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Punk icons Crass have announced details of their latest EP, ‘Normal Never Was’. Featuring two new remixes of tracks from their seminal 1978 album, ‘The Feeding of The Five Thousand’, with the profits going to charity Refuge.

Heading up the remixes are Richard Russell, head honcho of XL records (under the guise of rLr), and synth-pop artist Glasser. Each of them tackling tracks, ‘They’ve Got Bomb’ and, ‘Do They Owe Us A Living?’ respectively.

Limited red vinyl 12". Edition of 1000 copies.

ALTER presents a remastered edition of Cremation Lily’s second album, on vinyl for the first time. Recorded whilst living in Hastings and originally released as a double cassette on his Strange Rules label in 2017, The Processes… forms a trilogy of albums in the CL canon that were influenced by the life and atmospheres within British coastal towns. Composed using a rudimentary set-up of synth, drum machine and two modified walkmans, CL draws upon a broad range of influences from the underground electronic music spectrum. Noise, tape music and ambient techno are all referenced and align to form a cohesive collection of tracks, flowing fluidly in sequence. Melancholic synth pads and deep kick drums intersect with crude field recordings and occasional bursts of feedback, evoking a claustrophobic uncertainty that feels more like being pulled under than carried above.

Features additional piano and violin by Theodore Cale Schafer.
Remastered by John Hannon.

Doktor Normal, the latest addition to Estonia's small yet buzzing funk scene backs its nerd hop/novelty rap with MPC beats and synths. The first compositions date back to 2008, original inspiration lies in the TV series Garth Marenghi's Darkplace. Without any prior knowledge of producing hip-hop, the starting point was humor. After a 10-year hiatus, Doktor Normal got around the record an album.

"World of Ham" is Doktor Normal's début LP released on vinyl (250 copies) and digitally. The 10-track album serves as a fine example of contemporary retro-hop and electro funk with an unusual additude. Child-like creativity, pure and unfiltered flow is further exemplified by the LP cover image, and texts filled purposely with grammatic errors. The essential mantra of Doktor Normal is: make your own rules!

WRWTFWW Records is immensely happy to announce the reissue of impossible-to-find cult album Lady Maid by Japanese outfit Normal Brain, available on vinyl, digipack CD (for the first time ever), cassette, and digital, with liner notes by acclaimed sound artist and mastermind behind the project, Yukio Fujimoto.

Originally released in 1981 as a limited vinyl pressing of 300 copies on Agi Yuzurus fabled experimental label Vanity Records (R.N.A. Organism, Dada, Sympathy Nervous, Tolerance), Lady Maid is a testament to the creativity of the early 80s Japanese electronic and experimental scene, encapsulating a prolific era when audio gear became affordable for musicians to explore sounds in the comfort of their home, free from studio time pressure and major label rules.

Entirely imagined and brought to life by an inspired Yukio Fujimoto, the 6-track opus was conceived with a Korg MS-20, a Korg SQ-10, a Boss Dr. Rhythm DR-55, anda Texas Instruments Speak & Spell! Its elegantly minimalist, honest and witty, very playful, cleverly pop, and downright fascinating. The a-side captures the fun side of avant-garde electronica, lo-fi wave, proto-glitch, and IDM, a joyful ride beautifully interrupted by the cinematic mood switch of the b-side - a 20 minute ambient piece flirting with sci-fi, melancholy, and hints of metallic darkness. Unclassifiable and marvelous!

Get in the car, we're goin' to the Cirque Du Freque, starring Normal Ones, Deepchord, and Lost Lake. A journey from the murky depths to the boogie caves, from your pals at Make Mistakes.

On the A side, Deepchord crafts a driving, shifting, wall of noise. Melodic stabs and resonant fuzz coat a pulsing beat and

bass. Hypnotic and divine, Deepchord's take on the original is a potent, psychedelic tool for the late night warehouse dance floor.

The original shines bright, a playful groove with an undercurrent of menace. With that sweet, sweet growling bass, and tip-a-tap percs, skittering all about, Cirque Du Freque brings the dirty heat. Cirque du Freque carries an old school vibe, with modern sensibilities; a memorable jam for sweaty frantic, nights.

Every time the label features Lost Lake, he delivers an original, compelling dance floor jam, while retaining a warm, familial vibe. You'll know it when you hear it, as Lost Lake's pure electro funk works its way through your soul. One of those tracks you drop down into to relieve some pressure in the room, a deep sigh of release in preparation for the next round.

As always, Make Mistakes brings high quality and varied content to the table. Cirque du Freque is another versatile, high quality record, that any DJ can stick in their crate knowing it'll find a way to fill a special moment in any night.

Spanning over 14 tracks, the new Grimes album features collaborations with Janelle Monae and newcomer, Taiwanese rapper Aristophanes. It was recorded primarily in her home studio in Los Angeles, CA, where she relocated to in 2014. Like all of her previous albums, 'Art Angels' was written and recorded entirely as a solo endeavor. The new album features more live instrumentation than ever before on a Grimes record. She plays piano, guitar and violin, continuing her evolution as a musician and a producer for her most ambitious album to date.
LP - with 14 Exclusive Art Prints designed by Grimes and Download.
CD - With two bonus tracks to the LP.

Performing throughout the 1980s as Art Carnage to the gloomy hipsters of Portland, Attilio Panissidi III decided he needed a vacation. The result of his creative escape became Art Takes A Holiday, an album of fabricated FM synthscapes and MIDI environments that embrace elements of smooth jazz, new age, and pop.

Attilio had been playing in bands since he was thirteen, and had opened live shows for countless acts, from The Shangri-Las to Bruce Hornsby. The experience of producing, performing, as well as years spent writing for local music magazine The Downtowner, earned Attilio a gig to score a commercial film for a home security systems company. The opportunity allowed him to explore softer elements in his writing, and he created a suite of songs much deeper than the commission warranted. These instrumentals caught the attention of Marlon McClain (Gap Band, Shock), who invited Attilio to produce and release the music on his fledgling Nu-Vision label. Thus Art Takes A Holiday found its commercial release on cassette and CD in 1989. Although originally intended as soundtrack music, the album retains its own momentum, narrative and evocative imagery that betrays Attilio's years of crafting songs. Attilio found a perfect ambience on this mythic retreat, somewhere between William Aura's summer cottage on Half Moon Bay and DJ Alfredo's Balearic island getaway.

Yeah, we get it: You cant technically be clinically paranoid if everything youre afraid of is actually happening. Its been a few years since we were scared shitless of letting cell phones anywhere near our crotches and suddenly, the electromagnetic waves mess with our brains big time. Lets not beat around the bush here, its all true. Your thoughts are being supervised, the government even has taken complete control over them, all while your moral compass is spinning at 78rpm like a broken shellac. Its bad, it feels weird and just so wrong. It doesnt even pay well, for fucks sake.
We know, we know: You need a remedy and you need it, like, yesterday at the latest. What we can offer for now is Konrad Wehrmeister from Munich, whose handcrafted alpha waves will interlock with your brain activity and set your will free by taking it over - it hasnt been yours for a while now, after all. Wehrmeisters pummeling techno is the B2B (business to brain) or even B2B2B (business to brain to booty) solution your sorry existence needs in these dire times, and he will professionally lead you to your destination with a little splash of »Radiation« to fire you up. Hes done it for Public Possession, hes done it for Ilian Tape. He can do it for you, if you trust him enough.
So please come and join us in eternal dispersion. RSVP by the complete loss of your sanity.

