Search:no no

Diese Schallplatte vereint die unvergessenen Lieder aus den Anfangszeiten des erfolgreichsten Brüder-Duos Deutschlands und lässt den unverkennbaren, traditionellen Amigos-Sound in neuem Glanz erstrahlen. Eine nostalgische Auswahl an Titeln voller Sehnsucht und tiefen Gefühlen, die das Fundament einer einzigartigen Karriere legten. Ein Stück pure Musik-geschichte, verpackt in zeitlose Melodien.

Die Nadel auflegen, in Erinnerungen schwelgen und den Schlager von seiner nostalgischsten Seite erleben.

On Rent Due, Chattanooga’s BbyMutha turns the pressure, exhaustion and absurdity of everyday life into a distinctly Southern rap record that could only come from her world. Raw, funny, confrontational and deeply personal, the album finds Bbymutha operating completely outside of the conventions of mainstream rap, filtering Southern tradition through the DIY spirit and fractured energy of the internet underground.

Across 15 tracks, Rent Due pairs heavy low-end and stripped-back drums with eerie, spacious production that draws from the darker lineage of Memphis and Southern rap without ever becoming nostalgic. BbyMutha's unmistakable delivery sits at the center of it all: deadpan one moment and explosive the next, moving effortlessly between money problems, motherhood, relationships, sex, frustration and survival with the same unfiltered humor that has defined her music from the beginning.

Production comes largely from Rock Floyd alongside Foisey, Paris Aden, Vile and Popstar Benny, while Lisha G, Vayda and Fly Anakin make guest appearances throughout the record.

Originally released digitally in April 2026, Rent Due captures BbyMutha at her most focused while retaining everything that has made her one of the most singular voices to emerge from the American underground: uncompromising, unpredictable and completely herself. Now available on limited edition vinyl!

“Let It Be Known” sits at a pivotal moment in Spice 1’s catalog — bridging the raw street energy of his independent Bay Area beginnings with the darker, more polished sound that would define West Coast gangsta rap in the early ’90s. This release captures the foundation of what made him one of the most respected voices to come out of the Bay Area scene.

Raised between Hayward and Oakland, Spice 1 helped shape the sound and attitude of West Coast rap during a period when the Bay was developing its own identity alongside Los Angeles. His delivery combined cold realism, street storytelling, and paranoia-laced lyricism in a way that influenced an entire generation of rappers across Northern California and beyond. At a time when gangsta rap was becoming national, Spice brought a distinctly Bay Area perspective — darker, more introspective, and rooted in the realities of East Bay street life.

This reissue highlights an important chapter in that evolution, featuring early versions of songs that would later become staples of his catalog. Tracks like “Ghetto Thang,” “187 Proof,” and “In My Neighborhood” reveal how Spice’s sound was already fully formed from the beginning. For collectors and longtime fans, Let It Be Known offers a rare look at the raw blueprint behind one of the defining voices of ’90s West Coast hip-hop.

* very limited edition
GRANULAR POLYPHONIES SHOOTING THROUGH LIKE BOLTS

For over ten years, Brussels-originals ladr ache have dipped their toes and vocal chords in all matter of
musical mischief as only they know how. With éclats z, their latest recorded offering, new canons arise
that belong to no place or genre. Between the layers of chant, other voices turn up in old tongues and
secret languages, gliding alongside pipes and electronic warps, pulsing in time with the granularity of
choice. Recorded over two years in different times and spaces, the living textures that emerge are sonic
libations as much as modern lullabies, inhabiting zones of ancient passages and timeless exploration.

Trunk Records was started 30 years ago. It quickly established itself as a unique and highly influential label finding the unfound, the unthinkable and the forgotten sounds of the past. Here we celebrate 30 years of the label, by issuing amazing music it has not released yet. Of course we do.

Trunk Records began in 1996. It was the first label to issue non commercial library music to the public. It was the first label to chase, find and issue The Wicker Man soundtrack, the first to issue the sounds of computer keyboards and even announcements from train buffet cars.
Movements like “Hauntology” and “Folk Horror” all began thanks to the music issued by Trunk Records. And here we are, 30 years on, and we think it is time for a 30 years anniversary LP.
Unlike the 25th anniversary double LP, we are not issuing music we have issued before. Instead, here we are issuing music we have not issued before. What better way to sum up such an important and unique label better than continuing where we first began.

Tracks include some unreleased Roger Webb slow sex disco, scatty breakbeat library, psychedelics from Gabo Szabo’s backing group (The Advancement), groovy jazz from Pittsburg (The Silhouettes), Basil Kirchin’s unreleased electronic experimental thing (it is very much “a thing”). Some outsider singing from a hippie who lived in Drop City, a flexi disc selling you the Milton Keynes shopping centre and of course some improvised jazz for children’s dance workshops. And more too. And all on one LP.

‘Better Over Time’ represents a major next chapter
for BigX. Built around the idea that every action
has a result, the project explores what happens
after you get everything you wanted, including the
pressure, sacrifice and unexpected consequences
that can come with success.

