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"Hayalet Kırıkları" unfolds like a diary of fragmented memories, where voices, textures and distant echoes blur into something both intimate and unsettling.
Hilal Can’s luminous presence meets Tzii’s raw sonic landscapes, creating a music that feels suspended—between memory and invention, absence and desire.
With the spectral violin of Ruben Tenenbaum, the record shimmers like a fragile world on the verge of dissolving.

Laputa, a title taken from the fantastical floating island of Gulliver's Travels is aptly named as 'The album that never landed' for, apart from a limited touchdown in Japan, Laputa was never released. This mystical world is a summation of Yokota's journey so far, a complex and at times challenging work but immeasurably rewarding. Beguiling and bewitching in equal measure.

Over fifteen undulating sonic fugue states, he guides listeners round a liminal world, made up of familiar materials but formed in a way defying all laws of perspective and physics. Background murmurings give way to almost uncomfortably foregrounded chattering, and one perceived soundstage segues into another impossible tableau of sonic apparitions, some recognisable in form, but all boldly decontextualised and arranged in expertly cluttered amalgams.

Laputa's obscurity was a prime reason Lo Recordings decided on the Skintone retrospective. Falling as it did between The Boy and the Tree on The Leaf Label and our own debut of Symbol. It was something of an audio crime that the album had never been properly explored and discovered. Lo Recordings hope Laputa can now ascend to its rightful place... hovering above us.

José González has delivered a new album, Against the Dying of the Light, a companion and further meditation on the themes of his critically acclaimed album, Local Valley. Where Local Valley turned inward toward place, language, and personal reflection, this new record widens its gaze, becoming an urgent call to preserve the light of humanity with all its flaws, at a moment when, technology increasingly shapes how we think, feel, and relate to one another.

While José has always embraced technological advancement, he questions the assumption that every new possibility must be pursued to its maximum potential, especially when progress comes at the expense of human flourishing, attention, and empathy.

Keeping in the tradition of folk music as protest, José’s new single — sharing its title with the forthcoming album — urges listeners to resist systems that dehumanize and divide: “Disconnect from every algorithm, every perverse incentive that drags you down. Let’s rebel against the replicators, against the dying of the light. Kill the codes that feed the hate, keep the codes that make you thrive, celebrate the **king fact that we’re alive.”

Across the album, González works within a deliberately minimal framework, pushing his familiar palette to new heights through subtle variation, restraint, and detail. Each song unfolds with its own distinct character, proving how much emotional and musical range can be achieved within self - imposed limitations. Written in English, Swedish, and Spanish, the record reflects his Swedish - Argentine roots and frames its humanist message as a global one rather than a purely personal or political statement.

José González is one of the most quietly influential artists of our generation. The Swedish - Argentine artist has built a singular musical world from hypnotic, minimal guitar work and his unmistakably gentle voice — a sound that has become deeply personal to millions of listeners worldwide. With billions of streams across platforms and hundreds of thousands of physical records sold, González’s songs often act as emotional landmarks. Ask almost anyone, and they can name at least one of his tracks tied to a defining moment in their lives.

London-based musician, composer, and NTS resident Kit Grill presents his extraordinary new album 'Andøya', inspired by a solo residency on the eponymous Norwegian island, a profoundly dramatic territory situated in the Vesterålen archipelago, inside the Arctic circle.

With evocative, sonorous ambient, drone, minimalism, experimentalism, and modern classical music, Grill captures the environmental essence of a remarkable region; an isolated Nordic landscape of small coastline villages, raw peatlands and sublime mountain ranges, surrounded by wide, open views of the Arctic ocean.

Drawn from his experience on solitary excursions around the island - hiking, exploring, and encountering the locals - 'Andøya' is a beautifully stark, stirring exploration of acoustic phenomena, seclusion in nature, and the expressive power of unique landscapes. For Grill, the trip entailed a surreal day-night cycle, and his experience has had far-reaching, existential implications, both for his practice and his perspective:

"On the 8th January 2025 I travelled to the Norwegian island of Andøya, in the Arctic Circle for a three week solo residency. Surrounded by sea, snow, and mountains, I lived in isolation and travelled around the island each day documenting the landscape. At 10am, the background light of the sun beneath the horizon would light the day and in the 4 hour window of light, I would hike into the mountains and explore the wilderness. It was a profound experience that changed the way I thought about sound, solitude, and what it means to be alone in nature."