The second release on ninih is a package of personal stories by Amsterdam's Eversines, truly captivating the sounds of the ninih label. He masterfully crafts densely layered and brooding soundscapes throughout the EP, appealing to heady listeners and vibing dancefloors alike. Transmissions of deep, swirling, cosmic synths coexist with ominous haunting echoes while warped chords slip in and out of focus. Weaponized experimental electronics blast off in a flurry of hard hitting kicks like a spaceship speeding through a sonic asteroid field before throttling back to an ethereal pace.

In 2017, Benedikt Frey released his breathtaking debut album with the ESP Institute, Artificial, and now as we finally come up for air, we're more than proud to offer an eclectic collection of remixes that's nothing short of essential. Side A leads with H For Hysteria remixed by a beloved hero, Nicolas Chaix a.k.a. I:Cube, one of the most prolific and respected electronic artists Paris has to offer. His touch is considered and elegant, imbuing the track with a tasteful 303+808 backbone to support an array of patiently floating melodies and angelic vocal samples. Following this, Tolouse Low Trax of Du¨sseldorf's infamous Salon Des Amateurs remixes the same track, stripping instrumentation down to a skeletal palette of bass guitar and stabbing percussive punctuations, chopped up inna minimalist stylee that has become his beat-making signature. Side B leads with a remix by another Du¨sseldorfer, DJ Normal 4, whose re-imagination of Private Crimes takes us for an even more menacing ride, half-timing the tempo and skillfully rolling out a barrage of jungle snares from rave days of yore. Closing the release is the most aggressive remix of them all, a bonafide techno beatdown of the same track by DALO, the co-producing artist to whose haunting vocals lace the original version. Her dark vision opens with sparse industrial drums that blossom into a driving assault of raw machinery, definitely not for the faint-of-heart. An all-around solid release here, fun for all the family... more than just the tip!

Album includes the singles Drew Barrymore' and Love Galore' featuring Travis Scott.

The recent release of the Love Galore' single and video were met with rave reviews from fans and critics alike, including Pitchfork, Stereogum, Billboard, Vibe and more. The Fader calls the track a smooth collaboration... SZA and Travis Scott display a magnetic chemistry (in the video)...,' while Paper summarizes the song as a perfect breezy springtime jam for your Carrie-Bradshaw-at-her-MacBook moods, and if you haven't caught major feelings for SZA by the time the song is over then we really have nothing further to discuss.'

SZA, one of the redefining voices of today's contemporary music era, entered the music scene in 2012 with her first critically acclaimed EP, See.SZA.Run. Following that, she released S in 2013 and Z in 2014, both to rave reviews. In 2013, SZA signed to Top Dawg Entertainment, being the first female artist to join the label. SZA wrote and performed on Rihanna's Anti Single Consideration' in 2016 and helped write Nicki Minaj and Beyonce's Feelin Myself' in 2014.

Born in Maplewood, New Jersey as Solána Rowe, SZA grew up listening to classic and avant-garde jazz, alternative, and rap. She renamed herself finding inspiration within the Supreme Alphabet: the 'S' stands for savior or sovereign, the 'Z' for zig-zag, and the 'A' for Allah.

Trumpeter, rapper and sonic wanderer Pan Amsterdam has carved out one of the most distinctive voices operating at the intersection of jazz and hip-hop today.

Pan Amsterdam is a musical enigma wrapped in an enduring riddle. His creator is a jazz musician from Houston who’s found fame working with Detroit punk rock God, Iggy Pop, and British indie royalty, Metronomy, and now makes shapeshifting, adventurous hip hop out of the music’s spiritual home, New York.

He’s an irreverent character born out of frustration and named after a misunderstanding, yet one who’s on the verge of releasing his fifth album of truth-slaying, genre-crossing rhymes and beats. The result is a catalogue that feels both deeply rooted in Black American musical tradition and completely untethered by convention.

Pan Amsterdam returns with ‘Panarama’, his fourth full length album and a bold reassertion of his hip hop identity, released via Def Pressé. Created by Houston-born, New York-based musician and composer Leron Thomas, the record finds Pan Amsterdam embracing the harder edges of his sound while continuing to blur the lines between jazz improvisation, abstract rap, punk attitude, and experimental production

Written as a response to contemporary life and the endless cycle of information, conflict and distraction that defines modern culture, ‘Panarama’ unfolds as a stream of consciousness journey through hyper-normalised realities. Across sixteen tracks, Thomas navigates social commentary, personal reflection, absurdist humour, and cultural critique, delivering his observations with the same spontaneity and freedom that have become central to the Pan Amsterdam project

Lead single ‘Szechuan Beef’, produced by acclaimed collaborator 1FS, serves as one of the album’s defining statements. Built around Thomas’ signature free-flowing delivery, the track explores the overwhelming nature of contemporary life, where domestic conflict, social division, entertainment scandals and political discourse become flattened into a constant stream of content.

In Thomas’ own words: “My stream of consciousness style comes quite naturally to me due to the conditioning of scroll down culture where everything, no matter how minor or extreme, is hyper normalised.”

Elsewhere, the track ‘Vanilla Ice’ was written in response to widely publicised ICE killings and the speed at which tragedy is absorbed and forgotten within online culture. Thomas channels the anxiety and emotional disorientation of endlessly consuming information, allowing his thoughts to unfold in real time as social commentary collides with everyday digital noise. The result is both deeply personal and sharply observational, reflecting the fragmented reality of modern life. Other album highlights include the cinematic, Interpol-esque opener - ‘Old Friend’ complete with shimmering guitar lines and an far-reaching introspective, no-filter vocal as Thomas teams up with Nick Zinner (Yeah Yeah Yeahs) and Brad Truax (Interpol) across multiple tracks, often the production traverses left-field indie territory, but always maintaining Pan Amsterdam’s unique musical identity throughout. For the hip hop purists and beats lovers there are plenty of riches to discover from the clever nostalgic sample flips of ‘Cutlery’, the sleepy lofi of ‘Shuriken’ and the wonky LA beat scene / early Flying Lotus era beats of ‘Drunken Noodles’ - all boasting quick witted lyricism. ‘Deep Fried Shiney Things’ explores early electro and industrial sonics while album finisher is an upbeat new wave / indie band cut which sees Thomas take a break from rapping, but of course never letting up on the sharp observations nonetheless


While his previous record explored more alternative territory, ‘Panarama’ marks a deliberate return to rap, as Pan Amsterdam explains:

“I just wanted to do a rap album again.I enjoyed making my last album, but I felt like rapping again. I like to have the freedom to move in between musical worlds that suit the current state I’m in. Frequency accommodating frequency.”