The team is building a connected creative world
around the music, with the intention of creating
one album, one story and one film. The broader
campaign is expected to include cinematic
performance content, a connected short film and
music video narrative, physical product, retail
activations and immersive fan experiences

‘Blood Spilled’ - the latest single from Blonde
Redhead - pairs cascading guitars, relentless
rhythms and one of vocalist, multi-instrumentalist
and songwriter Kazu Makino’s most explosive
vocal performances, with an exploration of
mortality, grief and the enduring bond between
body and soul.
The song surges with ecstatic intensity as Kazu
lingers on “each and every cell” and the urge to
“sing and scream just to hear myself,” transforming
these moments into affirmations of the beauty,
vulnerability and freedom of physical existence.
Suspended between the earthly and the ethereal,
the track finds transcendence, not by escaping the
body, but by fully inhabiting it, turning profound
loss into a fierce celebration of being alive

‘ROSEBUD’ is the tenth album from Current Joys,
the solo project of Surf Curse drummer Nick
Rattigan - and his boldest reinvention yet.
Written during a difficult period and reworked
alongside producer never goodbye (Danny
Dwyer), the record transforms a set of strippedback slowcore songs into a maximalist collage of
nu metal, screamo, electronica, hip-hop, powerpop, emo and darkwave.
Big anthemic hooks shouted through layers of
static, punk chord progressions chewed up by
digital manipulation and moments of striking
tenderness underneath the noise.
It’s also a milestone: ‘ROSEBUD’ is the first album
Rattigan is self-releasing, via his own imprint They
Are Evil, after years on Secretly Canadian - a
return to the artistic freedom of his early
Bandcamp days.

The new voice of jazz is here. Following his
acclaimed debut album ‘Open Up Your Senses’,
award-winning vocalist Tyreek McDole returns with
‘CHROMA’, a bold, genre-defying record that takes
the jazz tradition somewhere unexpected.
Drawing from the rich musical canon, from Nina
Simone’s ‘Wild Is the Wind’ and Miles Davis’s ‘Blue
in Green’ to OutKast’s ‘She’s Alive’, McDole
completely inhabits each song, bringing his
extraordinary baritone, soul and contemporary
vision to a repertoire that spans generations.
Produced by GRAMMY-nominated trumpeter Theo
Croker, ‘CHROMA’ is a striking record where jazz
tradition meets the sounds of today - the sound of
a new generation of jazz.

"Synth revival from the mid-aughts gave us fractured sub-genre upon fractured sub-genre, outlets for noise-leaning basement dwellers to finally dance like dad said they couldn’t, and commercially-viable nostalgia drivel that eventually poisoned the well. Luckily, for all of us, Ryan Martin and his sincerity cut through all of it.

Secret Boyfriend, the monumental and ongoing undertaking of Martin, has spanned labels, media, and DIY line-ups for more than a decade. Whenever Ryan comes up in conversation I am sure to bring up his home in North Carolina and how it is a testament to his commitment to media and artistic ethos having a place in the world. The walls and rooms are thoroughly covered in drawings, flyer ideas, cassette collections, VHS in heaps and piles, instruments that seem like they are still warm as if they were just played then sat down. Martin and his home act as a means to unbridled expression without the need to fill a gap in a mostly saturated world.

BAR Musica never stops. Following the first instalment of our 10 Years Anniversary Various Artists series, which sold out within just a few weeks, we keep pushing forward, releasing music from artists we admire and who share our vision.

We’re very happy to welcome Vithz, a UFeel resident DJ who never stops sharing his music across some of the best parties around the globe.

Joining him on this release is another friend, Dan Ghenacia, who needs no introduction. A true institution in his own right, we’re incredibly grateful to have him on board for this new release.

One Eye Witness serves up a collection of spacey, subtle dancefloor wares on WITNESS09. Here on its ninth edition, the Amsterdam label enlists three scene mainstays to patch into the WITNESS matrix. With their respective back catalogs highly sought after, this EP is a freshly-wrought showcase of tried and tested club craftsmanship.

Founder of Evasive records, Rob Pearson has been turning out tech house since the turn of the millennium. A1 “The Tempest” sees him enter a rapturous hypnotic portal. Its tight beat provides a framework for off-kilter aural delights: eerie melodies and buried phrases captivate, with whispered vocals — courtesy of Jayson Walker — diffusing into a curtain of modulated mists.

Silverlining, another UK tech house stalwart, follows with a deeper cut. Thirty years having passed since his debut, B1 “A Political Act” shows the artist has not lost his touch for building a breezy, groove-led aesthetic. Detroit’s spirit permeates: dub chords and astral tones are underpinned by a deeply funky bassline and swung rhythm.

Following the effervescent sound of his Perfect Encounter EP on O.E.W. sister label Spectral Bounce, Chris Carrier’s contribution to WITNESS09 is a similarly pulsating creation. “The Drop” is a pacier and denser counterweight to the preceding tracks, with the familiar twisting extraterrestrial sonics that we’ve come to expect from the French DJ and producer.

Art by Susanne Janssen
Words by Cameron Leaf

„I Thought We Were The Same“ ist das neue Studioalbum der gefeierten norwegisch-schwedischen Sängerin, Songwriterin, Produzentin und Independent-Künstlerin Ane Brun.
Mit ihrem bislang persönlichsten und fesselndsten Album – und ihrer ersten neuen Musik seit sechs Jahren –
kehrt Brun zurück: „I Thought We Were The Same“ ist eine kraftvolle Sammlung von Songs, die Themen
wie Vertrauen, Identität, Verrat und die bemerkenswerte menschliche Fähigkeit zum Neuanfang beleuchten.
Musikalisch zählt das Album zu Bruns experimentierfreudigsten Werken. Entstanden im Laufe von drei
lebensverändernden Jahren, markiert es ein eindrucksvolles neues künstlerisches Kapitel für die skandinavische Musikerin. Brun erweitert die Klangwelt ihres gefeierten Albums „After the Great Storm“ (2020) und
wagt sich in eine noch mutigere Electronic-Pop-Landschaft vor; dabei verbindet sie zutiefst intimes Songwriting zu einer Musik, die zu den unmittelbarsten und emotional berührendsten Stücken ihrer erfolgreichen
Karriere gehört.

