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Aspen is very proud to introduce ‘Non Sonett’ by the Christian Wallumrød Ensemble. This ensemble is a pioneering Norwegian chamber group whose work on ECM and Hubro has redefined the boundaries between jazz, contemporary composition and folk music.Across seven albums, the ensemble has developed a highly distinctive l anguage built on restraint, timbral nuance and collective interplay, placing it among the most influential European ensembles of the 21st century.

Bringing together some of the finest musicians in Norway, the ensemble draws on a rare collective sensitivity, where each player contributes to a deeply integrated and texturally rich sound world.

With Non Sonett, the Christian Wallumrød Ensemble opens a new chapter that grows directly out of recent years of work in more solitary and cross-disciplinary contexts. In this period, Wallumrød has developed material for solo performance as well as for dance, allowing ideas to take shape in more fluid and exploratory formats. Some of this material now finds its way into the ensemble, where it is met by the possibilities offered by instrumentation, collective playing, and the distinct voices of the musicians. At the same time, older pieces—originating in entirely different settings— re-emerge here in new forms, reshaped by the ensemble context.

A defining aspect of Non Sonett is the way many of the pieces function less as fully determined compositions and more as open frameworks: starting points, suggestions, or “springboards” for music. These structures invite response rather than prescribe outcome, relying on the ensemble’s inherent sensitivity and capacity to realize and transform the material in performance. The result is music that feels both precise and fluid, shaped in equal measure by composition and by the interpretative presence of the players.

Central to this album is a continued deepening of Wallumrød’s long-standing interest in ambiguity and in dissolving boundaries between different musical elements and expressive worlds. By placing contrasting materials and associations side by side—sometimes subtly, sometimes more overtly—the music opens up spaces where meanings remain fluid and interconnected. On Non Sonett, this approach is taken a step further, allowing these juxtapositions to play an even more active role in shaping the music’s character and flow.

This approach connects closely with the ensemble’s broader artistic trajectory. Over time, the Christian Wallumrød Ensemble has developed a language that is immediately recognizable—marked by reduction, clarity and a deep attention to sonic detail. While each release has its own character, the underlying aesthetic remains consistent: a focus on the inner life of sound itself. Rather than foregrounding gesture or virtuosity, the music draws the listener toward the smallest elements, where meaning emerges gradually through texture, spacing and timbre.

The listening experience becomes one of concentration and proximity, where each sound carries weight, and the accumulation of detail forms a larger whole. References may be sensed—to early polyphonic music, Norwegian folk traditions, or more recent experimental practices—but these are absorbed into a singular musical language that resists categorization.

As with the ensemble’s recent work, Non Sonett also continues the integration of electronics as a fundamental part of the sound world. Each musician engages with electronic elements alongside their acoustic instruments, creating a layered and dynamic sonic environment. At times, this leads into extended, exploratory passages reminiscent of analogue musique concrète; at others, electronics operate almost imperceptibly, subtly altering and extending the acoustic textures in real time.

In 2025, we celebrate 30 years Out Of Line - Three decades of chaos, passion and 0 Years in - Still defiant, still evolving…2026 marks the 30th Anniversary of Massive Ego, and the release of a brand new album: “Symphony Of Flies” is revealed on May 8th, 2026 and marks the band’s first ever vinyl release. Available as Digipak CD and Limited Red Vinyl. Symphony Of Flies is a powerful, defining statement in Massive Ego’s long and uncompromising career, marking not only the band’s 30th anniversary, but also a moment of reckoning, survival and renewal. Across ten tracks, Massive Ego transform personal collapse, recovery and resistance into one of their darkest, most personal and emotional works to date. Musically, the album moves effortlessly between darkwave, electronic rock, EBM, glam-infused bombast and confrontational pop, pairing club-ready intensity with deeply introspective lyricism. Singles such as “In Your Own Darkness”, “Hit The Kerb Running”, “(My) Death Song”, “Man Become Monster”, and “Broken Tomorrow” showcase the band at their most fearless, culminating in a standout collaboration with Boy George, whose presence underscores the album’s themes of endurance, reinvention and personal growth. Lyrically, Symphony Of Flies reads like a confession and a journal. Frontman Marc Massive confronts mental health, betrayal, isolation, and the long climb back from the brink, reframing darkness not as something to romanticise, but something to fight through. The album’s central metaphor, the “Symphony Of Flies,” evokes surveillance, toxicity, decay and transformation: the unseen forces that drain, observe, and attempt to undermine, until they are finally confronted and dispersed. “The worst things that happen to you are the best things that happen to you”