This philosophy runs throughout the album. Tracks move effortlessly between jazz-inflected arrangements, experimental beats, punk energy and underground hip hop aesthetics, allowing ideas to evolve organically rather than conforming to traditional structures. Thomas describes himself as an improviser first and foremost: “I think like an improvisor. That’s how my albums pretty much move. It’s improvisation.”

Featuring additional contributions from Spice Programmers, AnOtter and Mr. Shn, ‘Panarama’ presents a wide-ranging cast of collaborators while remaining firmly rooted in Thomas’ singular creative vision. The record embraces contradiction, humour and unpredictability, capturing fleeting thoughts and observations with the same freedom and spontaneity that define jazz improvisation itself.

A musical enigma wrapped in an enduring riddle, Pan Amsterdam has built a reputation as one of contemporary music’s true outsiders. The project emerged from frustration, experimentation and artistic freedom, with Thomas drawing equally from his background as a jazz musician and his collaborations with artists including Iggy Pop and Metronomy. Operating from New York while carrying the spirit of Houston’s musical heritage, Pan Amsterdam has developed a distinctive voice that sits comfortably between avant-garde jazz, underground hip hop and experimental music.

Reuniting with Def Pressé for ‘Panarama’, Thomas explores what he describes as the more hardcore side of his artistic identity:

“They let me do anything and everything I wanna do so long as it’s on audio, and I need that freedom. What may verbally be perceived as vulgar to one group of people may be very thoughtful and a poignant description of the times that we’re presently in, so I’m glad that I’m part of a label home that understands that.”

2024 feiern die Broilers ihren runden Geburtstag: 1994 - 2024, 30 Jahre Broilers. 30 gemeinsame Jahre bedeuten Wachsen und Zusammenwachsen. Auch miteinander streiten und zusammen streiten – für die gute Sache. Zusammen feiern und zusammenstehen, in den Besten aller Zeiten und den Schlechtesten aller Zeiten. Und weil es für jede gute Geburtstagsparty auch die passende Musik geben muss, hat die Band zum ersten Mal alle ihre Hits und Lieblingslieder auf einem Album versammelt. Und nicht nur das, die Broilers machen sich selbst ein Geschenk: Zehn der 22 enthaltenen Songs, nämlich alle, die vor 2011 eingespielt wurden, haben sie noch einmal komplett neu aufgenommen. So erstrahlen legendäre Broilers-Klassiker in zeitgemäßem Glanz, ohne ihre Wurzeln zu verleugnen. Die Broilers sind ein Phänomen: Seit über einem Jahrzehnt gehören sie konstant zu den erfolgreichsten Rockbands im deutschsprachigen Raum. Millionen verkaufter Konzertkarten, Nummer- 1-Charts-Platzierungen, Edelmetallauszeichnungen in Folge, kaum ein Superlativ, den die Gruppe sich noch nicht zu eigen gemacht hätte. Ein paar Schulfreunde aus den Vierteln am Stadtrand von Düsseldorf gründeten 1994 eine Band, die sich am ruppigen Sound einer Streetpunk-Variante orientierte, der schon Anfang der 80er-Jahre unter der Bezeichnung „Oi!“ auf der britischen Insel das Licht der Welt erblickte. Die bedingungslose Liebe, die ihnen bis heute von vielen ihrer Anhängerschaft entgegengebracht wird, hat ihren Ursprung in dieser Zeit. Neben den Liedern, mit denen sie über die Jahre ihren Hörern stets aufs Neue aus dem Herzen sprachen, führte aber auch die Kombination der individuellen Charaktere der einzelnen Musiker an die Spitze: Wie fünf Superhelden aus einer Comicserie bündeln sie als Team ihre Kräfte, begeistern so die Fans und können aus dieser Unterschiedlichkeit Kraft schöpfen und spenden. Die Broilers haben keine Angst vor Pathos, Emotionen und Kontrasten: In ihrer Musik sind wuchtige Bläsersätze, Offbeats, da ist Soul und Rocksteady, da sind Flirts mit Power-Pop und Kitsch und das alles, als wäre es das Logischste und Normalste auf der Welt. Diese eklektische Mischung trauen sich nicht viele. Die Broilers wollen es sich anders gar nicht mehr vorstellen. »Jolly Good Fellas – Best of Broilers 1994 - 2024« legt davon eindrucksvoll Zeugnis ab!

Live Ones is an LP compilation of refixes and remixes of older material and brand new tracks that have all featured in New Jackson live sets in recent years available on vinyl for the first time.
It features contributions from Rory Sweeney and Rita Lynn and long-term collaborator Richie 'Jape' Egan. Cover photography shot by long time collaborator Rich Gilligan at a New Jackson show in Dublin.
According to New Jackson himself 'This started out as a way to put out new tracks and remixes of older stuff as quickfire digi releases without the pressure of making a cohesive body of work that normally comes with making an album yet ironically I feel this works better as a cohesive vinyl release then my last album proper and features some of my favourite music I've made.'

Hidden Sounds Record store – with the help of Emotional Recordings – launches the Dark Times label with the first of two club orientated EPs from Canadian brother-production duo Lex and Rew MacCrimmon and their project Alkahest.

Released on their own Post Contemporary label between 1994 – 1996, Alkahest contrasted with the spacious electronica of their influential and still on-going project, Legion Of Green Men.

Growing up in suburban city life in Burlington, Ontario, the MacCrimmon brothers’ interest in music and collecting records started early, always looking for interesting sounds in new places. With a limited local music scene or record stores, the alternative and college radio stations were the only way to discover new music or the type of music they sought.

The German electronic sounds of Kraftwerk, Klaus Schulze and Tangerine Dream were early obsessions, alongside Neu, Cluster (& Eno) and the post punk and synth pop emanating from Britain. The Flying Lizards, John Foxx / Ultravox, Gary Numan and The Normal were favourites, before diving into the 80s industrial experiments of Cabaret Voltaire, Severed Heads, Nurse With Wound and Throbbing Gristle.

Making their own music soon followed, first experimenting with 4 track cassette and digital delay, drum machines and synths soon followed, steadily building their own studio. All these influences merged in the early 90s with the dawn of house and techno and the progression to start the Post Contemporary label launched in 1992.

With the project Legion Of Green Men achieving early success, their diversion with Alkahest explored a post-industrial techno hybrid. Unsubtle, night music, the rhythm and sonic textures are more prominent over melody.

Contact High covers this Alkahest sound, from the 133 bpm trippy, psychedelics of opener Black Tabs, the acid breaks of Ground Zero or the charging nature of closing Séance 333, where all bets are off – together this 4 track EP perfectly captures the early spirit of Canada’s electronic music scene finding its place in dance culture, from the raves of the Toronto’s outer rim to the beaches of Anjuna.

However, in the title cut Contact High, there is something else happening, as electronic dub is explored, where the space in the music, between the beats, is as important at what happens on the surface. A love of this ethereal feeling would lead the brothers to head further in this direction and here is a perfect example of that early journey.