Sie ist Grammy-prämierte Produzentin, Songwriterin und Musikerin, hat mit Tyler, The Creator, CASISDEAD, Skream und Skrillex zusammengearbeitet und weltweit Millionen Tonträger verkauft. Heute meldet
sich La Roux nach langem Warten zurück: Ihr viertes Album „Old Flames“ erscheint am 6. November.
Mit der neuen Single „Cabin Fever“ gibt sie einen ersten Einblick in die Geschichte, die sich auf dem Album
entfaltet.
Von La Roux selbst komponiert, geschrieben, produziert und arrangiert, ist das Album das selbstbewusste
Statement einer Künstlerin, die aus Offenheit und Fantasie Kraft schöpft. Auf „Old Flames“ setzt sie
sich mit dem Ende einer 17-jährigen Beziehung auseinander, mit dem Schmerz einer verbotenen Liebe, der
Einsamkeit der Sucht und dem Ringen darum, Sexualität und Identität unter den kritischen Blicken der
Öffentlichkeit miteinander in Einklang zu bringen. Ihre Inspirationsquellen reichen von David Lynch und
„Donnie Darko“ über All Saints und Mariah Carey bis hin zu ihrem Jeep und sommerlichem Regen. „Old
Flames“ ist nostalgisch, zieht tief in seine eigene Welt hinein, blickt zugleich nach vorn – und ist durch und
durch La Roux.

Headsend kündigen mit der Single “Biopsy Of An Unknown Growth” ihre zweite EP „A Delicate Balance“
an, die im November erscheint. Der Song, der live in Byron Bay mit Nick DiDia (RATM, Stone Temple
Pilots) aufgenommen wurde und einen mühelosen Psychedelic-Sound pflegt, war bereits ein Highlight
während der US/Kanada-Tournee der Band im August (sowohl als Support als auch als Headliner). Im
September startet eine Tour durch Großbritannien und Europa mit elf Stationen – darunter Auftritte bei
All Points East und dem Reeperbahn Festival.
Erhältlich als Vinyl

Roma ist die fünfte und letzte Konzertaufnahme von Keith Jarretts hochgelobter finaler Europa-Solotournee
im Sommer 2016. Sie entstand am 12. Juli im Saal Santa Cecilia im Parco della Musica in Rom. Mit
einer Musik, die sich selbst innerhalb dieser außergewöhnlichen Reihe deutlich hervorhebt, bildet sie den
Abschluss dieses Kapitels. Wie die italienische Tageszeitung ‚La Repubblica‘ damals treffend schrieb:
„Letztlich zelebriert Jarrett ein zeitloses Ritual – eines, das in mancher Hinsicht so alt ist wie die Menschheit
selbst. Er würdigt den schöpferischen Akt, die spontane Komposition, und tut dies vor Publikum, indem
er mit den Zuhörern die Spannung und Freude des Entdeckens teilt.“ Der Verlauf dieses Abends, zugleich
vertraut und doch eigenständig, entfaltete sich nach einer ganz eigenen inneren Logik: Zunächst wird
die Leinwand freigeräumt und mit reicher Chromatik gefüllt, bevor der vertraute Anschlag und lyrische
Passagen unerwarteten kontrapunktischen Wendungen, Momenten von kristalliner Lyrik und Abschnitten
rhythmischer Eindringlichkeit weichen. So entsteht ein großes musikalisches Architekturgefüge. So wie
die Konzerte in Budapest, Bordeaux, München und Wien jeweils eine eigene musikalische Landschaft
offenbarten, präsentiert Roma nun noch ein letztes Mal eine weitere – unverwechselbar und ganz von ihrer
eigenen Art.

Ein gesuchtes Stück britischer Rockgeschichte erstmals wieder auf Vinyl!
“Barbed Wire Sandwich”, das einzige Album der Black Cat Bones, ist ein Kultklassiker des britischen
Heavy Blues, jetzt in den Abbey Road Studios von den originalen Stereo-Analogbändern gemastert und
auf 180-g-Vinyl gepresst. Mit neuen Linernotes von Richard Morton Jack, einem ausgewiesenen Experten
für die Rockmusik der 60er und 70er Jahre. Das Album erschien ursprünglich 1970 in Deccas kurzlebiger
Nova-Serie und entwickelte sich über die Jahre zum begehrten Sammlerstück.
Mit seinem kraftvollen, gitarrengetriebenen Mix aus elektrischem Blues, Hard Rock und psychedelischen
Einflüssen dokumentiert es den Übergang vom britischen Bluesboom zum Heavy Rock der frühen 70er.
Paul Kossoff und Simon Kirke spielten bei Black Cat Bones, bevor sie Free gründeten; Gitarrist Rod Price
wurde später Mitglied von Foghat, während sich Black Cat Bones schließlich zur Kultformation Leaf Hound
weiterentwickelten.

