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Following the critical success of last year’s ‘Cold Feet’ LP, producer, DJ, and multi-instrumentalist Alek Lee returns to Isle of Jura with his most introspective work to date, the ‘Blue Bird’ album. Across eight tracks, the Athens-based artist explores what he describes as a "Peculiar state of minds & Dub Orientated Feelings," blending his signature guerrilla style production with deep, organic soul.

The album’s centerpiece and title track, ‘Blue Bird’ features the haunting vocals of singer-songwriter Keren Ilan. It is a raw, heartfelt exploration of the aftermath of a breakup. The lyrics speak of a "desert heart" and a "loss that grows tall and loud," eventually finding a path toward healing as the "blue bird sings the dawn." Musically, the track is anchored by hazy, sun drenched guitars, a central instrument that weaves a consistent Balearic thread throughout the LP.

The journey through ‘Blue Bird’ is one of shifting shadows and unexpected textures. ‘Treasures’ is a standout instrumental, leaning into a grit-flecked, bluesy "twang" reminiscent of Duane Eddy, while ‘The Beach Road’ sees long time collaborator and ‘Shame On Us’ bandmate, Yovav, lending his magical bass and guitar work to a track that feels like a slow drive toward the horizon.

Side B shifts the energy toward the dancefloor and the sophisticated leftfield pop of the 80s. ‘First Rain’ is a subtle house leaning gem underpinned by a kick drum and lush, synth heavy emotive chord progression. ‘Thanks to Sade’ is a seductive downtempo groove with epic guitar lines shifting through, while ‘Remember the Good’ brings a subtle reggae skank and a French-influenced organ sound into the mix. The LP comes full circle with a smoked out Dub version of the title track ‘Blue Bird’.

A 180 gram pressing in a 3mm spine full colour sleeve and sticker designed by Bradley Pinkerton.

The Buddha Bar collection is the one of the most emblematic electronic compilation series with over several million copies sold over the years. Discover the 27th Buddha-Bar Compilation, Mixed by DJ Ravin. Immerse yourself in the captivating and unique world of Buddha-Bar with this new « haute couture » selection. This latest edition, masterfully mixed by the iconic DJ Ravin, takes listeners on a mesmerizing sonic journey, blending sophisticated electronic beats, worldwide sounds, and deep chill and house vibes. More than just an album, it’s an immersive experience perfect for setting the mood at any gathering or accompanying moments of pure relaxation. With a legacy of globally acclaimed compilations, the Buddha-Bar series has already captivated millions, creating a lifestyle phenomenon like no other. Available on March 28th, Buddha-Bar XXVII is a must-have for fans of lounge and electro music. Give your customers the chance to escape into this musical adventure

In the Summer of 2023, Dans Dans were nearing the end of a two-and-a-half-year-long period of intense creativity, during which they had released two celebrated albums, Zink and 6, and had toured extensively in Belgium and abroad. Feeling it was time for a well-deserved break in activity, they decided to play three final, intimate concerts before going into hiding: two consecutive nights at Trix in Antwerp (hometown of drummer Steven Cassiers and guitarist Bert Dockx) and one at Botanique in Brussels (hometown of bassist Frederic Jacques). 'LIVE!', Dans Dans' first ever full length live record, features highlights from these memorable nights, offering excitingversions of several of the group's most beloved compositions from across their back catalogue. While the band is, at the time of writing, getting ready to start working on new material, these recordings from 2023 are a good reminder of the magic Dans Dans are able to conjur when they get together and play. Here is one of the most original instrumental trios of the last two decades in their natural habitat, on stage, performing for a live audience, speaking through their intensely personal music. Here is Dans Dans at full flight, effortlessly blending different musical genres and painting fascinating sonic landscapes full of energy, mystery and contrast.

To commemorate the 40th Anniversary of the passing of James Darroch, singer/songwriter/guitarist for Sydney's incredible The Eastern Dark, Grown Up Wrong! is thrilled to announce a long-awaited reissue of the band's classic single "Julie Is A Junkie/Johnny and Dee Dee".

Heavily influenced by the Ramones - the band opened their first live show with 'Blitzkrieg Bop' and from then on opened with a new Ramones song every time they played, working through the band's complete catalogue in chronological order - as all manner of hyper-melodic and high energy rock. The Eastern Dark were a classic trio powered by former Celibate Rifles bassplayer James Darroch's blazing guitar and anchored by former Lime Spiders backing vocalist Bill Gibson's hard driving and melodic bass playing (and supreme backing vocals) and Geoff Milne's untouchable beat keeping. They set Sydney's Radio Birdman influenced scene alight in 1984 and quickly built an international following on the back of their classic single. Sadly, just hours after completing what would become their next release - the mini-LP "Long Live the New Flesh" - the band's life, and that of 26-year old James Darroch, was brutally ended in a road accident whilst the band was on its way to Melbourne.