Erasmo Carlos’ Carlos, Erasmo is a landmark of early-’70s Brazilian rock, where Tropicalia, fuzzed-out psych, soul, funk and Brazilian pop meet in brilliantly adventurous form. Produced by Manoel Barenbein with arrangements by Rogério Duprat, it also features Os Mutantes players Sérgio Dias, Dinho Leme and Liminha, plus guitarist Lanny Gordin.


Opening with De Noite na Cama, written for Erasmo by Caetano Veloso, the album moves with real freedom between sensual pop, hard-edged psych and off-kilter grooves. Erasmo’s partnership with Roberto Carlos sits alongside songs by Jorge Ben and Marcos Valle, making this a genuine meeting point for some of Brazil’s most inventive voices.


Tracks like Maria Joana, Agora Ninguém Chora Mais, 26 Anos de Vida Normal, Ciça Cecília, Mundo Deserto, Sodoma e Gomorra and Masculino Feminino show just how wide Erasmo’s vision was: raw, playful, soulful and beautifully unruly.

DJ DIE SOON is the apocalyptic alter-ego Daisuke Imamura, whose performances of masked malice have been a fixture in the Berlin underground for the past decade. His latest record My Brothel The Wind takes inspiration from Sun Ra at his most grotesque, conjuring a distorted phantasmagoria with an eclectic crew of compatriots like Rully Shabara, Sara Persico, and longtime collaborator Kiki Hitomi. Film director Hiroo Tanaka’s visual contributions in the album art, poster, and music video complete the album’s narrative, telling a story not of villainy but of phantom caprice in a dying world.
My Brothel The Wind shows DJ DIE SOON as an alchemist of distortion, transmuting the club-forward beats of his 2020 debut Kappa Slap and the seething horrorscapes of DIEMAJIN, his 2022 collaboration with Tokyo vocalist MA. Imamura’s obsession with noise stems from his upbringing in Tokyo, where he grew up hearing the deafening roar of trains every day. “The buildings were really tall, so the sounds reflected so much and it was so loud that you couldn’t even have a conversation on the phone. Hearing this noise every minute when living in this flat, it became a normal thing,” he says. While most would content themselves with avoiding loudness, DJ DIE SOON seeks to unpack its visceral potential.
DJ DIE SOON’s subterranean productions form a monstrous gestalt with the eclectic contributions of his network of co-conspirators. “Unfinished” and “Directions” are pulsating chimeras that highlight animalistic vocalizations from Hitomi and Shabara; Italian MC Franco Franco’s verses snake underneath the noisy onslaught. The tectonic textures of “Dandelion Crackers” are courtesy of multi-instrumentalist Laure Boer’s handmade stone synth. Sara Persico’s mangled vocables hang as fleshy reminders of human fragility on “SAQ4IME”; in the Hiroo Tanaka-directed music video, the track’s sonic uncanniness is made cinematic, with an ambient dread that references Hiroshi Teshigahara’s 1964 psychological thriller Woman in the Dunes.
While Sun Ra’s intergalactic Moog reached for the stars, DJ DIE SOON plunges into the depths of hell. “Everybody, Shake Your Body, We Chill At Party” feels like the sonic equivalent of a wax museum burning to the ground, rigid smiles melting into the fire. Rather than a vision of the future, My Brothel The Wind is a laugh-cry of despair in the face of a Hadean present. DJ DIE SOON confronts the world with a new hand-made mask, reborn in the ashes.

Italian sound artist Giulio Aldinucci returns with his 5th album on Karlrecords: "Materia" is unsurprisingly a truly masterfully composed and sound-designed ambient masterpiece that adds perfectly to a series of critically acclaimed albums like “Disappearing In A Mirror” (2018) or “Shards Of Distant Times” – some of which made it onto several year’s best lists.

Giulio Aldinucci is an Italian composer and sound artist from Siena, Italy. His work focuses on ambient and experimental music, blending field recordings, electronic processing, and acoustic elements. Active since the early 2000s, he has released several solo albums on international labels including Karlrecords, Home Normal, and 99chants. His compositions often explore themes of memory, perception, and the relationship between sound and place.

Aldinucci's music is characterized by immersive, multilayered textures and meticulous attention to sonic detail. He constructs expansive soundscapes by integrating processed environmental recordings, choral elements, instrumental timbres, and subtle harmonic shifts. His style draws from both the aesthetics of contemporary ambient and the techniques of electroacoustic music, resulting in works that are at once atmospheric and conceptually grounded. The interplay between organic and synthetic sound sources is central to his approach, blurring the boundaries between the natural world and the constructed sonic environment.

His works have been presented at international festivals. He has also created art installations and multidisciplinary performances. In addition to his solo output, Aldinucci has collaborated with a wide range of musicians and artists, developing projects that intersect sound art, composition, and performance.

Aldinucci about "Materia": "Materia focuses on the idea of sound as a matter, which can be shaped into complex forms by removing excess material from the sound mass.The album originates from the dichotomy between accumulation and subtraction, creating compositions out of frequency-dense audio material in order to unearth what is “hidden” inside the raw sound mass. Unlike sculpture, in music time can be matter too by shattering sounds into milliseconds andrecompose them with a different fragments order, going beyond the traditional notions of rhythm and duration.“

Gia Margaret’s acclaimed debut album, There’s Always Glimmer, is finally back in print on vinyl in Europe. Informed by the likes of Juliana Barwick, Stina Nordenstam and Linda Perhacs, this understated, self-produced record threads rich elements of folk, shoegaze and ambient electronics whilst retaining the exposed charm of her early bedroom recordings. This limited eco-mix pressing was first made available from her merch desk on her recent European tour and is now available from select record stores.

Dann 1999 wieder ein "normales" Album: Bizarre Texte, musikalische Vielfalt, fröhlicher Anachronismus. Inkl. Coverversionen von Gilbert Becaud, die Ärzte, Marionetz, Dead Kennedys. Auch der damalige Polizeichef von Bochum wird geehrt. Und noch ein sehr spezielles Hörspiel.

Francesco Messina is perhaps best known for his split album with fellow composer Raul Lovisoni, Prati Bagnati del Monte Analogo, originally released on the seminal Italian label Cramps in 1979. Along with contemporaries Franco Battiato, Juri Camisasca and Giusto Pio, Messina helped reshape the world of modern composition with an organic rawness and haunting beauty.

In November 2023, Messina performed Prati Bagnati live for the first time in Milan, Italy – along with pianist Michele Fedrigotti, who appeared on the original LP. The concert was a tremendous success and led the composer to further reflect upon the music he made over 40 years ago. From his home piano – a hundred-year-old Schimmel with magnificent resonance – new pieces began to emerge out of these meditative sessions.

As Messina says in the liner notes, "The idea of making a new album wasn't the driving force at all; what mattered was trying to reconnect with the 'freedom' I had experienced back then while creating that music. I started over without haste or deadlines, simply trying to find a deeper, inner connection."

W.25TH / Superior Viaduct is honored to present Le api dell'invisibile. From the hazy drone of "For Florian" and the title track to the gentle swells of "Letter for an Absent Friend," the album is a lush amalgam of new age and ambient minimalism that is vividly reminiscent of Messina's earlier work.

