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‘Best tunes for your answering machine’ is the debut album of oblique, introspective electronic music by the mysterious solo artist Tekamolo.

Fusing melancholic synth pop and absurdist trip hop, ‘best tunes for your answering machine’ is a special assemblage of pitch-modified vocals, retrofuturist samples and freeform electronics that coalesces into music both outlandish and bittersweet, playful and profound.

Produced by a renowned artist, opting to conceal their identity under the guise of a new pseudonym, Tekamolo presents a series of curious, incognito confessionals with ‘best tunes for your answering machine’. An album led by a voice like a sentient, heavy-hearted android, the nine tracks collected here contend with themes of inertia, solitude and longing, revealing an inspired, affecting stream of messages from an unknown caller.

Without preconceptions tied to provenance, this is music liberated from the burdens of biographical detail. Music that eschews ego and the cult of the self. An album that can be heard purely for the strange, poignant sounds unfurled throughout.

For Tekamolo, the album signifies an attempt to navigate aesthetic reductionism, as well as an absolute sense of seclusion:

“An audio diary of a lonely soul. Broken, wounded mantra-songs. Memories of things that never happened. Dreams that never had the chance to be dreamed. Disassembled songs. As if testing the limits of emptiness — how much void can a song endure while still remaining a song? How much can be stripped away, how bare can it be, and still, the groove lingers, the melody pierces the memory, sinking into the listener's mind.

These are the skeletons of songs, an attempt to assemble music from the bare minimum — words, sounds, fragments of memory.

The songs are filled with desperate calm. They are not sung to the world, nor to anyone tangible, but solely to oneself and to the unseen. In a way, they could be considered songs of the end of the world: you wake up, and there is not a single person left in the world. At least, no one you can see. You wander through empty streets and deserted shopping malls, humming softly to yourself, hoping that someone — anyone — might hear you.”

‘best tunes for your answering machine’ is a sui generis conception of warped 21st century blues from an enigmatic figure, a work filled with surreal, indelible songs of modern isolation. Lost contemporary hymns, now recovered. Voicemails worth hearing.

Die Singer/Songwriterin CHELSEA WOLFE leidet unter Schlafparalyse und es ist die seltsame Verbindung zwischen dem Bewussten und dem Unbewussten, die sich ganz unfreiwillig in ihrer Arbeit manifestiert. Über ihre ersten vier Alben hinweg herrscht eine untergründige Spannung, ein verzerrtes und nebulöses Territorium, in dem dunkle Schatten über die das Himmlische und Grazile huschen. Bisher waren die persönliche Kämpfe WOLFEs mit den Grenzen zwischen Traum und Realität nur ein unterbewusster Einfluss auf ihre Arbeit. Mit ihrem fünften Album, "Abyss", konfrontiert sie die Grenzen zum ersten Mal offen und erschafft eine Filmmusik zu dem, was sie "Das verschwurbelte Nachleben. Ein umgekehrtes Gewitter. Die düstere Rückwärtsbewegung. Den Abgrund der Zeit." nennt. Das Material von CHELSEA WOLFE hat sich schon immer extrem privat angefühlt; von der fast schon voyeuristisch anmutenden Schlafzimmerproduktion ihres Debüts "The Grime And The Glow" bis zur schroffen Atmosphäre von "Pain Is Beauty" von 2013. "Abyss fängt diese Zweischneidigkeit ein, diesen Kampf zwischen dem Beruhigenden und der Erschütterung, und demonstriert damit, warum CHELSEA WOLFE eine der faszinierendsten Songwriterinnen dieses Jahrzehnts ist. Ltd 2LP im Klappcover "Her darkest, heaviest and most personal album yet . . . a haunting, doomy exercise in loud-quiet dynamics." Rolling Stone 2015

Black Swan is a 2010 American psychological thriller film directed by Darren Aronofsky and starring Natalie Portman, Vincent Cassel, Mila Kunis and Winona Ryder. The plot revolves around a production of Tchaikovsky’s Swan Lake ballet
by a prestigious New York City company. Usually described as a psychological thriller, Black Swan can also be interpreted as a metaphor
for achieving artistic perfection, with all the psychological and physical challenges one might encounter.