After the success of her fiery 2024 LP, Baptized By The Blaze, Nashville outlaw siren India Ramey is back with Villain Era, set for release on May 8, 2026, via Copoco Records/Blue Èlan. Baptized By The Blaze was the story of Ramey’s journey through the fire, a harrowing passage toward healing and empowerment. Villain Era is firmly rooted in her own reckoning; it doesn’t ask for permission, it kicks the door wide open. “This album is the ‘healed’ me,” Ramey says. “I didn’t know how to have boundaries because I was such a people pleaser. If my boundaries offend you, I’ll happily play the villain in that story.” Ramey left the South for the first time to record in Los Angeles with two-time Grammy-nominated producer Eric Corne. Together, they built a soundscape as cinematic as it is cathartic, with a powerhouse band including Ted Russell Kamp, Eugene Edwards, Chris Masterson, Eleanor Whitmore, Kevin Brown, Boo Bernstein, and Haley Spence Brown. The result is Villain Era: ten spaghetti western–meets–honky tonk vignettes penned solely by Ramey, laced with grit, gallows humor, and emotional precision. With five studio albums under her belt, Ramey continues to be one of country music’s fiercest truth-tellers. Now, with Villain Era, she stands unapologetically in her power, delivering songs that cut deep and laugh loud, songs that balance the weight of lived experience with the freedom of release.

Budapest-based concept label, Blue Sun is launching their new line of vinyl focused releases, aimed primarily on DJs and collectors: the Blue Series. A counterpart to the Orange Series launched last year that showcases a more upbeat side of the label, the new collection presents a darker, more experimental, and introspective musical vision.

The first release in the Blue Series is a six-track EP by Budapest based multimedia artist, Virág Réti. Choosing her legal name as her artist persona (“Flower of the Meadow" in Hungarian) also with the track titles capturing the folk names of local fauna, Peremidő evokes the artist's innate connection to nature as a place of refuge from the noise of Eastern European urban life.

The EP’s motifs point back to early memories of sitting by a river, simply observing time flowing by. The arc of the songs follow the passage of a day, beginning with the hesitant sounds of early morning, gradually moving on toward more defined, rhythm-driven forms. As the airy textures slowly give way to structure and percussion comes to the forefront, the sense of direction becomes clearer, letting moments of gentle disorder and unexpected sounds to surface.

Virág previously appeared on the label’s Blue Sun VA II compilation with her track Bíbic. Since launching her ambient music project in the fall of 2024, she has become one of the promising newcomers in the Hungarian experimental electronic music scene. Her debut EP, Minden Ami Megmaradt (All That Remains), was released last November as the final offering of temporary nites label (2023–2025). She is also the founder and organizer of the Budapest-based experimental electronic event series Still Places.

Milan Records are excited to announce the release of TRAVESÍA, an album of music by prolific composer, producer, and artist RYUICHI SAKAMOTO curated by five-time Academy Award®-winning filmmaker Alejandro González Iñárritu. Available in vinyl format, the compilation album features twenty tracks handpicked by Iñárritu, who famously collaborated with Sakamoto on his Best Picture-winning film, The Revenant. Taking its name from the Spanish term for “journey,” Travesía spans nearly four decades of Sakamoto’s solo work and scores, with Iñárritu taking listeners on a one-of-a-kind trip through the iconic musician’s career.