Die bei Jazzfans gefeierte Serie BRITISH JAZZ EXPLOSION präsentiert mit „Voyages – The Argo Studio Albums Vol. 1“ vier Schlüsselwerke des britischen Modern-Jazz-Pianisten und Komponisten Michael
Garrick erstmals wieder auf Vinyl. Die limitierte 4-LP-Box vereint „The Heart Is A Lotus“ (1970), „Mr
Smith’s Apocalypse“ (1971), „Home Stretch Blues“ (1972) und „Troppo“ (1974) und führt durch Garricks
eigenständige Klangwelt zwischen Post-Bop, Modal Jazz, freien Formen und Poesie. Mit dabei sind Größen
wie Norma Winstone, Don Rendell, Ian Carr, Art Themen, Henry Lowther und Coleridge Goode.
Alle Alben wurden in den Abbey Road Studios rein analog von neu den originalen Stereo-Masterbändern
gemastert und auf 180-g-Vinyl gepresst. Die hochwertige Box enthält die Alben in den Original-Artworks
(3 Single- + 1 Gatefold-Sleeve) und schwarzen, gefütterten Innenhüllen sowie ein 20-seitiges, LP-großes
Booklet mit neuen Texten, Fotos und Tape-Box-Abbildungen.

Teenager-Idol, Style-Icon, Pop-Phänomen – mit global gefeierten Megahits wie „(I‘ll Never Be) Maria
Magdalena“, „In The Heat Of The Night“ oder „Little Girl“ gehört Sandra zu den erfolgreichsten und
stilprägendsten Solokünstlerinnen der späten 80er Jahre. Nach vier Dekaden veröffentlicht die Kultsängerin
nun ihr 1985 erschienenes Debütalbum „The Long Play“ als strikt limitierte 40th Anniversary Edition im
Original-Artwork.
Nachdem „(I‘ll Never Be) Maria Magdalena“ erst in Italien an die Spitze der Single-Charts klettert, erobert
das Stück im August 1985 schließlich auch Platz #1 in West-Deutschland sowie in Österreich, der Schweiz,
Norwegen, Portugal, Finnland, Schweden und viele andere. In Deutschland wird „(I‘ll Never Be) Maria
Magdalena“ mit einer Goldenen Schallplatte prämiert. Im darauffolgenden Herbst erscheint das Debütalbum
„The Long Play“, aus dem die beiden weiteren Chartbreaker „Little Girl“ und „In The Heat Of The
Night“ hervorgehen, mit denen Sandra und Michael Cretu ihr einmaliges Gespür für zeitlose Pop-Hits
unterstreichen.
„The Long Play“ erscheint zum 40-jährigen Jubiläum im aufwändigen Original-Artwork mit der OriginalTracklist in grünem Vinyl. Statt die Stücke nachträglich zu remastern oder anderweitig zu verändern, sind
alle Tracks bewusst in ihrer ursprünglichen Fassung zwischen einem unverfälschten Eighties-Feeling und
einer zeitlosen Poppigkeit belassen.

Marking Dwarde’s debut on Up Ya Archives, the first single ‘Show Me’ from his forthcoming EP ‘Energy Exchange’ carries the torch of ‘94-style hardcore while sitting comfortably alongside the new-gen jungle spirit both the label and DJ himself hav e become known for. Built on the energy and rhythmic vocabulary of the old school, but bringing the rawness and euphoria of that era onto modern dancefloors.

Speaking on the single, Dwarde said:

“I was in the middle of making lunch as the house tune with the piano sample came on the radio. It’s a big fave of mine and I was surprised that although it’s 32 years old it hadn’t ever been sampled in hardcore before, so I made the tune immediately after - it came together really quickly.”

Hailing from Darlington and now based in London, Dwarde is a key figure in the contemporary breakbeat and jungle revival as a producer and DJ. With releases on labels like Future Retro and Deep Jungle, and gigs at parties like Rupture, Dekmantel, Distant Planet and Outlook - he’s established himself as one of the scene’s most distinctive voices.

‘Energy Exchange’ brings both sides of that sound together across four tracks: two jungle cuts and two leaning into the brighter, happier end of hardcore, each with big vocals at its centre. Speaking on the EP, Dwarde said:

“I wanted to represent both jungle and the happier hardcore styles, so I’m glad that two of each will be released, all with big vocals at the centre! They’re actually the first set of tunes I’ve finished in a couple of years so I was buzzing to put them all out.

DJ Support: Marco Carola, Jamie Jones, Joseph Capriati, Ilario Alicante, Bradley Zero, Carista, Josh Baker, Saoirse, Djebali, Archie Hamilton, John Dimas, rich NXT and many more

Kepler’s sound sits somewhere between deep house, garage swing and low-slung club pressure. Based in Leeds, he has developed a sound built around weighty basslines, rolling drums and an instinct for keeping ideas sounding fresh. Releases on Up The Stuss, Semi Delicious, Constant Sound and Rossi’s HOME//GRXWN. have helped establish and elevate that approach, with support from selectors including Ben UFO, Raresh, Chris Stassy, Four Tet and Interplanetary Criminal. Alongside his own productions, plus his labels Contact Music and Perspective, his Studio Orbit has grown into an online production community supporting thousands of artists, and he now returns to FUSE after his appearance alongside founder Enzo Siragusa in 2024 as part of the label’s X Series for his first solo release on the imprint.