"Since returning, I created a body of music informed by that time to try and capture the vastness and unpredictability of the Arctic landscape. The album moves through the sensory extremes: ice cracking, storms forming and fading, the rumble of tectonic plates, waves crashing, harsh winds, trudging through snow, and the sharpness of freezing air. The album aims to reflect both the landscape itself and the shifting emotions that came with living in isolation and the Arctic environment. The music and photography serve as a recorded diary of my time there, documenting the experience."

Written in 1971 and read here by the author himself "Through the Billboard Promised Land Without Ever Stopping" is Derek Jarman's only known work of narrative fiction. Providing a prelude to some of the imagery Derek Jarman would use later in his career, particularly the alchemical dreamscapes in the film "Blue", it is a surreal, hallucinatory fairytale, signposted with elements of modernity, that has much of the mythic and archetypal about it. With tantalising autobiographical details and a panoply of chromatic landscapes and psychosexual symbols, this richly poetic story details a journey with no destination or purpose across a mythical America, undertaken by the young blind King Amethyst and his valet John. Previously only ever released on cassette (2022, Prototype Publishing, Ltd 80), this vinyl edition features facsimile images of the story's handwritten drafts from Jarman's archive and photos by the artist Michael Ginsborg, a close friend of Jarman's throughout the period of the story's writing. Licensed from House Sparrow Press / Prototype Publishing, and The Estate of Derek Jarman.
• Ltd x 500 copies on heavyweight 180gm black vinyl in gloss sleeve.

A cocktail of rebellious queer vocal fragments, deceptive percussive granules and swaying hammered vibrations, upsammy and Valentina Magaletti's first collaboration trembles with suspense. The seeds of 'Seismo' were sown following a commission from Amsterdam's Rijksmuseum to soundtrack an exhibition of work from the Museum Boijmans van Beuningen in Rotterdam and the duo didn't want to approach their collaboration flippantly. So, wandering the museum's maze of rooms, they recorded various improvised percussive sounds with their arsenal of microphones, using the space to inform various rhythms and textures that were sculpted later into electroacoustic vignettes. This was just the starting point, though; as Magaletti and upsammy began performing together, the project evolved and 'Seismo' began to take shape. The duo had struck on a salient aesthetic concept, using mostly digital and acoustic mallet instruments to blur the boundary between their roles and create friction between the synthetic and the authentic. And the finished record is a phantasmagoric push-and-pull between its various conflicting elements: harmony and dissonance, randomness and predictability, openness and constraint. 'Seismo' isn't the first time that upsammy has studied her environment in search of revelation. On her acclaimed second album, 2024's 'Germ in a Population of Buildings', the Amsterdam-based DJ, producer and multidisciplinary artist erected her complex, unorthodox rhythms and eerie melodies around a modernist frame of field recordings collected in various cityscapes, countering heavyweight basslines with subtle, microscopic sounds. London-based Italian vanguard Magaletti, meanwhile, has applied her unique logic to innumerable projects at this point, working with everyone from batida icon Nídia and hardcore-dub outfit Moin to French writer Fanny Chiarello and British bass scientist Shackleton. For years she's approached the drums with criticism, attempting to challenge any preconceptions, something that's most visible on 2020's 'A Queer Anthology of Drums'. And both artists' thoughtful perspectives are welded together seamlessly on 'Seismo', a dizzying suite of eight eccentric statements that's fragile but never insecure, gauzy but not indistinct. An unnerving sense of space characterizes 'It Comes to an End' as Magaletti's in situ improvisations herald for upsammy's microscopic glitches and chiming pitch-bent melodies. It's almost unbalancing to witness the track's impossible dimensionality, the interplay between reverberant marimba hits and bone-dry synths, or percussion that's been recorded and processed in consciously different settings. A new architecture emerges in the sound itself that the two artists scan and explore meticulously, testing its boundaries with undulating hybridized rhythms on the invigorating 'Superimposed' and offsetting the powdery drums with liquified smacks and alien voices. The duo's vibrations are knotted with piano flourishes on 'Hyperlocalize', balanced with artificial clanks and clangs that disappear into the track's sonorous atmosphere, replaced by whispers and half-hallucinated insectoid chirps. 'Seismo' is an album that feeds off the energy generated by its juxtapositions: the tension and anticipation that's melted by rapid, hyperactive movement and the finely drawn rhythms disrupted by a layer of indistinct, barely perceptible microsounds. It's a collaboration that sounds like two minds challenging each other but not wrestling, each peering from their own distinct vantage point and imagining a third landscape shaped by optimistic, queer vibrations.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes.