On the back of the tragedy, the band's music lived on and it's global impact was reflected in the influence it bore on numerous bands, from Boston's the Lemoneads to Tokyo's Teengenenete, and obviously a succession of Australian bands from the Hard-Ons through to God and the Meanies and beyond.

After years of searching, surviving members Bill Gibson and Geoff Milne recently found the single's original multi-track tapes, and for the new release, the original recordings have been both remixed and remastered for maximum impact under their supervision.

Robert Pettersson, die kraftvolle Stimme hinter zwei der größten schwedischen Rockbands, Takida und Stiftelsen, tritt nun mit seinem ersten Soloalbum ins Rampenlicht. Bekannt für seine rohe Emotion und seinen unverwechselbaren Sound, hat Robert mehr als zwei Jahrzehnte damit verbracht, Charts anzuführen, Arenen auszuverkaufen und den modernen schwedischen Rock zu prägen. Sein Solodebüt zeigt eine persönlichere Seite und verbindet tiefgehende Texte mit elektronischen Klangwelten. Produziert wurde das Album von Roberts langjährigem Songwriting-Partner Chris Rehn. So habt ihr Robert Pettersson noch nie gehört - intim, mutig und unverkennbar authentisch.

Black Salt is the second album from Kiiōtō (Mercury Music Prize nominated singer/songwriter Lou Rhodes, former lead vocalist and co-founder of Lamb and award-winning songwriter and pianist Rohan Heath). Their debut album, As Dust We Rise, was released in 2024 to critical acclaim.


Stylistically Black Salt leans further into Jazz, broken beat and soul textures than the debut,with references as diverse as Carole King, Khruangbin and Alice Coltrane. The resulting album is impossible to define by genre, but is fused by the unique interplay of Heath's melodic sensibilities and Rhodes inimitable voice.

Written primarily in Kiiōtō's home studio in North London, Black Salt features guest appearances from a melting pot of musicians, notably guitarist Hawi Gondwe (Amy Winehouse), double-bassist Andy Hamill (4 Hero, Carleen Anderson), drummer Mykey Wilson (Corrine Bailey Rae), and even some impromptu guitar by the one and only David Arnold.


BLACK SALT is out April 2026.

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



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

Wenn du es weißt, dann weißt du es. Die Shows von Dash Rip Rock sind ein ausgelassener Spaß - eine explosive Mischung aus Respektlosigkeit, Verzerrung und rohem Gitarrensound. Dieses legendäre Trio aus der Louisiana Music Hall of Fame und langjährige Indie-Größen verbinden Roots Rock, Garage Rock, Country-Punk und Southern Swagger und werden von der New York Times für ihre ,Flüssigkeit in der amerikanischen Roots-Musik mit einer kräftigen Dosis Punkrock-Spirit" und von SPIN als ,unbestreitbar die größte Rockband des Südens" gelobt. Mit über siebzehn Underground-Klassikern, einer treuen, genreübergreifenden Fangemeinde aus Rock, Americana und Punk und einem Radiohit aus den 1990er Jahren mit ihrer ironischen Hymne ,Let's Go Smoke Some Pot" liefert Dash Rip Rock weiterhin mitreißende Live-Shows. Gründer, Leadgitarrist, Sänger und Songwriter Bill Davis wird oft als Pionier des Country-Punk, Cowpunk und Alt-Country bezeichnet - Genres, die Rock, Outlaw Country und Punk-Attitüde miteinander verbinden. Die Austin Chronicle lobt Davis als ,das Gehirn hinter Dashs Muskeln, einen Bar-Poeten mit einem ausgeprägten Sinn für Humor und einem unverschämten Talent für gute Riffs". Mit ,A Song in Everyone" kehrt Dash Rip Rock mit einer brandneuen LP zurück, die in Mississippi mit Matt Patton von den Drive-By Truckers aufgenommen wurde.

Alisha's Attic were one of the defining English pop duos of the late 1990s and early 2000s. Formed by sisters Shelly and Karen Poole, the pair first appeared in 1988 under the name Keren & Chelle, releasing their single "Sugar Daddy". In 1996 Alisha's Attic released their debut single "I Am, I Feel" which reached the #14 in the UK Singles Charts. Their debut album, Alisha Rules the World was released in November 1996, produced by Dave Stewart of Eurythmics. The album became a major success, achieving Platinum in the UK and generated a string of single "Alisha Rules The World", "Indestructible" and "Air We Breathe" all of which reached the UK Top 15.