His ‘Sunday Service’ EP brings four original cuts to digital and vinyl, moving between different shades of his UK-influenced, wide-spanning sound. ‘Inner Motion’ opens with a cosmic groove, sweeping melodies and tightly placed percussion, while ‘Jump Up Crew’, featuring MC Secret Agent, pushes into garage territory with an animated vocal presence and heavy low-end weight. On the B-side, ‘Unity’ settles into a deep, fluid rhythm that packs a punch before title track ‘Sunday Service’ journeys through hazy textures and shuffling drums for a late-night finish.

Mit dieser sorgfältig kuratierten Doppel-LP taucht der Hörer in die musikalische Welt des Frankreichs der frühen 1960er-Jahre ein. "The Sound Of Nouvelle Vague" versammelt die Klänge einer Epoche, in der Kino, Popkultur, Mode und Gesellschaft im Aufbruch waren. Zwischen Jazz, Ye-Ye, Chanson, Filmmusik und Bossa Nova entstand ein neues Lebensgefühl, das bis heute mit der Nouvelle-Vague-Ära verbunden wird. Künstlerinnen und Künstler wie Francoise Hardy, Serge Gainsbourg, Jeanne Moreau, Anna Karina, Brigitte Bardot und Jacques Dutronc stehen für eine Generation, die mit Konventionen brach und Frankreich kulturell neu definierte. Die ausgewählten Aufnahmen zeichnen das Klangbild einer Zeit nach, in der Jugendkultur, künstlerische Freiheit und ein modernes Frauenbild die Gesellschaft prägten. Das Ergebnis ist weit mehr als eine klassische Chanson-Compilation: eine musikalische Reise durch das Frankreich des Aufbruchs und den Soundtrack einer außergewöhnlichen kulturellen Bewegung.

Mit "Berati" legt Athina Kontou gemeinsam mit ihrer Band Mother das zweite Album nach dem vielbeachteten Debüt "Tzivaeri" vor. Inspiriert von einem traditionellen Tanz aus der nordgriechischen Region Epirus, verbindet das Quartett Volksmusiktraditionen, Eigenkompositionen und improvisatorische Freiheit zu einer eigenständigen musikalischen Sprache. Das Album spiegelt die Weiterentwicklung der Band wider: Aus einem Ensemble ist ein organisch agierender Klangkörper geworden, der Dynamik, Rhythmus und Melodie mit großer Selbstverständlichkeit miteinander verwebt. Einflüsse aus Nordgriechenland, Armenien und Kreta treffen auf zeitgenössischen Jazz und eröffnen einen faszinierenden Dialog zwischen kulturellem Erbe und künstlerischer Gegenwart. Gastbeiträge von Koray Berat Sari und Erini erweitern das Klangspektrum zusätzlich. "Berati" ist ein eindrucksvolles Album über Zugehörigkeit, Erinnerung und die kreative Kraft kultureller Begegnungen.

Following their self-proclaimed LP trilogy (2020-2024), Straw Man Army returns with a new songwriting experiment in the form of True North; a collection of 11 songs written for acoustic instruments over three 72 hour sessions at a cabin, isolated in the woods north of NYC. The result is a concept album in practice as opposed to subject alone. Attuned to both the spiritual and political dimensions of seeking refuge in our times, it asks what exactly we mean by “peace” in this era of increasing violence, incarceration, and skepticism towards a future worth living. Does it feel like relaxation, does it tend towards silence? Is it the cooling of our collective rage? Not here. On True North, peace is a spiritual contradiction; a chimera incorporating our innermost desires and the brutality of the world that surrounds us. The album’s central character is a “sleepwalker” trudging through the waking nightmares that have defined daily life since the release of 2024’s Earthworks. Because True North is music that dreams. Sonically, the band toys with the aesthetics of psychedelia, folk, and kosmiche music for contrast, creating a still pool into which their deepest anxieties ripple and flow and flower into ever darker shapes. And while the musical palette plays on tropes of peace—lush piano instrumentals, fingerpicking guitars, gong, vocal harmony—the subject remains steeped in environmental collapse, death, mental breakdown, and the rejection of our most closely held myths. The clash of these forces is the engine that turns the musical wheel. True North is the sound of music mourning a future that never took place and a bout of anticipatory grief for something that’s only just begun…

Originally recorded and released in 1970, the Joe Henderson Quintet, At The Lighthouse: If You're Not Part Of The Solution, You're Part Of The Problem sees the influential jazz fusion sax player performing at the legendary venue in Hermosa Beach, California. Joined by George Cables, Ron McClure, Woody Shaw, Tony Waters and Lenny White the original album contained 6 live cuts. This 180-gram 3-LP Deluxe Edition, adds 5 unreleased tracks along with new liner notes from author Eugene Holley Jr.


























xy Mode for Joe [Alternate Take]*
[ya] If You're Not Part of the Solution, You're Part of the Problem [Alternate Take]*















[o] F1 Mode for Joe [Alternate Take]*
[p] F2 If You're Not Part of the Solution, You're Part of the Problem [Alternate Take]*

Faitiche presents the debut solo album by cellist, sound artist, and composer Topu Lyo: “quiet scenes from tokyo” brings together sixteen miniatures for solo cello and tape echo that oscillate between abstracts drones and rhythmic pizzicato sketches – all recorded at Topu’s Tokyo apartment. The constant traffic noise from a nearby highway has become an accompanying soundtrack for his compositions and can be heard on the recordings. Topu’s playing is marked by a distinctive idiom oriented more towards abstract electronic studio effects than classical technique.

