaffen: WE PAY THE PRICE FOR THOSE IN POWER EXPLOITING YOU EXPLOITING ME CONSUMING YOU CONSUMING ME SICK SICK SICK SICKENING IT IS US THAT ARE DEVOURED BY EVERYTHING I WILL EAT YOUR HATE
Coke Bottle Clear Vinyl. Babe Haven ist eine queere Punkband, bekannt für ihre Riot-Grrrl-Attitüde und ihren Nu-Metal-Einschlag. Gegründet in Boone, North Carolina, von Lillie Della Penna und Naomi Poesel, kreiert die Band Hymnen über Selbstermächtigung und Widerstand, die vor roher Aggression nur so strotzen.Die Band hat sich schnell zu einem ikonischen Bestandteil der modernen Punkszene entwickelt, bringt Bühnen zum Brennen, spielt ausverkaufte Shows in den gesamten USA und stand bereits mit Acts wie Die Spitz, Mannequin Pussy, Soft Play und Pup auf der Bühne.Ihr zweites Album ,Nuisance" zeigt eine mutige Weiterentwicklung ihres Sounds - eine Mischung aus Nu Metal, Thrash und Punk, die sich zu einem intensiven, genreübergreifenden Statement verbindet und ihren Platz als eine der wichtigsten aufstrebenden Stimmen des Punk festigt.,Nuisance" erschien ursprünglich im Juni 2024 und wird nun im Oktober 2026 erstmals physisch über Hassle Records veröffentlicht.
"Firebreather formed in Gothenburg in 2016, rooted in crushing, sludge-doused doom from the very beginning. Never wavering from that commitment across all three of their incendiary full-length releases, the trio has pursued weight with purpose, not as spectacle, nor as an exercise in excess, but as the only language broad enough to hold the emotional reach and sonic heft of their sound. The music arrives in a way that writes itself with no distance between the words and the sound; they rise from the same cursed ground, and that honesty has become the band's defining force. Firebreather is a band that never postures or asks to be admired for their heaviness- and to see them live is to experience exactly why. Their weight takes on another life entirely. The band's towering tone and consuming grit don't fill a room so much as alter it. Volume presses against the body before the first lyric lands and riffs arrive like shifting earth. The drums don't drive the songs forward; they anchor them while the line between sound and physical force begins to disappear. Years spent crossing Europe and North America have only sharpened that purpose, and a decade on with a fourth album on the way via the notorious Heavy Psych Sounds Records, Firebreather remains exactly where it belongs. Head down. Volume up."
Gold Nugget Vinyl, limited to 400 copies. "Firebreather formed in Gothenburg in 2016, rooted in crushing, sludge-doused doom from the very beginning. Never wavering from that commitment across all three of their incendiary full-length releases, the trio has pursued weight with purpose, not as spectacle, nor as an exercise in excess, but as the only language broad enough to hold the emotional reach and sonic heft of their sound. The music arrives in a way that writes itself with no distance between the words and the sound; they rise from the same cursed ground, and that honesty has become the band's defining force. Firebreather is a band that never postures or asks to be admired for their heaviness- and to see them live is to experience exactly why. Their weight takes on another life entirely. The band's towering tone and consuming grit don't fill a room so much as alter it. Volume presses against the body before the first lyric lands and riffs arrive like shifting earth. The drums don't drive the songs forward; they anchor them while the line between sound and physical force begins to disappear. Years spent crossing Europe and North America have only sharpened that purpose, and a decade on with a fourth album on the way via the notorious Heavy Psych Sounds Records, Firebreather remains exactly where it belongs. Head down. Volume up."
,The Impossible Kid" ist das 2016 erschienene Album von Aesop Rock und gilt als eines seiner persönlichsten Werke. Der Indie-Hip-Hop-Veteran verarbeitet darin Themen wie Depressionen, familiäre Beziehungen und die Veränderungen in seinem Leben, die ihn schließlich aus San Francisco in die Abgeschiedenheit des ländlichen Raums führten. Musikalisch und textlich verbindet das Album Aesops komplexe Reimstrukturen mit mehr Offenheit und Selbstreflexion als je zuvor. Gleichzeitig zeigt er auch seine humorvolle Seite. Wie bereits beim Vorgänger ,Skelethon" übernahm Aesop Rock die Produktion selbst und schuf damit eines der stärksten und zugänglichsten Alben seiner Karriere.
Mit Gamgumsupon legt Kuhn Fu sein bislang direktestes und energiegeladenstes Album vor. Das international besetzte Ensemble um Gitarrist und Komponist Christian Kühn verbindet Jazz, Punk, Metal, Psychedelia und Big-Band-Sound zu einer explosiven Klangsprache, die sich jeder Genre-Schublade entzieht. Kraftvolle Riffs treffen auf ausgefeilte Arrangements, improvisatorische Freiheit auf ungebremste Spielfreude und feinen Humor. Trotz ihrer kompositorischen Komplexität wirkt die Musik unmittelbar, eingängig und voller überraschender Wendungen. Zwischen brachialer Energie und verspielter Leichtigkeit entfaltet Gamgumsupon eine eigene musikalische Welt, in der Virtuosität stets im Dienst des Songs steht. Ein mutiges, kompromissloses Album, das Rock und Jazz auf ebenso originelle wie mitreißende Weise neu zusammenführt.