Uncompromising Dutch Black Metal – DOODSWENS’ sophomore album out in April via Svart Records Doodswens is a Dutch Black Metal band formed in 2017 by I. Live she performs the drums and vocals, joined by R. & P. on bass and guitar. Doodswens translates to Deathwish, but the meaning and heavy load to the word in Dutch translates better to Driven by Death. The self-titled sophomore album by Doodswens is out on April 17th 2026.

After establishing themselves in the Dutch scene, Doodswens gained an international following doing tours with Marduk & Gorgoroth. Doodswens’ performances are ceremonial and ritualistic, which have been reported to be as uplifting as they are devastating, depending on the demons you bring them to offer. Whatever you carry with you will be exposed. They like to confront instead of bringing comfort. If you've been on the verge of ending your life, or think about it more often than not, then you're living with a death wish. A heavy feeling, like a gray cloud hovering around you, gasping for breath and blurring your vision. This is incomprehensible to anyone. Except for those caught in the middle of it. But this album isn't about giving up. It's about finding strength, about someone who regains new energy after facing death.

This album isn't about wishing for death, but the death of the wish. Band’s establisher I. talks about the new single "Driven by Death": “For me, it was on the way back from a spontaneous adventure, full of music, new connections, and inspiration. A path without a plan and a journey without a goal, with only a very strong feeling that this is where I'm meant to be. With a misty horizon of endless asphalt before me. A large tree at the edge of the road, in the corner of my eye, screaming that this could just be the end. But what I felt wasn't fear, it was happiness. With the thought that if I crash into that tree now, I won't care at all. Because up until this moment, I've done everything possible, experienced every adventure, and each time, gotten up again and faced life with that gray cloud around my head. I have a death wish, so if it happens now, it's okay, and I'm at peace with it. This was the moment I realized, I'm not afraid of life. I'm driven by death.”

Uncompromising Dutch Black Metal – DOODSWENS’ sophomore album out in April via Svart Records Doodswens is a Dutch Black Metal band formed in 2017 by I. Live she performs the drums and vocals, joined by R. & P. on bass and guitar. Doodswens translates to Deathwish, but the meaning and heavy load to the word in Dutch translates better to Driven by Death. The self-titled sophomore album by Doodswens is out on April 17th 2026.

After establishing themselves in the Dutch scene, Doodswens gained an international following doing tours with Marduk & Gorgoroth. Doodswens’ performances are ceremonial and ritualistic, which have been reported to be as uplifting as they are devastating, depending on the demons you bring them to offer. Whatever you carry with you will be exposed. They like to confront instead of bringing comfort. If you've been on the verge of ending your life, or think about it more often than not, then you're living with a death wish. A heavy feeling, like a gray cloud hovering around you, gasping for breath and blurring your vision. This is incomprehensible to anyone.

Except for those caught in the middle of it. But this album isn't about giving up. It's about finding strength, about someone who regains new energy after facing death. This album isn't about wishing for death, but the death of the wish. Band’s establisher I. talks about the new single "Driven by Death": “For me, it was on the way back from a spontaneous adventure, full of music, new connections, and inspiration. A path without a plan and a journey without a goal, with only a very strong feeling that this is where I'm meant to be. With a misty horizon of endless asphalt before me. A large tree at the edge of the road, in the corner of my eye, screaming that this could just be the end. But what I felt wasn't fear, it was happiness. With the thought that if I crash into that tree now, I won't care at all. Because up until this moment, I've done everything possible, experienced every adventure, and each time, gotten up again and faced life with that gray cloud around my head. I have a death wish, so if it happens now, it's okay, and I'm at peace with it. This was the moment I realized, I'm not afraid of life. I'm driven by death.”

Since their ground-breaking US debut the Amigos have lived a double life. In their hometown of Caracas, Venezuela, they"ve hosted underground club nights for years (the most recent called "Super Sancocho Variety"). Then, insouciant single-entendre songs like "Sexy" and the doggy-style anthem "Ponerte En Cuatro" landed them on MTV and radio, and before long, the six young men found themselves pop idols. It wasn"t hard, but their hearts remain on the dance floor and in the clubs. AREPA 3000 is live instruments, start to finish. "Electronic music tries to simulate human sounds," says the guitarist. "It"s really easy to buy a groove box or an 808 to make us sound like techno. So we try to get those sounds from our instruments, to go the other way. Make the human sounds sound electronic. When we do our club shows, I"ll spin before our set and we"ll add live instrumentation. We can play four, five hours like that.