The title draws inspiration from a famous reflection by Austrian poet Rainer Maria Rilke: "We are the bees of the invisible. We ceaselessly gather the honey of the visible, to store it in the great golden hive of the Invisible." It is a phrase that has long shaped the way Messina looks at his music – transforming lived experience into sound, making audible what normally eludes the eye.

Hey! Mein Name ist Terry Cole, und ich habe das Privileg, ein wunderbares unabhängiges Plattenlabel namens Colemine Records in Loveland, Ohio, zu betreiben. Wir machen das schon seit fast 20 Jahren, und wir haben das Glück, unser Label direkt über unserem ebenso wunderbaren Plattenladen namens Plaid Room Records zu betreiben. Im März 2020, als die Realität einer globalen Pandemie einsetzte, waren wir uns nicht sicher, wie es mit unserem Veröffentlichungsplan weitergehen sollte. Alles kam quasi sofort zum Stillstand. Aber nach ein paar Wochen des Brainstormings beschlossen wir, dass wir - obwohl unser Plan für physische Veröffentlichungen völlig auf den Kopf gestellt worden war - jeden Donnerstag abends eine neue digitale Single veröffentlichen würden, bis wir den normalen Betrieb wieder aufnehmen konnten. Wir nannten die Kampagne ,Brighter Days Ahead", denn bei Colemine versuchen wir, immer das Positive zu sehen, wann immer es geht. Also haben wir den größten Teil des Jahres 2020 lang jeden Donnerstag digitale Singles veröffentlicht; dazu gab es virtuelle Listening-Partys und DJ-Sets auf YouTube. Das hat ziemlich viel Spaß gemacht. All diese Songs gipfelten in einem 2-LP-Set, das wir schließlich 2021 in physischer Form veröffentlicht haben. Und obwohl wir hoffen, dass so etwas wie eine globale Pandemie nie wieder passiert, musste ich zugeben, dass ich einen Weg finden wollte, die ,Brighter Days Ahead"-Kampagne zu einer Art dauerhaftem Projekt für uns zu machen. Während ich das hier schreibe, ist es das Jahr 2026 - offensichtlich habe ich also ein paar Jahre gebraucht, um diese Idee zu entwickeln, aber wir sind endlich am Ziel angekommen und das fühlt sich verdammt gut an. Die Idee ist ziemlich einfach: Der erste Band von ,Brighter Days Ahead" verfolgte einen rückblickenden Ansatz _ eine Zusammenstellung dessen, was wir bereits veröffentlicht hatten _ und dieses Mal verfolgen wir einen vorausschauenden Ansatz. Was du in deinen Händen hältst, ist ein Vorgeschmack auf das, was noch kommen wird. Diese Platte ist eine Kristallkugel, die tief in die musikalische Zukunft des Jahres 2027 blickt und dir einen kleinen Vorgeschmack darauf gibt, worauf du dich aus dem Colemine-Universum freuen kannst. Und wisst ihr was? Dieses Stück Plastik, das ihr in euren Händen haltet, ist die einzige Möglichkeit, es zu hören. Diese Songs sind noch nicht digital erhältlich. Einige davon sind Rohmischungen. Manche sind so brandneu, dass die Songtitel noch nicht einmal endgültig feststehen. Also reißt die Schutzfolie ab und schnallt euch an - ihr seid dabei, eine Zeitreise in die Zukunft zu unternehmen, ganz ohne Fluxkompensator. - TERRY COLE (Inhaber / Betreiber Colemine Records)

Latebloomers introduce The First Bloom, their debut EP, ready to heat up summer dancefloors.

From playful ghetto-infused house grooves to deeper, hypnotic cuts, The First Bloom brings together five artists connected by friendship and a shared love for underground dance music.

The A-side features Miami Beat$ representatives BeetWorldWide, Uncle Franky, and Teejay joining forces on two nostalgic, hip-hop-inspired cuts. On the B-side, label founders Roy Koch and DJ Z each deliver a solo track, exploring deeper grooves and planting the seed for the Latebloomers sound.

Rooted in the belief that growth unfolds at its own pace, The First Bloom marks the beginning of Latebloomers.

Zeta-Kognition is a rarely documented perceptual phenomenon in which thoughts are no longer experienced in the order in which they are formed.

The first reports appeared shortly after the promo release of this EP. Listeners described a strange effect while listening to pdqb's signature electro tracks: while the music was playing, memories, expectations, and present perceptions seemed to exchange places. Some felt they had already completed a thought before it had even occurred to them. Others reported that half an hour vanished in what felt like seconds, while a few minutes seemed to contain an unusual depth and density of experience.

Intriguingly, those who experienced side effects after listening could restore their normal perception by playing the entire EP in reverse. It was said that the reverse playback would unwind the cognitive displacement caused by the original sequence, gradually returning memories, expectations, and present awareness to their natural alignment.

Dr. Sascha Dornhöfer, who first documented the phenomenon, speculates that the remix by Carsten Nicolai (Alva Noto) may contain a unique balance of repetition and symmetry that survives both forward and reverse playback. This would explain why listeners experiencing the effects of Zeta Cognition consistently identify it as the point from which normal perception can be restored.

In any case, dear listener, there is no cause for concern - the antidote is hidden in reverse.

P.S. Then again, who knows. Persistent rumors suggest that Adam Pendleton's exclusive black-and-white artwork conceals a visual counterpart to the phenomenon, though no one has yet determined exactly what it reveals - or to whom.

2026 Reress

Frame Of Mind is back with another piece of art. Synaptic Voyager delivers 6 amazing classic house and techno tracks. Beautifully produced deep and analogue moods!

Spacebased Recordings 003 - Prâslea.

Where there is love there is life.

We are taught to hold a shape. To repeat, to conform, to control. Over time the repetition becomes us - rigid, fearful, grasping for power, emptied of feeling. We live without living. The mechanical overtakes the organic. We lose ourselves, and in losing ourselves we lose our connection to everything.
This is the psychosis we call normal.
Yet something remains underneath. A flicker. A recognition. The long effort of reopening begins with glimpsing what we have become.

The Body Works begins from a simple idea: sound does not end at the speaker, and music is something that is not only heard, but held, felt, and carried. By translating sound into physical form, the project creates an encounter that exists between listening and touch.

Rhythm is anticipated by muscle, voices affect breathing, and repetition changes our sense of time. Listening is already a physical act. Rather than treating the body as a subject represented by the music, The Body Works treats it as the place where the music happens; the physical and perceptual space through which sound is experienced.

Primarily consisting of left-leaning club music, the LP moves between trap-tinged tech funk, sweaty nocturnal throb, bottom heavy breaks, seedy cowbell acid, pumping techno workouts, doting hi NRG, cosmic homoerotica, and electronic disco. Interspersed and laced atop are more exploratory approaches to sound. Synthesis, field recordings, voices, electroacoustic and musique concrete techniques, plus a dose of offbeat humour are all treated equally as compositional material.