The original score for the film was composed by Clint Mansell, an English musician, composer, and former lead singer of the band Pop Will Eat
Itself. Mansell was introduced to film scoring when director Darren Aronofsky hired him to score his debut film, Pi. Ever since Mansell wrote the score for many of Aronofsky’s films. Notable additional film scores include The Fountain, Moon, Smokin’ Aces, Requiem for a Dream, The Wrestler, Doom, and High-Rise.

Lee ‘Scratch’ Perry & The Upsetters’ classic Return of Django. Lee Perry had already been making name in the Jamaican music scene for about a decade before Return of Django hit the UK charts in 1969. It was released after Trojan released
a hugely popular collection of Perry’s biggest instrumentals. This album is a must for everyone that enjoys that good old vintage reggae sounds.

Lee ‘Scratch’ Perry was a pioneer of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys.

Return of Django is available as a limited edition of 1000 individually numbered copies on white coloured vinyl.

New pressing for this album, in translucent highlighter yellow. Inspired by minimal pop and the pioneers of electronic music, LES MANIÈRES DE TABLE, Annie-Claude Deschênes’ first solo album, is as danceable and melodic as it is disquieting and dystopian, proposing to set the table differently by deconstructing the social codes of politeness imposed on us. Conceived during the lockdown to overcome the surrounding inactivity, the songs that make up LES MANIÈRES DE TABLE were not intended to be released. It was by familiarizing herself with new technologies (drum machines, sequencers) that the conceptual and aesthetic ideas that define the album began to develop organically. Through producing beats composed from samples of utensils, table etiquette became a source of inspiration, a form of conformity that she enjoyed deconstructing. At the same time, a fascination for surveillance cameras and other futuristic-looking, but already obsolete technologies became part of her visual universe. Her experiments gradually evolved into a full-fledged project reminiscent of the works of the pioneers of electronic music. The album is inspired by Steve Reich’s minimalism, Kraftwerk’s synthetic textures, Herbie Hancock’s stylistic diversity and experimental cinema’s non-traditional approach to narration.

The line between art and entertainment has always been fuzzy. Certainly, there’s plenty of overlap between the two, but lately it feels like there’s a growing divide, an ever-widening chasm separating our fundamental need for creative expression and our insatiable appetite for disposable content. That’s where T. Hardy Morris comes in.

“I’ve spent a lot of time parsing the difference between the two,” he explains, “not just for myself, but for society at large. What does it mean to be an artist? How do we measure creative success? Where are the boundaries between audience and performer when everyone’s broadcasting their lives 24/7?”

Morris dives into those questions headfirst on his riveting new album, Artificial Tears, and while the answers don’t come easily, the search yields plenty of reward. Recorded in Nashville with My Morning Jacket’s Carl Broemel at the helm, the collection is an electrifying work of existential exploration, a raw, rock and roll reflection on meaning and identity in a modern world that’s simultaneously more connected and isolated than ever before. Despite the weighty ruminations at its core, the result is a remarkably grounded, down to earth album that’s at once honest and abstract, a poignant, clear-eyed look in the mirror from a master craftsman committed to his work for nothing more—and nothing less—than its own intrinsic value.

'exclusive tour tapes' limited quantity available for distribution

Limited split tape collaboration between like-minded pranksters Lagoss & Babau. Co-released by Sucata tapes & Artetetra in July 2025.

‘’The chars were emerging as some chunk of makeshift swamp coolers blasted the soil surrounding our motorbikes. Sunburn vapours floating grey all around, licking our necks with heavy hazy tongues. Just oppressive and gross. Blah.

Someone says heat waves are among the most dangerous natural hazards. I guess that the magnetic tides did not help at all. For sure, recreational sleep deprivation aside, it was days of relentlessly documented tipsy headaches, thermometric cicada noises and weird-ass hallucinations. It is what it is. The age of earthquakes. We drink from our black plastic bags with a straw pushing a bit of oxygen thru our reptile brains. Just half a pack of synthetic tobacco for the ride. No internet. Whatever.