The artist spoke to Jan Jelinek about his work:

JJ: A solo cello album may seem like an odd fit for a label that has to date released only music that is electronic in the broadest sense. But I think “quiet scenes from tokyo” complements the Faitiche repertoire exceptionally well. Its sixteen miniatures showcase the cello in all its complexity: the bowed passages sometimes recall a tape feedback drone; the pizzicato playing conjures up the percussion recordings of Moondog; and the abstract textures might be mistaken for the product of a granular sampler rather than rapid finger work on the cello. I’m constantly surprised by just how rich and varied this album is – without ever losing the charm of its sketch-like quality. Could you say a few words about the making of your album – first of all, from a rather technical perspective: what production tools did you use, and why?

TL: My production tools were very sparse. Just a solo cello and my Roland 301 Space Echo, which I only used at the end, running everything through it during mixing, tape only. After years of working with electronics, pedals, and synthesizers, moving to Tokyo pushed me toward minimizing my setup. But my aesthetics shifted too, toward simplicity. I wanted to strip everything back to just the acoustic cello and see how far I could push it — replicating some of my favorite electronic effects through extended technique: slow portamento, LFOs, filters, detune, noise. I’d also been listening to a cassette of ocean sounds for years. When I moved to Tokyo I was horrified to find myself living directly across from a freeway. Eventually the freeway started sounding almost identical to the ocean — and that ended up playing a prominent part in the recording.

JJ: That’s super interesting: mimicking electronic production as a compositional idea for the cello! You say the sound of the freeway is crucial to the album: I, too, tend to interpret steady traffic noise as a positive soundscape – do we hear the freeway on the album? I can also hear other field recordings, for example on “a street car with announcements”. Can you say a bit about how these field recordings influence your playing?

TL: Yes, you can hear the freeway on the album! The freeway is most prominent in “old trees in lonely spring”, “yuyake koyake”, and “the moon” (you can clearly hear individual cars). When I first began recording I had my balcony door shut tightly, but after a while I began leaning into the highway sound and slowly opening the door little by little to control the amount of noise. “streetcar with announcements” was a moment I was recording and a car passed by making announcements in the background. I loved how it sounded! Same thing with “yuyake koyake”, and later I realized that every day at 5pm the same song plays to mark sunset, telling children it’s time to go home. Having this bedrock of sound puts less pressure on me to put music on top or to play more notes.

JJ: It’s astonishing how much this differs from what I’d imagined: I’d been picturing peaceful landscape recordings, but had never thought of a freeway. Which goes to show how open to interpretation traffic noises are. So the room by the freeway had a major influence on the album – how are you going to perform it live?

TL: The contrast between the freeway and the beautiful landscape in my head couldn’t have been starker. I too was imagining a beautiful landscape in which to create the album, but somehow it still worked out. I've been going back and forth a lot on live shows and I think the most honest way is to have it the most stripped down. I was thinking of using traffic samples etc., but I think the duet really comes from the background sounds from every unique venue/environment. So as it stands, I’ll just be doing acoustic solo cello.

For 3+ years Razor-N-Tape has held their quarterly A Joyful Noise event in the Sound Room at Public Records. Conceived as a hearkening back to an early 2000s era of NYC nightlife, it is a club night that includes both DJs and live music. Led by JKriv as musical director and bassist, the live band is a collective of luminary NYC talent including singer Brandon Markell Holmes, guitarist Peter Matson, flutist/singer Domenica and percussionist Olatunji Ojore (Underground System), trumpeter Carter Yasutake (Midnight Magic), keyboardist Jason Lindner (Donny McCaslin/David Bowie's Blackstar), drummer Jim Orso (Hot Chip/Holy Ghost!) and saxophonist Stuart Bogie (Antibalas/Arcade Fire). Merging club sensibilities with jazz, funk and afrobeat pedigree, the A Joyful Noise repertoire includes live-interpreted renditions of J’s music and remixes, features by Razor-N-Tape artists, and original works. This album is a document of this special event, capturing all the live energy, moments of dazzling ensemble interplay, and features by artists Adi Oasis, Toribio and Cor.Ece.

We don’t know much about Ariane Bonzini. Her age, perhaps. Her first name, certainly – but it’s confusing, as you’d expect. The rest, he keeps to himself, tucked away somewhere between Villeneuve-Saint-Georges and the Landes in the off-season.


What we do know is that at 16 he left everything behind to try his hand at rap. That six years later he left everything behind, again, without really saying why. That he taught himself sound engineering as one might learn a dead language.
And then came Magenta. In 2025, for three months, Bonzini set himself a challenge bordering on the absurd: to produce one track a day, write it, record it, mix it, master it, film himself doing it, and post it on social media. Without planning, without taking a step back, working until 3 am behind the screen. His monthly listeners went from 35 to 100,000.


For ‘Mec Normal’, something changed. Bonzini headed to the Rue Boyer studio – a space steeped in analogue charm, where some of the synths had once belonged to Christophe – and surrounded himself with a team for the first time: Crayon on production, Renaud Letang on mixing.


Chilly Gonzales spotted him, and from their meeting came ‘Gonzini’.


Thirteen tracks suspended between gentle melancholy and a willing detachment. Soaring synths. Recurring, obsessive ‘you’s’. A voice that whispers where others would shout.


Ariane Bonzini is unlike anything we’ve heard before. That is undoubtedly what makes her so unforgettable.