Das selbstbetitelte Debüt von South 1998 (ehemals South) ist vielleicht das, was dem alten Label Jagjaguwar jemals am nächsten kam, Musik zu veröffentlichen, die sich auch bei, sagen wir mal, ECM Records wie zu Hause anhören würde. Spitzt die Ohren, und ihr werdet es hören - Pat-Metheny-artige, klare, ausgefallene Gitarrenklänge, die geduldig zu trägen, hypnotischen, an Steve Reich erinnernden mathematischen Sackgassen geschichtet werden; ineinandergreifende Hackbretter und Vibraphone, die fallen und wogen wie an einem seltenen Tag mit starkem Schneefall in einer Stadt im Süden; die leisen und selbstbewussten Gesänge von Patrick Phelan und Nathan Lambdin, untermalt von den gleichmäßigen Rhythmen des Schlagzeugers Tod Parkhill. Bei der Erstveröffentlichung bezeichneten wir das Projekt aus Richmond, Virginia, als ,Exegese der großen Ambient-Rock-Momente des 20. Jahrhunderts". Daran halten wir fest. Doch bei näherer Betrachtung und mit dem Rückblick auf fast 30 Jahre seit der Veröffentlichung der LP sind ihre kleinen, kniffligen Schätze erst richtig zur Entfaltung gekommen. Es fällt schwer, keinen Vergleich zu einer zeitgenössischeren Künstlergeneration anzustellen, wenn man ,South 1998" wiederentdeckt, das nun aus SEO-Gründen umbenannt wurde (wer hätte das damals gedacht!?!?). Der experimentelle Slowcore-Experimentalismus von Escho Records aus Kopenhagen und ML Buch; ein bisschen von den Vorreitern der Cloudrock-Szene (und Jag-Labelkollegen) Chanel Beads; eine ganze Reihe von Veröffentlichungen des angesehenen (und unterschätzten) norwegischen Labels Hubro. Aber es verdient auch einen Platz im Regal neben seinen zeitgenössischen ,Post-irgendwas"- und ,Pre-irgendwas"-Kollegen von damals - Tortoise, Bark Psychosis, The Sea & Cake. ,South" von 1998, ein unbestrittener Jagjaguwar-Klassiker, war an sich nie verloren gegangen, aber wir haben es für euch wiederentdeckt - zum ersten Mal überhaupt auf Vinyl, als Teil unserer Feierlichkeiten zum 30-jährigen Jubiläum.
Limited White Label reaches a milestone with LTDBLBL025 – our first ever LP. For the occasion, we’re handing the catalogue over to Boris Graus aka Borka & The Gang for a 12-track journey through House, Jazz-House and Deep House Electronica. The double LP brings together years of Boris’ work and collaborations, connecting electronic production with the feel of live musicianship. Across the record, House grooves meet jazz, disco, funk and deeper electronic textures, moving between warm, rhythmic cuts and more atmospheric moments. Boris plays the keyboards, glockenspiel and percussion himself, while the record features contributions from a wide range of musicians from both his local circle and further afield – including Malou de Sel on vocals, Jürgen Leutnant on saxophone, Bruno dela Rosa on bass, Dario Cei on flute and Bruno Freitas on guitar.
Pressed on double 12” white vinyl, LTDBLBL025 is not only the first LP in the Ltd, W/Lbl catalogue, but also a milestone for Borka & The Gang – bringing together a body of work that reflects Boris’ long-running connection between electronic music and live musicianship. LTDBLBL025 – 2×12” White Vinyl / 12 Tracks
Daydream: 30th Anniversary Edition is a 2-CD set featuring the original multi-platinum-certified album Daydream, which includes the smash hits “Fantasy,” “Always Be My Baby” and “One Sweet Day." Disc 2 collects remixes and rare B-sides, including a brand-new remix, “Underneath The Stars (Eric Kupper Klassic Club Mix) (Radio Edit).” The second disc also features a writing session demo for “I Am Free.”
Featuring Defected's very first UK No.1 chart single; the Ibiza classic 'Another Chance' from Roger Sanchez, Dennis Ferrer's anthemic mix of Fish Go Deep's 'The Cure & The Cause', Blaze & Barbara Tucker's huge 'Most Precious Love' and Kings of Tomorrow's 'Fall For You'. Those vocal hits sit perfectly alongside underground cuts from Maya Jane Coles who takes on MK's '4 You', Osunlade's 'Envision', Mr V's NYC classic 'Jus Dance' and the Karizma & DJ Spen's '4 The Love'. For the first time in its 27- year history , Defected compiles its greatest hits, underground anthems and bonafide house music classics into a 5 volume triple vinyl collectors series.