She looks at me behind the war metal glasses and the silicone frog mask high on desert dust. Sweaty pools on her shoulders. Eyes purple with adrenaline. Map on the scratched screen. “It says that at this point we should be hearing that fucking flute”. We stop amidst the geysers. We can see the monoliths and stone gods ready to eat up all the solar storms and the thunder. Towards the horizon, second moon is up. Damn. Water rises to our knees, green with bloating sounds. Just what we needed. We’re stuck. "Turn up the radio. Let’s hope it lasts five minutes." After trashing a bunch of fake subtropical signals, the radio plays a flute. She takes off the mask and explodes in a grin: “This is it man, we made it! No man’s land. The real fucking thing.” I light one up and let the sight get blurred: “You betcha.”’’

Fünf Jahre nach der ursprünglichen Veröffentlichung greift Gracie Abrams ihr Debütprojekt „Minor“ mit
einer speziellen Jubiläumsausgabe wieder auf. Das Album mit sieben Songs hebt ihre charakteristische
Lyrik und ihre faszinierende Stimme hervor und enthält die gefeierten Singles „21“, „I Miss You, I’m
Sorry“, „Minor“ und „Long Sleeves“. „Minor“ erscheint als limitierte rote LP, als CD und exklusiv auf
Kassette. Das Album ist ab dem 8. August 2025 überall erhältlich.

With creative verses rooted in technical brilliance, Detroit emcee Elzhi has attained the highest level of lyrical mastery. Now 15 years into an inspired solo career, the former Slum Village member has ramped up his output lately, joining forces with producers Georgia Anne Muldrow, Oh No, and JR Swiftz for three acclaimed albums in the 2020s. Now, Elzhi is reuniting with famed North Carolina producer Khrysis as the duo Jericho Jackson, revisiting the chemistry that resulted in a celebrated 2018 joint album. After emerging in the Justus League collective during the rise iconic group Little Brother, Khrysis has gone on to work with hip-hop royalty like Sean Price, Black Thought, Mac Miller, JID, Conway, Rapsody, Talib Kweli, Redman, and many more. With a highly anticipated album on the way, Elzhi and Khrysis are launching the new era of Jericho Jackson with the flawless EP I Am Him, channelling the spirit of vintage maxi-singles. “For me, the maxi-single represents a time when

hip-hop was unapologetically raw and underground,” Elzhi explains. “Some of my favourite artists used the format to showcase remixes, freestyles, and loose tracks that might not have fit the sound of an album. This is our way of restoring that feeling.” An exciting burst of new music from two undeniable talents, the project features appearances by Domo Genesis and Oh No.

20th anniversary edition (180g) with new master. Candlemass is a Swedish doom metal band formed in Upplands Väsby, a suburb of Stockholm, in 1984 by bassist, songwriter, and bandleader Leif Edling, alongside drummer Matz Ekström. The band has had a defining influence on doom metal, with the epic doom genre itself taking its name from their debut album Epicus Doomicus Metallicus. Along with Pentagram, Saint Vitus, and Trouble, Candlemass has been recognized as one of the "big four of doom metal". In November 2004, the band announced their second reunion. They recorded a new album, simply titled Candlemass, and it was released in May 2005. The album earned them a Swedish Grammy that year.

CANDLEMASS - a name forged in darkness; a legacy built on doom. Born from the cold shadows of Stockholm in 1985, this Swedish titan of epic doom metal has stood as a monolithic force for nearly four decades. In 2025, CANDLEMASS marks 40 years of sorrow-laden grandeur, a testament to their unwavering reign over the genre they helped shape. Their journey began with the seismic release of “Epicus Doomicus Metallicus” (1986), a requiem that redefined heavy music, followed by the monumental “Nightfall” - both now sacred texts in the annals of doom. These albums remain cornerstones of a genre that thrives in the echoes of CANDLEMASS somber majesty. Despite doom’s reputation for slow, crushing weight, CANDLEMASS themselves show no signs of slowing down. Relentless and untamed, they continue to storm stages worldwide, bringing their towering hymns to devoted Candlemaniacs from Tokyo to Los Angeles. With Grammy win in Sweden and a U.S. Grammy nomination in 2019, the band’s fire still burns with undiminished intensity. Originally released in 2009, “Death Magic Doom” is the tenth studio album from CANDLEMASS.