The record travels through ordinary human actions and situations - partying, sleeping, travelling, cooking, flirting, drinking, dancing and listening. These are not presented simply as themes; they become compositional material through which sound, attention, movement and the body interact. "A lot of the record is just weird normal things happening around me. Sleeping, travelling, flirting, drinking water, trying to kill a fly. The more attention you give these things, the stranger they become", comments Bjarki.










[j] C1 | Isn't it nice [to be somebody]

Ouragan’s first release, Clair Obscur, is an invitation to take time, to reflect, to wander. It was conceived as a shared story between distant landscapes: dreamlike, moving yet contemplative. A thread between closed eyes, through imaginary worlds that appear here – and elsewhere fade.

Despite their distinct identities, the four tracks share a sense of mystery. A warm tension characteristic of dub techno, no matter its form. Side A offers an introspective, dancefloor-driven vision of the genre; the flip side turns more meditative – emotional, melancholic, and beautifully touching.

Dr. Caligari was notoriously out of his mind — a genius fixated on experiments and a former lecturer at the Department of Experimental Phonetics. His students, Spacelunch included, spoke of him with cautious admiration: “Too smart to be normal; too bold to stop.” His laboratory looked like a hand-welded cosmos: cables everywhere, diodes, and the soft hiss of electricity.

“What’s that?” Spacelunch nodded toward the large glass dome.
“My new invention that allows sound to become tangible. Care to take a look?”

The Professor and Cat carefully stepped inside.

“You’re about to be the first to witness the voice of space!”
“Hey, we didn’t sign up for this!”
“Doesn’t that make the experiment more interesting?”

Caligari smiled and turned a dial. Their bodies stretched like strands of pasta and vanished. An instant later, they found themselves in another dimension: towers of transistors and coils rose into the sky, the air thrummed with low-frequency oscillations, and every flash of light carried the rhythm of a sonic lattice. Almost at once, the image wavered like old film, went black, and then snapped back to the laboratory. Caligari sat at the console, eyes fixed on the monitors. “It worked,” he whispered. “Perfect phase alignment!”

Extinction Burst! is the new invocation in album-form by Guttersnipe, Leeds’ premier and pre-eminent XFCER (XFCER: Xenofeminist crisis-energy rock)* duo. Slamming at full speed to multi-dimensional oblivion, Extinction Burst! is the most full, hidefinition lurid dream-mare yet spewed out by Uroceras Gigas & Tipula Confusa. Engineered and mixed by Ross Halden at Hohm Studio in Bradford and mastered by Rashad Becker, Extinction Burst! follows 2018’s My Mother The Vent, which garnered universal critical adoration. Nevertheless, this long-awaited follow up is more extreme: it is wildness beyond reason, splitting new tears in the reality gauze, ultimate hallucination through sound ecstasy. 2026’s Guttersnipe are evolved, mutated by 8 years of touring together and with the labyrinthine network of groups both Guttersnipe members are involved with - Tristwch Y Fenywod, Nape Neck, Petronn Sphene, Yexxen to name a few. On Extinction Burst!, as with previous material, the duo are heavily augmented with technology. Tipula Confusa's drum kit triggers chasm-causing synth pulses with thumping low end attack.. Strafing from all over the stereo field the constant shatter of the cymbals and toms feel like Sunny Murray or Rashied Ali in full flight during a John Coltrane session in 1967. Uroceras Gigas’s guitar + synth storm is by-now similarly an instantly recognised tool kit in underground music. Switching from screeching guitar atonality to intricate riffs from the black metal/Voivod hinterland to ultra-distorted synth meltdown, it’s an utterly overwhelming, essential and vital pouring-out of the full emotional spectrum. Both artists vocalise, ecstatic and primal, drawn out or yelped in pain or pleasure or panic. Alive On Tuesday begins with some of the only space on Extinction Burst! Digital crackles and tight-delays blow out into a fullthrottled death-dive into sweet opaqueness, offset by the duo’s vocals. There’s a popular believe that Guttersnipe is chaos, but over 9 mins here the group are clinical in their control of the simulated entropy. Mincing while the Maelstrom Churns’s guitar is modulated into jagged atonal atonement, duetting with the virtuoso drum patterns before it thuds into gear at quadruple the speed. Threads Of Radical Unaliveness veers close to the extreme Metal influences with blast beats and guttural vocalisations until the track exhausts itself into unaliveness. Keep Honking summons a demonic digital panic, with the duo reincarnating in real time as haunted versions of themselves, almost translating the lurid, ultra vivid, simultaneous hell+heaven of being alive in this dimension. Primordial Invagination harnesses No Wave’s dissension of normality before the structured collapse of Skra¨ckblandad Fo¨rtjusning, in which Tipula Confusa’s accelerating drums simulate a bouncing barrel of brimstone descending into a primordial gunky ooze, a respite in the middle before the record splutters to a stuttering finale, both members’ vocals out there in the neon realness, alive with crisis energy. There is nothing on this cursed earth like Guttersnipe. For over 10 years they have whirled in a wiggliness both woebegone and wonderstruck on a mission of radical mutant exaltation using rock music weaponry loaded with a queer hysterical ammunition to rupture the fabric of the known Rock universe and unleash a tendril-soft hallucinatory violence; thrumming with the bracing vividness of insect bodies, crazed with alien synaesthetic emotions, harnessing jagged excoriating illogic as a face meltingly snazzy affront to redundant macho mediocrity with the hope to break minds, squeeze hearts, explode pelvises and maybe even reset the parameters of reality. Addendum: xenofeminist : proposing and creating a world defined not only by sexual/gender equality, queer empowerment and the toppling of the racist heteropatriarchal hegemony and it’s tyranny of phallogocentric signifiers, but a philosophy of radical queerness that explodes the basic notion of embodied existence itself beyond even the human, where we see bacteria, invertebrates, reptiles, marine life, animalia in general, inanimate objects, quantum phenomena and as yet inarticulated bodies and minds as social and political equals that may inspire and inform our concepts of self, feeling and meaning as we labour to build a collective reality that doesn’t completely suck!! crisis energy : a term borrowed from the weird fiction author china mieville to describe a type of extreme concentration of power which emerges when a system or organism is pushed to it’s absolute limit; the point of rupture, chaos, entropic overload, just before it all breaks apart. rock : Rock ’n’ Roll, rock music, the devil’s music, sex, guitar, drums, voice, rhythm, riffs!

"After being praised as one of the best releases of 2025 by multiple platforms, the highly praised debut album from Obeka lands on vinyl via YUKU.

The rhythmic dynamics and emotive attitudes of A World No More captures the density of soundsystem culture in Obeka's ancestral roots. YUKU presents the Bermudians debut album capturing a Neo-Colonial dystopia, protest and Afro-Futurism hyperextended through decaying sonic structures of a dark past and its grievances which very much exist today.