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

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

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

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

This 18- track selection spans Edith Piaf' s career from the years 1946 to 1961. It includes all of her big hits, such as 'La Vie en rose', 'Non, je ne regrette rien', 'Hymne a l'amour', 'Milord', 'La Foule', 'L'Accordeoniste', and 'Padam Padam', among many others. Regarded as France's national chanteuse, singer songwrite, and actress Edith Piaf (1915-1963), also became one of the country's greatest international stars. Her music was often autobiographical with her songs reflecting her own personal life. Piaf's specialties were the chanson and torch ballads, particularly those of love, loss, and sorrow.

















[q] Le Chevalier De Paris [aka Les Pommiers Doux]

"Frank Virgilio is a Neapolitan DJ who, since 1978, has performed exclusively with vinyl records, a format that has never replaced by other technologies CDs, USB sticks. His career began almost 50 years ago in a small private club in Parco Margherita, Naples, has expanded beyond his hometown to stunning places: Capri, Ischia, Porto Cervo, at the legendary "Music on the Rocks" in Positano, as well as abroad. Today, Frank is also an acclaimed record producer and DJ-remixer, collaborating with several European labels, where he has earned the nickname of "Visionary Remixer". This album, released later than expected, conveys profound emotions. Among the 7 tracks, fully remastered by the ever-present and historic Dom Scuteri, are some sumptuous covers that are absolute dance floor fillers, and thus a slice of Frank Virgilio' s musical paradise, beautifully represented by Gianni Somma's artwork."

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

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

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

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

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

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

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

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

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

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

»Music for Shared Rooms« is B. Fleischmann’s eleventh solo album and his first since 2018. It is also not an album, or at least not in the conventional sense of the word. These 16 instrumental pieces provide a kaleidoscopic glimpse of a forward-thinking musician at home in many different musical worlds, including experimental and abstract music, pop and more classically-minded compositional forms. These pieces were culled from an archive of roughly 600 compositions for theatre pieces and films written throughout the past twelve years. The Österreichischer Filmpreis-awarded composer, however, aimed for more than simply documenting his extensive work in and with different media. To do so, he edited and re-mixed the individual recordings for this release, taking them out of their contexts and reworking them for an audience who can experience them in a different setting. »Music for Shared Rooms« makes it possible for its listeners to engage with the sounds and to fill the spaces they open up with their own imagination.

Roughly speaking, music for theatre or film can serve two functions: it either takes the lead, or underscores what is happening on stage or screen. The marvelous thing about these pieces is that they manage to do both. Fleischmann’s work as a prolific producer has always drawn on contrasts, at times combining pop sentiment with rigid experimentation, the seemingly naive with the intricate and complex. This approach also marks the tracks collected here: bringing together acoustic elements and electronic sounds, at times working with conventional structures but always de- and re-contextualising them, Fleischmann constructs a vivid dramaturgy out of discrete singular compositions, letting them interact across the record.

Take, for example, the opener »Träumerei« and the following »Brenne«: after the soothing acoustic sounds of the former, the latter quickly picks up speed with hard-hitting drum machine rhythms. It’s a stark contrast sonically and stylistically, however both tracks are tied together by a certain harmonic sensibility. This sort of dramaturgical interconnectedness of varied musical materials is the thread that runs through »Music for Shared Rooms«. A droney piece for string instruments like »Sehnsucht« is followed by a trip-hop beat, before »Schock« lives up to its title with skittering beats and piercing high frequencies. The differences between the pieces may be striking, but the progression from one to the other is subtle. It goes on like this through different moods and tempos. There’s soothing-yet-eerie piano pieces like the »Für Elise«-inspired »Der Lärmkrieg«, gentle house grooves, joyful synthesizer excursions and, finally, »Die Erde ist mir fremd geworden«, a collage of abstract textures and concrete sounds.

All these pieces create distinct situations through the juxtaposition of diverse musical elements, but are also bound together by a single vision. Writing music for theatre pieces or film requires a composer and his pieces to engage with people and their movements in space, which is exactly what Fleischmann offers on this record. He breaks down the fourth wall and invites his listeners into his world, a wide-ranging musical panorama. »Music for Shared Rooms« is indeed not an album in the conventional sense of the word, but more like a photo album in which each page opens up a new space to get lost in; recreates different scenes in which you can immerse yourself. These are shared rooms indeed.