The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process.

Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever.

The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before.


‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms.

On Psalm Funk, Bnnyhunna deepens the artistic language he first articulated on his celebrated debut Echoes of a Prayer. Rather than retracing familiar ground, the Amsterdam-based composer and producer expands his palette, allowing rhythm and space to carry as much narrative weight as harmony and lyricism.

While Echoes of a Prayer felt personal and devoted, Psalm Funk opens things up. Gospel harmonies stay central to his music, but now they are energized by smooth funk rhythms and heightened by the flexibility of jazz improvisation. Bnnyhunna moves between styles effortlessly, in a way that nothing seems borrowed, but everything feels lived in.

At the center of the record is an understanding of space. Silence acts not as an absence but as a structure. Breath, restraint, and patience shape the music just as much as basslines and backbeats. This awareness of dynamics allows the album to grow without losing its focus. It signifies a subtle but important change in Bnnyhunna as an artist, moving from inward reflection to forward momentum, from prayer as personal dialogue to prayer as a physical expression. The clarity, discipline, and emotional depth that marked his debut remain, now directed into something more rhythmically confident and spiritually uplifting.

Fusing gospel, funk, jazz, and African rhythmic traditions, Psalm Funk serves as both a meditation and an outpouring. It invites deep thought while demanding a physical response.

The album includes collaborations with American saxophonist Braxton Cook, trumpeter Sheila Maurice-Grey of Kokoroko, 3DDY, and Reggie Dartey, among others. The singles "Sorry Not Sorry" and "Waiting For You" have already hinted at the project's range, while the latest single, "The Heart Part 2," further expands on the album's dynamic and emotional scope.

To celebrate the release, Bnnyhunna will tour the Netherlands in April, with performances in Amsterdam, Rotterdam, and Nijmegen before heading to the UK for a show at The Great Escape.

Released in October 2024, Bnnyhunna's debut album Echoes of a Prayer was created as a dialogue with God, a personal call expressed through sound. The record resonated both with fans and media, gaining support from platforms like 3voor12, Rolling Stone Africa, and Afromixx. It reached the airwaves of BBC Radio 1 in the UK, KEXP in the US, J-Wave in Japan, and 3FM in the Netherlands, and landed in playlists such as BUTTER, Morning Rhythm, and Vanguard.

In 2025, Echoes of a Prayer earned the Edison Pop award for Soul/R&B/Funk and received Grammy consideration for Best Alternative Jazz Album. On stage, Bnnyhunna established his presence with performances at festivals such as Lowlands, Couleur Cafe, Brick Lane Jazz Festival, Dour, and Super Sonic Jazz, as well as his first tour in Japan.



Upcoming live shows:
10/04/26 - BIRD, Rotterdam (NL)
11/04/26 - Doornroosje, Nijmegen (NL)
12/04/26 - Tolhuistuin, Amsterdam (NL)
13/05/26 - The Great Escape, Brighton (UK)