,Noah's Ark" ist das zweite Album von CocoRosie, dem Schwestern-Duo Bianca und Sierra Casady. Nach ihrem Debüt ,La Maison de Mon Rêve" entstand das Album während zahlreicher Reisen und Aufnahmen an unterschiedlichsten Orten, von Frankreich über Brooklyn bis Paris. Die Songs verbinden experimentellen Folk, verspielte Klangcollagen und intime Geschichten mit Beiträgen von Freunden und Gästen wie Antony Hegarty sowie dem französischen MC Spleen. Ursprünglich 2005 veröffentlicht, fängt ,Noah's Ark" das Gefühl eines rastlosen, nomadischen Lebens ein und verbindet fantasievolle, emotionale Momente mit der unverwechselbaren Klangwelt von CocoRosie.

Three years after the release of their debut album, Do Nothing return with their much anticipated sophomore, 'Friend World'. The Nottingham four piece consisting of Chris Bailey, Kasper Sandstrøm, Charlie Howarth, Andrew Harrison, emerge bolder, self-assured and more energetic than ever.

Lead single 'Stars' gives an insight into the upcoming LP, synth-laden with hypnotic riffs, meandering vocals and bouncing basslines. The single, already a fan favourite, paves the way for listeners to enter the 'Friend World' that Do Nothing have created. At first glance, the album is overflowing with hard hitting guitars, infectious rhythms and frontman Bailey's signature razor-sharp witted lyricism, but dive deeper into tracks such as These People Want Blood and standout track Loner, to find an alternative take on the album, representing a softer and more pensive side of the band's writing.

The modern day torch carriers of electric Brazilian jazz-funk. Fans of Azymuth, Marcos Resende, Antonio Adolfo and Cesar Mariano look no further !

Ultracooked infuses the Sao Paulo trio’s deep understanding of Brazilian music history with their consummate musicianship and infectious joy of playing. Their distinctly electric jazz-funk flavour rises to the top, as they pay homage to some of their musical heroes and teachers.

Where previous albums nodded to the lineage of Azymuth, Antonio Adolfo, Cesar Camargo Mariano and Marcos Resende, Ultracooked walks ! ! straight up to the greats and shakes their hands. Gilberto Gil and Caetano Veloso are here, with fresh versions of Espresso 2222 and Odara respectively. Garoto - the great choro guitarist and composer whose harmonic imagination quietly laid the ground for bossa nova - is here too, and honoured with a deconstructed reading of "Jorge do Fusa".

Recorded in the wake of the passing of both João Donato and Hermeto Pascoal, each has a song on the album named after them. Listen to Caixa Cubo and you can see why, their playfulness echoes Donato’s mischievous cheek, while their creative openness is clearly Hermeto inspired. But with both “Hermeto” and “Dontao” each featuring the sampled voice of the late masters themselves, the songs read more as conversations than eulogy. Caixa Cubo carry forward these legacies with care.

In good company, Zé Leônidas, who lit up 2023's Agora, returns to sing on "Expresso 2222", "Essa é Pra Tocar no Rádio" and "Cortejo", while guitarist Edson Woiski brings his sinewy sound to those Gil interpretations and to "Cabaré", before adding his voice to the closing chorus.

Ultracooked was produced by Caixa Cubo alongside Frederico Pacheco, who recorded and mixed the album at O&O Studios in São Paulo, with mastering by Casper Sutton at Gearbox Studios in London.

Mit DRIFT präsentieren der schwedische Bassist, Produzent und Komponist Petter Eldh sowie der Berliner Schlagzeuger Noah Fürbringer ihr erstes gemeinsames Projekt. Das Duo verbindet die kreative Offenheit der europäischen Jazzszene mit Einflüssen aus Hip-Hop, elektronischer Musik und moderner Beatkultur. Entstanden über mehrere Jahre hinweg, basiert das Album auf einem innovativen Sampling-Ansatz, bei dem beide Musiker eigenes musikalisches Material neu interpretieren und zu kompakten, vielschichtigen Kompositionen weiterentwickeln. Petter Eldh zählt seit Jahren zu den prägenden Persönlichkeiten des europäischen Jazz, während Noah Fürbringer als Mitglied des mehrfach ausgezeichneten Moses Yoofee Trio zu den spannendsten Schlagzeugern seiner Generation gehört. Ein besonderes Highlight ist der Gastbeitrag von Hip-Hop-Ikone Talib Kweli. DRIFT steht für die aktuelle Entwicklung zwischen Jazz, Beatmusik und elektronischer Klangästhetik und spricht ein genreübergreifendes Publikum an.

Mit „Dippin’“ erscheint ein Höhepunkt aus Hank Mobleys herausragender Schaffensphase Mitte der 1960erJahre in der Blue Note Tone Poet Serie. Für die 1965 entstandenen Aufnahmen versammelte der Tenorsaxofonist ein erstklassiges Quintett mit Lee Morgan an der Trompete, Harold Mabern Jr. am Piano, Larry
Ridley am Bass und Billy Higgins am Schlagzeug. Die sechs Stücke zeigen Mobleys enorme Bandbreite
und reichen von Boogaloo und Bossa Nova über Balladen bis zu packendem Hard Bop. Zu den Höhepunkten zählen der funky Opener „The Dip“, das treibende, modal gefärbte „The Vamp“, das brasilianisch
inspirierte „Recado Bossa Nova“ und die wunderschöne Ballade „I See Your Face Before Me“. Ein ebenso
vielseitiger wie unmittelbar zugänglicher Blue-Note-Klassiker aus Mobleys Glanzzeit.