Musikalisch schon immer auf der Schnittstelle zwischen Rap, Gitarrensounds und sogar Country unterwegs,
legt mgk (Machine Gun Kelly) diesen Sommer sein wohl bisher wichtigstes und persönlichstes Projekt vor
– „lost americana“ erscheint am 08.08.25.
„lost americana“ ist mgk’s kompromisslose Neuerfindung und der Beginn einer Ära, bei der es um klassisches Storytelling, Identität und Selbstentfaltung geht.
Angeführt von der ironischen und doch retrospektiven Leadsingle „cliché“ verwischt das mittlerweile siebte
Album die Grenze zwischen Satire und Authentizität und vereint Humor, Nostalgie und Kulturkritik auf
mgks’s einzigartige Weise.
„lost americana“ nimmt Hörer*innen mit auf eine emotionale und ehrliche Reise durch staubige Diners,
dem simplen Leben von früher und der eigenen Selbstreflexion.
Seit seinem ersten Album „Lace Up“ (2012) ist mgk (damals noch unter den Namen Machine Gun Kelly
bekannt) zu einem der einflussreichsten US-Musikern avanciert.
Singles wie „Bloody Valentine“ und „My Ex’s Best Friend” wurden zu weltweiten Hits, die beiden letzten
Alben „Tickets To My Downfall“ und „Mainstream Sellout“ zu Nr. 1 Charterfolgen, „Tickets To My
Downfall“ wurde zudem in der Kategorie „Best Rock Album“ bei den Grammys nominiert.
lost americana“ erscheint am 08.08.25. als CD und auf Vinyl

BABYMETAL feiert ihr 15-jähriges Jubiläum mit ihrem vierten Studioalbum “METAL FORTH”. Nach dem
Erfolg von “METAL GALAXY” (2019) und dem Konzeptalbum “THE OTHER ONE” (2023) knüpfen sie
nun an ihre einzigartige Erfolgsgeschichte an. Das Album enthält 10 brandneue Tracks, die musikalische
Grenzen sprengen. Mit dabei sind einige Kollaborationen, darunter Tom Morello (Rage Against the Machine) und Electric Callboy. Auch Poppy, Slaughter to Prevail und Sunset Kiss verleihen dem Album ihren
Sound. Besonders hervorzuheben sind die Live-Hits “METALL!” und “TRATATATA”, die bereits jetzt die
Fans begeistern. Das Album vereint gekonnt Metal mit modernen Einflüssen und zeigt die Weiterentwicklung der Band. Außerdem wurde die Gründung von BABYMETAL WORLD LLC in den USA bekannt
gegeben.

Auf »Necessary Fictions« zeigt das Trio GoGo Penguin, das seit seiner Gründung Jazz, klassische Musik und elektronische Einflüsse miteinander verbindet, was es aktuell als seine »wesentlichen, authentischen Qualitäten empfindet«. Das führt zu einem verstärkten Einsatz modularer Synthesizer in seinem Sound.

GoGo Penguin, zu denen seit der Pandemie der Schlagzeuger Jon Scott gehört, luden erstmals einige Gastmusiker für ihr neues Albumprojekt dazu: das achtköpfige Streicherensemble Manchester Collective unter der Leitung der künstlerischen Direktorin und Geigerin Rakhi Singh sowie den Singer-Songwriter Daudi Matsiko.
»Necessary Fictions« wurde so ein Album voller ambitionierter neuer Entwicklungen – von einer Band, die vollkommen im Reinen mit sich selbst ist: selbstbewusst genug, um sich auf Zusammenarbeit einzulassen, gespannt darauf, wohin die Reise als Nächstes geht, und voller Lust, dabei auch Spaß zu haben. »Mir ist sehr bewusst aufgefallen, wie oft ich im Studio beim Aufnehmen gelächelt habe“, sagt Illingworth, „und ich lächle jetzt gerade, wenn ich nur daran denke. Ich hoffe, diese Energie überträgt sich auf die Menschen.«