Born into a musical family Al Manfredi started writing songs when he was child. As a teenager in 1965, he formed the Nuts & Bolts in the small beach town of San Clemente, California. Inspired by the Kinks, the Beatles and the Byrds, the group separated themselves from the pack by also performing original material written by Manfredi and band mate Mike Ingram. In late 1966 they changed their name to the Lost & Found and relocated to Phoenix, Arizona, where they cut a rare single, “Don’t Move Girl” b/w “To Catch the Sun,” which now commands high coin from ‘60s garage collectors. When they returned to San Clemente in early 1967 their music had taken a more psychedelic direction. The Lost & Found were riding high that year, until tragedy struck. Ingram was found hanged under suspicious circumstances and soon after Lost & Found drummer Mike Ryer died of cancer at the age of 19. Heartbroken, Manfredi gave up on the band scene completely and moved to Garden Grove to teach at his family’s music store. But alone, behind closed doors, he kept writing songs and working on his music, recording hours of tapes, often tracking all the instruments himself. In 1973 he chose six of his best songs, some of them written back in the Lost & Found days, and had them custom-pressed as an LP. Only a handful of copies were pressed, and most of these were sent out to various record companies in the hope of landing a deal. Despite the outstanding quality of the music, there were no takers. But decades later, collectors discovered the Al Manfredi album and hailed it a West Coast rock masterpiece. In his Acid Archives book, Patrick Lundborg called its discovery a deus ex machina and compared it to David Crosby’s first solo album and Hawaii-era Merrell Fankhauser, “not just the acutely captured mellowness, but the self-confidence and the talent.”This little-known West Coast rock masterpiece was rediscovered and celebrated by Acid Archives founder Patrick Lundborg and others around the time that Manfredi died in 1995. This version of the album, overseen by Manfredi’s son Exile, and with Manfredi’s story told by Ugly Things’ founder Mike Stax, presents the complete package of an incredible lost and found artist. Contains the album, as originally issued, on side A with unreleased music on side B.

HYPER GAL are restless. Since 2019, Kansai’s minimalist duo has been in persistent, perpetual motion.

In January of 2024, SKiN GRAFT Records introduced HYPER GAL to western audiences, giving the previously self-released album “Pure” a worldwide release. It was followed by “After Image”; a new full-length record; in September of that same year. In short order HYPER GAL left Japan to embark on a month-long European tour, performing at festivals such as Left of the Dial in Rotterdam and Le Guess Who? in Utrecht.

Consisting of Koharu Ishida (vocals) and Kurumi Kadoya (drums), HYPER GAL craft a sound all their own, characterized by avant-garde rhythms, looping landscapes, and hypnotic vocals. Their music resists traditional genre boundaries to carve out a truly singular sonic space.

With their fourth album “Our Hyper”, HYPER GAL thrust their sound into a deeper, harder core. Songs unfold into surprising shapes, embracing shadowy turns emboldened by a heavier low-end, while unearthing sharp takes on Japan’s harsh noise roots. The drums have grown even more acrobatic and unorthodox, while the vocals take on new colors, shifting from mesmerizing repetition to melodic, pop-tinged expression.

The album’s artwork is no less adventurous and features masks created by contemporary artist Tokiyoshi Akina and photographed in the band’s own hands, signaling resistance to the performative dualities of social media and a commitment to authenticity.
Despite the lean, unadorned two-piece setup, HYPER GAL’s music attains an intense and unmistakable presence - an unwavering momentum driven by an unrelenting intent. “Our Hyper” is HYPER GAL amplified.

"With each release they appear as mirage sculptors, using simple tools (drums, keyboards, vocals) in craft of multi-genre spanning work which only becomes more captivating the simpler their execution becomes...”
– MYSTIFICATION