Growing into adulthood within the walls of British and European Colonial systems meant the disconnection and lostness in a new country hid me from the world at a young age. Unlike London's vast and culturally engaging migrant communities, the industrial milling town of Stockport introduced a coldness towards people from other countries I experienced in my first year after relocating from Bermuda. I couldn't understand why. Whether cold words thrown towards me or actions upon other people who look like me, it has shown to be a dooming societal virus with no cure. The most comfort was found through what was familiar - drums and rhythmic spirituality of my homeland. It was a safe-haven, a place to empty the anger and confusion. It's been 15 years since relocating and as my sound evolved, it seems classism, racism, oppression and civil control of ethnic peoples has become worse - even now more legalised and normalised. Ogun (a powerful Yoruba deity associated with anger, justice and war) acts as the opening sequence of the record and its symbolism. Using distorted bass frequencies and dissected Regga-Dub immersed in live-sampled ghostly voices of the lost ones. This sonic exercising is also applied in Drillaman - a stampede of industrial framework and metallic instruments wielded over moody Dancehall MC'ing, magnifying two parallel worlds in cocooned evolution. The resurrection of Transatlantic African cultures and identity have never been silenced, rather carried elsewhere through trade routes of enslavement, which was pivotal when composing and completing the album upon returning home to the Caribbean for the first time ever. After reconnecting with my heritage my blurred vision of what's wrong in the world became so clear. Guidance in empty plains seek truth throughout the pain - A statement of finding oneself expressed on the poetic closing track A World No More.

On Fawohodie (A West African Adinkra symbol that represents independence, freedom, and emancipation stamped on the album cover) the motive and atmosphere begins to change. Afro-Caribbean idealism which refers to the philosophical concept that emphasizes the interconnectedness of individuals and the importance of community, often contrasting with Western individualism, begins to take shape in a new universe. We can co-exist. The track framework uses machine-led software forming frequencies we have no control over, then manipulated through decomposing soundscapes, scattered hand-drums and human-made weapons of control - exposing the hidden disparity that's been carried over generations whilst balancing hopeful and musical foundations towards equality and peace. On Pressure and Kuduro! the writing direction attempts to wake people up. Not settling for a composed approach like in past projects, quite the opposite. A call for native sonic awareness, dismantled vocals of protests, eroded percussion using chains, gears and motorised harmonies sculpted in challenging abstract behaviors far outside my comfort zone. A direct abrasiveness and weight I want people to feel, whilst finding hope and solace through enchanting choirs and hypnotic basslines in complete synchrony.

"Purity in sound manifests when you least expect it. The smallest memory or feeling grows from a seed into a sonic language that you, and only you can interpret and release back into the world." "

How do losers dance? According to Helmut, almost weightlessly, with soft feet, warm gestures, sometimes alone, sometimes together. Content Creatures, Helmut's fourth album, evokes the pop archetype of the "beautiful loser", who had almost disappeared from view in so-called late capitalism. In a present in which even suffering is often similarly instrumentalised and tailored to clicks like a competitive sport, this album sets a counterpoint: those who listen to it suddenly want to be enchanting losers again, useless and joyfully messing up, losing something beloved, having their hearts broken, giving up a dream, sinking into beauty.
You don't sink alone. Comforting harmonies envelop you, the voices of friends appear, accompany you for a while and then disappear again. Warm grooves, floating synths and delicate guitar lines characterise an indie sound that remains open and breathes.
Self-produced for the first time in his home studio in Neukölln, 'Content Creatures' sounds thoughtful and light at the same time. The album will be released digitally and on vinyl on 10 April 2026 on Berlin-based label St.Vladimir. There are four songs on one side and four songs on the other. The cover is adorned with an exceptionally pretty guinea pig. Helmut shows the special in the seemingly ordinary: a child's pet, the most ordinary of all, is his cover star and headstrong protagonist.

Wie tanzen Verlierer? Wenn man nach Helmut geht, dann fast schwerelos, mit weichen Füßen, warmen Gesten, manchmal allein, manchmal gemeinsam. Content Creatures, Helmuts viertes Album, evoziert den Pop-Archetypus des "beautiful loser", der im sogenannten Spätkapitalismus fast aus dem Blick geraten war. In einer Gegenwart, in der sogar das Leid oft ähnlich durchinstrumentalisiert und auf Klicks getrimmt ist wie ein Leistungssport, setzt dieses Album einen Kontrapunkt: Wer es hört, möchte auf einmal gern wieder ein bezaubernder Verlierer sein, nutzlos und freudvoll abkacken, etwas Geliebtes verlieren, das Herz gebrochen bekommen, einen Traum aufgeben, in Schönheit versinken.
Man versinkt nicht allein. Tröstende Harmonien legen sich um einen, die Stimmen von Freundinnen tauchen auf, begleiten einen ein Stück weit und verschwinden wieder. Warme Grooves, schwebende Synths und feine Gitarrenlinien prägen einen Indie-Sound, der offen bleibt, atmet. Erstmals in seinem Neuköllner Homestudio selbst produziert, klingt "Content Creatures" bedacht und leicht zugleich.
Das Album erscheint digital und auf Vinyl am 10.04.2026 auf dem Berliner Label St.Vladimir. Es hat vier Songs auf der einen und vier Songs auf der anderen Seite. Das Cover ziert ein außergewöhnlich hübsches Meerschweinchen. Helmut zeigt das Besondere im scheinbar Gewöhnlichen: Ein Kinderhaustier, das normalste von allen, ist bei ihm Coverstar und eigensinnige Protagonistin.

2026 Repress

Laurie Torres is a Canadian musician and composer raised in Montréal, Québec by Haitian parents. Since 2008, she has been a trusted stage and studio performer for Julia Jacklin, Pomme, and Land of Talk, as well as being a founding member of Folly & The Hunter, with whom she recorded four studio albums and toured Canada, Europe and the UK.

In 2023, Laurie shifted focus to work on her own creations, a process of making time - the will and the need becoming omnipresent. Drawing creative inspiration from contemporary artists like Tirzah, Gia Margaret, Valentina Magaletti, Tara Clerkin Trio and ML Buch, 'Après coup' finds Torres intersecting at a pivotal moment where artists whose marginalized identities are at the forefront in creating a beautiful array of "other options".

"Being othered and tokenized as a woman who plays music, as well as a queer and black person, takes a toll, while also positively feeding a strong urge to push and be seen."

Centering around piano, drums and synthesizer with interweaving field recordings, 'Après coup' follows the precursor ep 'Correspondances' in the form of a sprawling 11-track album. Translating directly from French - afterwards, after the event - its title subliminally points at something deeper between the lines. Recorded in 2023 between tours in a small window of time where 'normal' life hadn't quite recommenced, Torres meticulously crafted her debut solo material in view of surrounding nature, all providing the perfect nourishment for long streams of improvisation. Built right up to the edge of a lake, Studio Wild in St-Zénon, Québec offered an unparalleled location and set up for her freeform creativity.