A tribute to Bob the Landlord from Rotterdam. Bob the Landlord became known in Rotterdam after appearing in a documentary about the harbor cafe Willems Kantine. He was a loud and direct landlord who rented small rooms to people around the area. Bob was famous for his strong Rotterdam attitude and the way he spoke to people without filtering his words. One of the most famous moments was when Cowboy Jos asked him for five euros. Bob angrily replied, "Five euros? On your face!" This line later became a well-known quote in Rotterdam. Even though he could be rough and strict, Bob became a memorable character and a small cult figure in the city. 4 tracks on one very special release. A1 by Doctr - Our Minds Belong Together. The long awaited super nu italo hit already played by David Vunk at many festivals and clubs where everyboday is waiting for! A2 by Theo Scuera - Your Virus. Club banger and Dancefloor filler with crazy sexy bassline and pumping rhythm section. Half electro half techno. Endmix legendary by Endrik schroeder. A1 David Vunk and Ben la Desh - Unrealized prophet. Long time friends Ben la Desh and David Vunk team up again with another super deep techno house track, layered analog sequencial prophet 5 synths sound, Erica Perkons drums and fx. All of this comes together in an exciting tech break with space-like sounds. Be prepared for this secret wapon. B2 Patricio Diaz - Come To My Hell A Parisian space house techno track with energetic beats and 90ies vibes. Pure energy. Get your 10000 steps on this one. Hint: Most likely people will already buy this just for the cover. So be quick for this release and don't miss this.

"Late '80s and early '90s electronic music has had a steering influence on the Altered Circuits catalog curation, so we are delighted to present an EP by one of the pioneers of that era: Olivier Abbeloos. His 40 years of experience as a producer and DJ translate into a Discogs profile so extensive it reveals his real name alone can be (mis)spelled in 20 different ways. "1993-1994: Rare & Unreleased 1" features five tracks produced under three different aliases, all sourced from the artist's DAT tapes vault, dating back to the prolific two-year period referenced in its title. ALT024 opens with two "Conga Squad" tracks. "Combo" is a high-energy cut driven by a savory staccato chord progression, and "Substitute" works a similar, yet more restrained dynamic, that is, until a boisterous vocal sample enters. The quirky bass lines and moody synth work of "Under The Ground", the first "Holographic Hallucination" inclusion, concludes the A-side. Its twilight atmospherics fit right in amid the B-movie horror electro trending on contemporary dancefloors. The flip opens with "Psychosky", which caters slightly more to a slow-burner vibe and sets the stage for extensive piano work. "Dj Flavour", composed under the "Warp Factor One" alias, closes the EP. Here, the Latin-tinged percussion that runs as a subtle thread throughout the release takes the spotlight, while funky basslines and manipulated vocals add layers of detail. It is the only track on the EP that was already released in 1994, appearing as part of a - by the standards of that era - obscure and very limited 300-copy pressing. Those times sure have changed, but the music still sounds as fresh as ever."

Caterina Barbieri & Bendik Giske's At Source resounds music as wellspring, that which is essential and unknowable, and yet utterly primary. It finds two acclaimed composer-musicians building a world together in self-contained collaboration between analogue synthesis and an extended approach to the saxophone that conjures its own universe of sound. It is at once intimate and cosmic, drawing on the challenges and possibilities of their artistic exchange, tearing down technique to access all the expansive possibilities of their sonic meeting point.



At Source is a document of the world of sound to be conjured when two artists strive for something together, discovering the expansions and limitations of performance by bodies and machines. It is not an exercise in assimilation, but in productive exchange and creative confrontation. It does not draw on outside energies or influences, but grapples with what there is to find in their respective playing. "It also reflects how natural the collaboration was," says Barbieri, "a meeting at the source which was spontaneous, graceful and natural".



Barbieri and Giske first met and were enthralled by one another's performances at Kunsthaus Glarus in 2019, a meeting that spurred conversations on the power of transitions as a compositional force. Giske later contributed a rework of Fantas for Fantas Variations (Editions Mego, 2021), an ambitious undertaking to rescore Barbieri’s work for his saxophone and voice, a challenge Giske had started undertaking two years prior as an ongoing practice of transcription. “The request came as a proof of aligned ideas”, says Giske.



Their new collaborative project then started during an artistic residency in Milan’s ICA in 2021, by invitation of swiss artist and curator Jan Vorisek, as the world was emerging from lockdown. This meeting, and the preceding closure of sites for cultural exchange, made their work together 'feel like springtime' says Barbieri. Giske, who was on the brink of releasing his sophomore album, Cracks, then joined Barbieri's light-years tour, which functioned as an inaugural incarnation of her newborn label and platform through a series of multi-artist curated shows with appearances of Lyra Pramuk, Nkisi, MFO, among other artists.