Für »Necessary Fictions« konnten sie ihr eigenes Studio in Manchester in einen stimmungsvollen Treffpunkt verwandeln – einen angenehmen Ort, an dem man gerne Zeit verbringt, mit Kunstwerken, Fotografien und anderen Bildern an den Wänden, die als Anregung und Inspiration dienten. Illingworth und Blacka waren dort so gut wie jeden Tag über zwölf Monate hinweg im Jahr 2024; dann kam Scott, der in London lebt, nach Manchester, um mit den beiden festen Größen von GGP zu arbeiten, sobald sie bereit für seinen rhythmischen Input waren. Der Titel des Albums stammt aus dem Buch »The Middle Passage - From Misery to Meaning in Midlife« des Psychoanalytikers James Hollis, das, wie Nick sagt, »sehr jungsche Sachen über das Schatten-Ich und verborgene Persona präsentiert. Man fängt an zu denken, ‚Moment mal, da ist ein authentisches Ich, tief drinnen irgendwo!«. »Musikalisch«, ergänzt er, »war es der gleiche Prozess, die gleiche Reise, einige der Dinge abzulegen, an die wir uns gewöhnt hatten und die uns zurückhielten.«

Der gesamte Veränderungsprozess ihrer musikalischen Entwicklung wird von einem Track auf »Necessary Fictions« zusammengefasst, der bezeichnenderweise den Titel »What We Are And What We Are Meant To Be« trägt. »Es ist wirklich einfach, wirklich melodisch«, erklärt Nick. »Es ist kein Showoff, wie ‚Hey, schaut mal, was für Skills wir haben und wie großartig wir sind!‘ Es gibt nicht einmal Improvisation darin. Bassmäßig hat es einfach einen Bass-Synthesizer wie ein Dance-Track. Ein Teil von mir denkt immer noch: ‚Was werden die Leute denken?‘ Dann gibt es einen anderen Teil, der einfach denkt: ‚Was soll‘s, die können denken, was sie wollen! Das ist das, was wir gerade machen wollen, und es fühlt sich authentisch an.‘«

Für Chris Illingworth hingegen bestand ihre Reise darin, weiter in eine Welt vorzudringen, die ihn immer schon angezogen hat, nämlich Synthesizer. »Ich bin früher oft live zu Leuten gegangen, die auftraten, wie Underworld, The Prodigy, Orbital, sogar Nine Inch Nails, und ich habe all ihr Equipment auf der Bühne gesehen, und ein Teil von mir dachte: ‚Verdammt, das sieht nach Spaß aus!‘« Illingworth und Blacka blieben jedoch weiterhin äußerst vorsichtig, was das willkürliche Einfügen von schrillen Sounds betrifft. »Wir wollten nicht, dass es wie ein Gimmick wirkt«, erklärt Chris. »Es musste einen Grund geben – und für uns war das der Wunsch, an bestimmten Stellen den Charakter der Musik zu verändern.«

GoGo Penguin hatte schon immer einen erzählerischen, filmischen Ansatz in ihrer Musik – weit entfernt von simplen Strophe-Refrain-Strukturen, inspiriert von Debussys »Préludes« bis hin zu Underworlds »Pearl’s Girl«. Auf »Necessary Fictions« nimmt diese Klang-Erzählkunst nun deutlich größere Dimensionen an – mit spürbar mehr Raffinesse.
GoGo Penguin graben nun selbstbewusst tief in sich hinein, um ihr bestes Selbst hervorzubringen und andere Talente in ihre harmonische Klangwelt einzubeziehen. Mit »Necessary Fictions« bewegen sich die Drei auf neuen Pfaden – und ja, es ist völlig in Ordnung, dabei zu lächeln.