With Variations for Light Waves, Swedish composer Linnéa Talp deepens the focus and intensity that shaped her 2022 debut Arch of Motion. Once again, the breath and hum of the pipe organ form the album’s core, but here she pushes further into deep listening and sonic nuance. Across seven pieces, she lingers on the instrument’s most resonant points, allowing its character to reveal itself slowly and patiently.
Talp’s path to this work has unfolded with similar steadiness. After first emerging with her project Deerest, she shifted toward improvisation and minimal composition, guided by an increasing sensitivity to sound and perception. Careful listening is now central to her practice, informing both her methods and her musical language.
The album was recorded over four years on pipe organs across Sweden, including a small funeral-chapel instrument in Lötsjökapellet—an environment Talp describes as an exceptional space for listening. Several pieces feature Christer Bothén (contrabass clarinet) and Mats Äleklint (trombone), whose playing blends seamlessly into her aerated organ tones. The improvisation “Air On Both Sides,” recorded in 2022 with Bothén, became the project’s starting point, an immersive bath in glowing harmonics. At times she interweaves Buchla recordings, setting electronic breath against acoustic resonance.
Talp’s fascination with quietness and delicacy is balanced by an interest in sonic brittleness. The closing title track gradually dismantles a downward chord progression, drifting into gentle collapse, while the brief opener pushes the organ’s pipes into gasping strain. These moments create a music open to chance, instability, and transformation.
Threads running through the album include an interest in chords, subtle improvisation, light, and memories of coastal landscapes. Talp also connects the work to the “thick white fog” surrounding her daughter’s birth. The result is music that envelopes like mist yet continually reveals new shapes—a world o

The sibling duo behind the music on Graceful Degradation — organ and drums, nothing more, nothing less — carve out a sound that feels unmistakably organic in a world drifting steadily toward the synthetic. Their interplay is entirely live, subtle in its details yet dynamic in its momentum, built on the kind of instinctive communication only brothers can share.
The music is fully instrumental, unfolding in a borderland where dreamy retro pop dissolves into the hazy textures of shoegaze and the unruly pulse of noisy, electronic leaning jazz. It’s a sonic world that feels both familiar and elusive, nostalgic yet inherently restless. Melodies shimmer and blur, rhythms swell and contract, and the space between the notes becomes as expressive as the notes themselves.
What emerges is a sound that resists easy categorization: warm but unpredictable, intimate yet expansive, grounded in the physicality of two musicians performing in real time. The organ breathes like a living organism, shifting from soft focus ambience to swirling, saturated harmonics, while the drums move with a fluid, human elasticity — sometimes whisper quiet, sometimes erupting with raw, kinetic force.
In this in between terrain, the duo has always found its identity and its freedom. Their music doesn’t chase perfection; it chases presence. It embraces imperfection, celebrates spontaneity, and insists on staying alive in a landscape where so much is becoming weightless and automated.
This is instrumental music with a pulse: subtle, dynamic, and unmistakably human.

Killer Groove Records proudly presents "Keep Your Step", the explosive comeback by Italian rock steady & early reggae ambassadors The Appetizers, a soulful celebration of reggae's timeless spirit.


"Keep Your Step" marks the band's much-awaited return, landing April 10th on limited edition LP, CD digipack and digital format featuring two exclusive bonus tracks.

The Appetizers deliver a masterclass in roots reggae music with their highly anticipated second studio album, bridging Jamaica's golden age with contemporary relevance. "Keep Your Step" is a heartfelt sonic journey where the band blends rocksteady and early reggae with funk and soul influences to create a sound that's both genuine and refreshingly modern.

The fourteen tracks move fluidly between infectious dancefloor fillers and socially conscious lyrics. From the laid-back swing of "Feel Like Dancing" to the hypnotic rhythm of "Thicker Than Water", the band demonstrates their versatility while remaining true to the roots of Jamaican sound. "A Message from The Meters" pays tribute to the legendary funk pioneers, while the instrumental "Catch This" and "Make It Reggay" highlight the band's musical prowess and the deep connections between reggae and funk.

Meanwhile, tracks like "Fussy Girl" and "Behind My Shoulders" explore love's complexities with humor and soul. The album's heart lies in its social consciousness. "Cool and Deadly", "The Life", "Stormy Weather" and the album title track "Keep Your Step" tell stories of perseverance through life's struggles.

With the hopeful anthem "We Shall Overcome," The Appetizers deliver a timely message about genuine human connection in a social media-dominated era. The digital edition closes with "Get Some Rollin'" and "Swing and Sway," rounding out the journey with two additional gems.

"Keep Your Step" pays homage to Jamaican music legends, from Jackie Mittoo and Tommy McCook to Toots & the Maytals, while carving out The Appetizers' own distinctive sound. This is a groove made for both the dance floor and the soul, proving that reggae's power to inspire, unite, and uplift remains as vital as ever.