Instrumental music seemed like a natural response and evolution for Torres who had long basked in the world of "pop music" as she elaborates: "I had an urge to use creativity as a sort of resting place, a place where things can unfold slowly and take time to reveal themselves. In other worlds words, I felt the need to make something slower, more elusive"

The immediacy of Torres' recorded takes doubled with minimal overdubs create a fiercely direct, intimate and unpolished lo-fi beauty. 'Après coup' then is self-reflective, open and inclusive with Torres allowing herself to be fully seen. An album to be felt at close distance with unrivalled authenticity. This album stands as a testament to Laurie's artistic evolution and serves as a beacon, inspiring her to continue nurturing her own creative pursuits and finding exhilarating freedom.

Protocolo SysEx aka Fabio Vinuesa lanza este EP en su sello con cuatro pelotazos originales y dos remixes de Boris Divider y Heinrich Mueller.

GEOMETRÍA VIRTUAL documents a scenario in which mechanisms of control cease to function as external layers and instead become the very foundation of the system. The album does not propose a future dystopia, but rather a reality in which decision-making is automated and artificial intelligence is established as a structure of social control.Protocolo SysEx, a project by Fabio Vinuesa, is conceived as a narrative and sonic framework from which to examine the political and philosophical implications of a world governed by artificial intelligence. The release includes reinterpretations by Boris Divider and Heinrich Mueller and constitutes the first chapter of a trilogy focused on the progressive normalization of algorithmic control.

Geometría Virtual EP – Distrito 91 15

a A1 - Geometría Virtual Part I
b A2 - Geometría Virtual Part II

DISPLACES represents Fabris' most personal musical journey to date, inspired by the concept of hyperobjects and cartographic practices. The album sculpts a high-dimensional phased time-space composed of concrete materials and digital archetypes in a state of constant displacement. It delves into the symbolic and philosophical realms of mapping as one of the greatest sense-making mechanisms for life, in dialogue with object-oriented environments, superimposition and non-locality applied to cosmic, temporal, and emotional memory.

The sonic ecosystem expands on the image of navigating a path through a set of places, from the microcosm of quanta to the macro force of dark matter, from underwater depths to overland terrains, encapsulating the cyclical flow between birth and death, both in ecological and anthropological sense. The intersection of these shifting states is explored through the extensive processing of the langspil, Iceland's only traditional instrument, intertwined with manipulated field recordings of biophonies and geophonies captured across Icelandic and Venetian territories. These recordings form the backdrop for a meditative process that relocate familiar objects into unfamiliar realms, reflecting on the transformative power of self-reflection while encapsulating the fragmentation and entanglement found in nature and the human state. The record plunges the listener into a disconcerting and physical soundscape, as a “ghostly spectrality that comes in and out of phase with normalized human spacetime,” evoking sensations of suffocation and release as each layer continuously unfolds the palimpsest of the enclosed labyrinth.

“Extraction of the I” embodies a subatomic reaction—erupting as a molecular force that rises, only to re-submerge with a solitary exhale underwater. In this mutated dark space, beluga whales breathe into "Xanadu Phasing," creating a pulsating tension that releases only to unveil a frozen landscape.

In “Barricading the Ice Sheets” the glacial material morphs into a liquid tunnel of digital artifacts, building a wall of noise that shatters into scattered fragments of ice, resembling bird calls from another world.

A moment of stasis is offered with the appearance of an asymmetrical loop in Monolith I, evoking a primitive rite before an unknown force emerges.

The physical intensity of subsonic material in "A Quake in Being" interrupts the hieratic tone, detuning into polluted sonic matter sourced from relics of the First World War in the Venetian Prealps. The geography of this place reconciles with the original homeland in "The Map is the Territory," blending negative space with anthropogenic elements and exploited sounds of the langspil.

The burning density of "Wolf-Rayet" projects into the void, echoing the residual sounds of a local church as relics of fossilized religions. Wolf tones are the remains in Monolith II, introducing the final track, "Topography of Extinction," where evolving psilocin textures invite the listener to uncover deeper layers of meaning and dislocation.

Following the massive success of Torment, Bidoben returns to Sciahri's Sublunar with a new EP titled Jett, a record that showcases his distinctive and forward-thinking sound design, cementing him as one of the strongest figures of the new generation.

The EP opens with Jett, a powerful and melodic cut marked by Bidoben's unmistakable sonic identity, followed by Voltage C, a refined and minimal piece with a subtle epic touch. The A-side closes with Tormented, a fierce reimagining of the atmosphere that defined Torment, demonstrating the artist's ability to evolve and expand his expressive range.

On the flip, Hypernature sets the tone with captivating grooves and cosmic melodies, leading into Ashley Origami, a solid, floor-oriented tool designed for peak-time tension. The journey concludes with Edges of Normal, the most mystical track of the release, lighter in tone but no less engaging.

Desinteresse releases their second album Onschuld through Fabrika Records on September 9, 2025.

Desinteresse is a Dutch Coldwave act consisting of Bart Vranken (bass), Joppe de Swart (drums), and Sem van den Munckhof (vocals/synth/guitar). Formed in late 2022 as a duo, Bart and Sem released their debut album Voor Altijd in April 2023 and the EP Ik Wil Dood Als Ik Het Vergeet in November 2023, both on cassette through their own label DECADENCE. With the addition of Joppe in early 2024, they released their first work as trio in August 2024, the 7” single Grijze Dromen.

Desinteresse produces their music using original vintage equipment as a deliberate form of artistic expression and identity. Their live performances are a melancholic, but mesmerizing affair, where music and vocals amplify the weight of their message, emphasizing the non-existential and abandoned emotions that define their sound. An absolute delicacy for fans of Fad Gadget, The Normal, Joy Division and early work from The Cure.

The titles and lyrics are in their native Dutch. Onschuld (also the title of the opening track) translates to ‘innocence’. With other titles such as Niets Te Zeggen (nothing to say), Brekend Glas (breaking glass) and Grizje Dromen (grey dreams), this pensive album could be a good-bye to innocence, but it’s certainly the ideal companion for ruminations on gloom.

You‘re feeling great, just bought new records and you’re ready to toss ‘em on the decks and let ‘em spin. Nevermind your bank account has you on a strict diet of yum yum noodles instead of that expensive, slow, regional stuff you normally get. „Anyway it was a good choice, I love records. It’s an investment..“ you are telling yourself while sliding the record out of its sleeve. „Cheap Fast Worldwide“ — black letters on a white background. You put the needle on the disc.

Punchy drums bathe in lush chords and you’re pulled into a smooth, lounge vibe. Tonight it’s caviar, not yum yum noodles. A playful bassline bounces in, with a nod towards disco roots and a modern twist. An unmistakable cheesy 90s melody is the cherry on top.

Aptly named, the inner track on this side greets you when a „One, two, three, quattro“ rings out over a tight, breaky groove. Meanwhile, rather deep, monotonous pads carve out space for your mind to wander…

As you flip it over, things start to shift. Strange melodies and dirty drums tease the unknown. Out of nowhere, the pitch drops, and a low, driving bassline takes hold. It pushes forward with a relentless energy that keeps you on the edge, unsure of what’s coming next.

A highly sophisticated fade out leads you to the last track — a raw and infectious drum groove laced with choppy vocal snippets and warm crackles. Stripped back, yet the beautiful chords slice through, adding depth and the right sense of movement, taking you deeper into the night.