BLKG 7 is an essential triple-threat for collectors who go deep into that jazz-funk-psych crate.

Side A features Joe Pass’ haunting “A Time For Us,” lifted from his slept-on Guitar Interludes LP (1970, World Pacific). Heavy w/ cinematic strings, sparse drums & spacious guitar—perfect for blends, loops, or just zoned-out listening. J Dilla thought the same on “Chopped Thoughts”, & for Slum Village’s “Too Much”, but the original stands alone as pure mood.

Side B is a masterclass in moody grooves: “Enchanted Lady” (Milt Jackson & Ray Brown, Much In Common, 1964) is an underrated modal slow-burner w/ a hypnotic swing. Pete Rock & CL Smooth double dipped in “Caramel City” & Escape”, but others were also inspired: Large Professor “Ijuswannachill”, De La Soul“Dinninit”, Rob Swift“Natural Hight”, Knxwledge “3Koins”, among others.

Then comes “Cross Country” by Archie Whitewater—famously Kanye chopped it for Common’s “Drivin’ Me Wild”, but the OG is all groove: head-nod drums, brass stabs & electric piano that goes there.

Danny Krivit’s landmark rework of Marvin Gaye's “I Want You" is amazingly celebrating its twentieth anniversary, and Most Excellent Unlimited have answered the pleas of the faithful by reissuing it for the first time on 7-inch. For the uninitiated, Mr. K’s much-loved edit peels back the instrumental layers of the original to focus on the lushly soulful vocal, leaving the track nearly drumless with just a touch of conga providing the only percussion. A magical listen. Elevating the tempo on the flip side is Billy Paul's "Only The Strong Survive", a stone-cold classic in the pantheon of Philly disco and the inspiration for countless house bangers that have drawn from its relentless drive and soaring vocals. Mr. K’s edit naturally focuses on the epic ride out of the original, a blissful 5+ minutes that will lift dancefloors to the heavens.

Spanning 14 tracks, Serotonin includes standout singles like the acclaimed ‘Burn’ with Tom Walker, ‘Seventeen’ with YOTTO & White Lies, and ‘You & I’ with Nathan Nicholson. Written over several years in his studio, on tour, and at his childhood home in the Netherlands, the album’s creation spanned a period in Joris’s life that possessed significant emotional challenges, but as the title suggests, is firmly fixed on a strong sense of positivity and euphoria for the path ahead.

From ambient soundscapes, melodic house and immersive techno, Serotonin spans a rich emotional and sonic range—always warm, organic, and unmistakably Joris Voorn.

Marking more than two decades at the forefront of electronic music, Serotonin captures the sound of an artist in full bloom.

“This album really reflects how I’ve grown into my own sound,” says Voorn. “I’m not chasing trends—just making something honest, hopefully timeless, and able to move people on the dance floor. I want listeners to feel Serotonin—to let go, be free, even if just for a moment."

The UK's renowned jazz-funk outfit Speedometer spawns a new single here that takes the form of a bunch of classy covers, all taken from their recent third album Four Flights Up. The A-side offers a refined version of 'Am I Your Woman?', plus a take on the Chi-Lites' classic 'Are You My Woman (Tell Me So)' with Ria Currie's standout vocals lodging deep in your soul. This one was inspired by a night spent dancing at a club in Osaka during their 2005 Japan tour and arms with a smooth groove. On the B-side, they do a fine job of 'Nam M'Yoho Ren'Ge Kyo,' originally by the Night Blooming Jazzmen, by delivering a tight, funky groove with exceptional horn and drum arrangements.

“BLUE” is a collaborative album between Russian artist Pavel Milyakov and Kyiv-based singer Yana Pavlova. Seven pieces compiled of minimalistic guitar loops, sax (including recordings by Alex Zhang Hungtai), dubby bass guitar and shadowy vocals. Mic noises, clicks and other sonic imperfections are a natural part of these tracks, as they are all composed with the use of random and unpredictable algorithms, purely improvised. Perfect soundtrack for the troubled summer days (and nights).