The production stays true to The Appetizers' signature sound: organic tones, deep groove, and that live-room vibe you only get when real musicians are locked in together. Luca Monza and Claudio Mambrini, the band's core members, handled the artistic production. Mastering came courtesy of the great JJ Golden (Black Pumas, Sharon Jones & The Dap-Kings, Jr. Thomas & The Volcanos, The Frightnrs) at Golden Mastering in Ventura, California. JJ is one of the most trusted engineers working in this sound, ensuring every ounce of warmth and authenticity came through.

The Appetizers are a rocksteady and early reggae band formed in Milan in 2020 by musicians deeply embedded in the Italian and international reggae scene. Musicians from different paths united by a shared vision: recreating that vintage Caribbean and American sound with authenticity, respect and a forward-thinking edge.

Drawing inspiration from Jamaica's golden era and channeling the soul of Delroy Wilson, Alton Ellis, the early Wailers, and The Upsetters, The Appetizers carry forward the essence of bass culture with a pure, fully organic approach.

Their debut album Listen Up! (2022), released via Belgian imprint Badasonic Records (home to The Slackers, The Aggrolites, David Hillyard & Victor Rice), featured ten original tracks and a dub cut by Victor Rice. Distributed across Europe, the UK, the US, and Japan, it quickly earned international recognition among reggae connoisseurs and selectors worldwide.

Following extensive touring, including shows with The Slackers, Black Uhuru, Skip Marley, and more, the band returned to the studio to record "Keep Your Step", their second album produced by Killer Groove Records. Here the band expands its musical language, weaving together the spirit of historic Jamaican labels like Studio One and Treasure Isle with '60s funk, arriving at a warm, organic, and timeless sound: soul, Jamaican roots, and modern sensibility in perfect balance. Their lyrics explore heartbreak, social issues, and reflections on life and music, performed with dedication and respect for tradition while always pushing forward.


If you're into The Skatalites, The Ethiopians, and those classic Caribbean rhythms, this one's for you.

Whole Cake Island: Sweets and Dangers in an Unforgiving World! As Luffy and his crew face an Emperor, Big Mom, for the first time, they must join forces to save Sanji in the extravagant kingdom of Totto Land.

Composer: Kohei Tanaka
Kohei Tanaka has been a lyricist, composer and arranger for a multitude of animated works and video games, including Sakura Wars, Assassination Classroom and the One Piece saga, since its inception.

L. Jacobs releases his second album, Behind the Great Curve, on the Belgian label Blickwinkel. Featuring contributions from Milan W., Sarah Yu Zeebroek, and Joachim Badenhorst, the follow-up to the surprising debut Enthusiasm was initially composed and recorded in Jacobs’ small attic room and later refined at Milan W.’s Van den Nest Studio, where W. also handled production and mixing.

A line or outline which gradually deviates from being straight for some or all of its length.

Behind the Great Curve explores and celebrates the beauty and universality of the abstract notion above and what we commonly refer to as the curve. Its presence, allegedly, is everywhere. It is a form that appears visually, mathematically, and symbolically — a line that suggests motion, time, expectation, and impermanence.

This album aims to listen to all of this — the poetry, the irony, and the faint background hum of modern life — with quiet curiosity. Within a gently meandering, synthesized landscape, a collection of dreamlike compositions unfolds: delicate melodies, sparse percussion, warm buzzing synths, and fragments of field recordings coexist in carefully measured imperfection. Colorful yet minimal in aesthetic, the album does not seek to explain the curve, but to follow it.