Mit „The Sermon!“ erscheint ein Jimmy-Smith-Klassiker in der Blue Note Tone Poet Serie. Die 1957
und 1958 entstandenen Aufnahmen bringen die ungezügelte Energie einer Live-Session ins Studio und
zeigen den Hammond-B3-Meister in Bestform. Unterstützt wird Smith von einer außergewöhnlichen AllStar-Besetzung mit Lee Morgan, Lou Donaldson, George Coleman, Tina Brooks, Kenny Burrell, Art Blakey
und weiteren Blue-Note-Größen. Das Album besteht aus nur drei ausgedehnten Stücken, die den Musikern reichlich Raum zur Entfaltung geben. Der bluesige Titeltrack nimmt die gesamte erste LP-Seite ein,
während das treibende „J.O.S.“ und die eindrucksvolle Ballade „Flamingo“ – mit einem herausragenden
Lee Morgan – die zweite Seite bilden. Soul Jazz und Hard Bop in Reinkultur, brillant eingefangen von
Tonmeister Rudy Van Gelder.

Some music travels well. Some takes its time. And some spends a few years underwater before deciding to come back up.
Such is the case with Ksky, Saint Petersburg native, DJ, synth enthusiast and the man behind Underwater Tales. Originally released into the world with little fanfare, these tales have been keeping a rather low profile ever since. Not quite forgotten, not exactly missing, just minding their own business somewhere below the surface. Time for a little fresh air.
Now resurfacing across two records, the collection brings together familiar faces, old acquaintances and a few unexpected arrivals. Previously released material rubs shoulders with additional tracks, including Gerd Janson's extended DJ mix of New Era. A small reunion of sorts, minus the awkward conversations.
Also along for the ride is Bad Philly. A deceptively simple piece of machinery with something strangely epic under the hood. No unnecessary detours, no lengthy explanations, just one breath, one story and a direct connection to the morning dancefloor. Sometimes the shortest route is the most scenic. Music for when the night has already happened, the sun is starting to ask questions and nobody seems particularly interested in going home.
Now together at last.

A torrent of brilliance released from the fingertips. The art of the piano trio by a giant of arrangement.

In 1968, Norio Maeda, the genius arranger once described as being able to “write different scores with his right and left hands at the same time,” welcomed his close musical allies Takeshi Inomata and Tatsuro Takimoto and took on the piano head-on in his first piano trio work as a pianist. This album brings together the refined melodies of the new mainstream style that led the jazz scene at the time, experimental elements using prepared piano, and even a strikingly inventive recording approach in which as many as seven microphones were placed inside the piano. With the outstanding structural power of a composer and arranger and the sharp instincts of a performer woven together at a high level, this is an important work that deserves to be engraved in the history of Japanese jazz.

Intersecting sharpness and passion. An innovative work born from the collision of two rare and extraordinary talents.

On one side was Hiroshi Suzuki, a trombonist in such demand that people said, “If you want to record a good work, secure his schedule.” On the other hand was Masahiko Togashi, a drummer who rose to prominence at a young age and dominated the jazz world, from modern jazz to free jazz. The collision of these two personalities and talents created a new current in the Japanese jazz scene. From "Castle Cats," which moves between jazz rock and free jazz, to "Suzu No Uta," where Yuji Ohno’s piano spins a beautiful melody amid the sound of bells falling like rain, and "Passion," where each musician cuts in with sharp intensity, the entire work is filled with creativity and passion. Recorded in 1969, this is said to be the first work in Japan in which new jazz and free jazz were recorded and released as an album. From this turning point, Japanese jazz began to move in a major way.

Hiroshi Suzuki (Trombone)
Masahiko Togashi (Drums)
Yuji Ohno (Piano)
Jun Suzuki (Bass)
Tetsuo Fushimi (Trumpet)

2024 Repress!

The eye of the storm: welcome to Tornado Wallace's debut album! The accumulation of about four years of work, with tracks written in Berlin and Melbourne, 'Lonely Planet' is nothing like you may have expected from the Australian expat. No stranger to fans and followers of ESP Institute, Beats in Space and Music From Memory's sister Label Second Circle, Tornado Wallace's strain of releases so far merged functionality with a musical playfulness that led him to find himself as one of the producer's behind José Padilla's International Feel album. Here, he leaves the needs of the dance floor behind in order to create a magical mystery tour de trance into his and our inner jungle. How about some references New Age sounds meet new wave melodies, Grace Jones runs into the Dire Straits at Compass Point, while a Korg Mini Pops and a Roland CR78 make amends for Sly & Robbie's absence, Michael Mann pictures Joseph Conrad's 'Heart of Darkness', Robert Rauschenberg tries his luck at naturalism and an imagined Wally Badarou echoes through all of it. Sandwiched between the title track and the yearning beauty of the album's final point 'Healing Feeling', you get all of that as well as collaborations with and contributions of NO ZU, David Hischfelder and the voice of Sui Zhen on 'Today', who would easily make Anna Domino take her proverbial hat off. Tornado Wallace created an album that supersedes the requirements and expectations of a debut. Like a lost Island Records or a never released Made to Measure album, 'Lonely Planet' soundtracks notions and ideas that recall the nostalgic future in the past as much as it looks ahead.

Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.

Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.

The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."

Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.

Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."

The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."

Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.

To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.

This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.