Ten years ago, Norrköping's own Skraeckoedlan released their second full-length album, Sagor (Fairy Tale/Stories). Spring 2026 marks its 10th anniversary, and the band is celebrating with a newly remastered edition along with a special tour that once again invites listeners back into their myth-filled universe. Rooted in the Riff-driven heaviness of stoner rock and the storytelling spirit of progressive rock, Skraeckoedlan craft sonic worlds where myths, cosmic beings, and the forces of nature feel as alive as the guitars driving them. Back in 2015, they released the concept album Sagor, weaving together their love of grand narratives with their massive, immersive sound - a musical journey through Nordic legends, timeless natural mysticism, and entirely original realms. It became a landmark release, firmly establishing Skraeckoedlan as one of Sweden's most ambitious and imaginative heavy bands. Today, they stand as one of the Nordic region's most distinctive and celebrated fuzz acts-musicians who don't just write songs, but entire stories. In 2026, the band will take Sagor back on the road, celebrating another major milestone together with their fans! But wait, there's more from our friends in Skraeckoedlan..!

Re issue of the album on LP as previous versions had all sold out and were deleted.
Global Dance phenomenon Sammy Virji’s sophomore album ‘Same Day Cleaning’ sees the renowned party starter deliver UK Garage to the world like no one before. The new album is rooted in Sammy’s unmissable club ready production style and features a slew of legendary rappers & producers. The project lands after an insane year of global festival and headline touring for Sammy. ‘Same Day Cleaning’ follows Sammy’s hugely successful ‘If U Need It’ and his follow up singles including club mainstay ‘Damager’, with Interplanetary Criminal. The album also features Sammy’s massive link up with British icon Skepta, ‘Cops & Robbers’. ‘Same Day Cleaning’ is bigger, bolder and promises to propel Sammy Virji even further onto the global dance-music stage

THE RAPPER ANDPRODUCER"S NEW ALBUM
Palmier is producer and rapper Rocé"s new album. At the crossroads of Sade and Rakim, the album unfolds an impeccable flow over gentle melodies, the mellow sound of the saxophone softening the sharpness of the spoken truths. Rocé delivers a melody of hope, and appreciation of determination in the face of the impossible. "La Voie Lactée" features the captivating voice of Natacha Atlas and the sublime orchestrated violins of Samy Bishaï, the whole thing wrapped up in the style reminiscent of Isaac Hayes" soul and Portishead"s trip-hop. "Laisse les enfants courir" reveals a soulful hip-hop,between powerful groove and relentless flow, where Rocé blends political lucidity and poetic verse while Cisko"s subtle arrangements sculpt an organic, sensitive landscape, poised between tension and serenity. On "Lunaire", Rocé surprises us right away, with a sharp and melodic flow. Driven by powerful imagery and sharp lyrics, the track transforms anger into creative energy. It portrays an artist outsidethe mainstream, awareof the world"s failings but determined to create his own haven. Palmier embodies the melancholy of unfinished struggles, perseverance, and the promise of a brighter dawn.

The cycle of life and nature is a precious and wondrous thing. We are born. We learn. We live. We die. And after death, another life awaits. When the world succumbs to the cold, dark grasp of winter, the promise of a spring birthing everything anew keeps hope alive. Such is the journey we make, and such is the lifespan of “Faþir”. Heaving, pulsating, filled with contrasts: ardent hostility and fiery revenge, blossoming life and lush fertility, soul-wrenching grief and deep anguish. Such is the path we walk under the guidance of the deities – the helping hand of a father, the nurturing wisdom in times of need. But sometimes, a treacherous god leads us into death and despair, albeit always with an underlying purpose. Such is “Faþir”.

With eloquence, elegance, and emotion, L. Swärd has created another monolith of sublime art to add to Forndom’s impeccable discography. This highly awaited follow-up to 2016’s “Dauðra Dura” is nothing short of a modern masterpiece, rooted in ancient ways. Expressive vocals and strings soar atop a foundation of unyielding drums, like spirits dancing in the skies yet bound to the human pulse. Never surrendering its strong connection to our mortal world, “Faþir” carries a deeply sacred dimension – a glimpse of the divine, seen through a lens of devotion and veracity. The joining of death and life, if you will.

The thick atmospheres and vast inner landscapes Forndom creates are more prevalent than ever, and from the first trembling string introduction of “Jakten” to the last wistful beat of “Hemkomst”, one is transported to another time, another place, and another mindset – leaving behind the calamity, stress, and superficiality of the modern world, and rediscovering the lost wisdom hidden behind the veil of passing years.