Through the tour, they continued to develop material live, and this release, laid down in the studio, is true to that ever-evolving process of creation, where live feedback stays essential to the vitality of this collaborative effort. The tracks are each named with two evocative words that contain the two poles of their sound. Theirs is both abstract and cosmic, in the synth as machine undermined by Barbieri's naturalistic playing, and in Giske's continuous exploration of the symbiosis between his instrument, voice, and body. These binaries, of body and machine, posed various challenges, notably in how the stepped patterns Barbieri uses were near-impossible to translate for Giske's body to perform, and other times where mathematical resolutions were needed to sync their playing. Explains Giske: "It forced me to go to the core of what I am and what I have to offer”. Barbieri says that it "explores the liminality between the machine and the human, and the vulnerability in this process".



At Source is testament to two divergent practices finding a whole cosmos in which to convene; music is crystalised and made utterly enveloping through the focused and critical work of two musicians working at their peak. The versions here are, temptingly, "just one of many versions" of this abundant source material Giske explains. Like the best collaborations, At Source is more than the sum of its parts – bringing more to the feast than the simple combination of two musicians, promising versions upon versions of the exquisite material captured here.

Strut proudly presents Nuclear War, a powerful collaboration between UK collective The Heliocentrics, Sun Ra Arkestra legends Marshal Alen and Knoel Scott, and vocalist Bilal - issued on limited-edition “hazardous” orange and yellow vinyl exclusively for Record Store Day 2026.

The Nuclear War recordings stem from a rare session at Malcolm Catto’s Quatermass Sound Lab in January 2015. The group had assembled in London to rehearse for their performance at Giles Peterson’s Worldwide Awards, where Alen received the Lifetime Achievement Award and Catto the John Peel Award. With The Heliocentrics’ trademark raw, psychedelic energy as the backbone, the ensemble captured a series of reimagined Sun Ra classics in a spontaneous, one-off studio moment, and these tapes that have remained unheard in Catto’s archive until now.

The 4-track EP features a sinuous take on Ronnie Boykins’ ‘Angels And Demons At Play’, originally recorded in 1960, a strident version of ‘Where Pathways Meet’ which was originally created for the much-loved Sun Ra Lanquidity album in 1978, and a dense and deep re work of 1972’s ‘Astro Black’ featuring Bilal’s incredible otherworldly vocals. The title track ‘Nuclear War’ is re-worked into a cavernous groove featuring Heliocentrics vocalist Barbora Patkova. Nuclear War is mixed by Malcolm Catto, mastered and cut by Frank Merritt at The Carvery, and designed by Alex Evans of Reason For Being Studio.

In 2023, Wood secretly worked with producer Kevin Antreassian on a new mix of his top-selling release "The Normal Album." Digging into the original 2019 recordings for more muscular takes, smoother edits, and a more nuanced and balanced mix, Antreassian and Wood created a version of the fan favorite that is one of the rare cases where a new mix is widely considered to improve on the original noticeably. "The Normal Album" is yet another turn in Wood's discography, sardonically playing with Americana and doo-wop sounds, strategically restrained but still highly emotive vocals, and lyrics densely packed with scientific and philosophical references. The dark mania of Wood's prior 2016 release, "SELF-iSH," continues on some tracks but is arranged with greater precision with a new band at his command. Like his 2015 debut "Everything is a Lot," the songs whiplash tonally but are brought together through intertwined themes and recurrent musical motifs and an undercurrent of simultaneous obtuseness and vulnerability. After the original mix of "The Normal Album" was released, a live version of the 4th track on the LP, "I/Me/Myself," had an unexpected viral moment, which brought attention to many other songs on the LP. Songs like "2econd 2ight 2eer" and "Laplace's Angel" continued to attract new fans with their dense wordplay and high-energy attitude, and the album became Wood's first major break into larger notoriety, proving that his sudden burst of popularity was not just a fleeting trend. After taking some time away from the public, Wood began to revisit the album with the intent of giving it the production that he had originally envisioned for it. Wood's top-selling album re-edited for a fuller sound and clearer instrumentation, bringing the album to a new level: new Modern Stereo Mix - 2023 Edit

Laurel Halo returns with an album of original soundtrack music, composed for the film Midnight Zone by visual artist Julian Charrière. Following the path of a drifting Fresnel lighthouse lens as it descends through the Clarion-Clipperton Fracture Zone — a remote abyssal plain in the Pacific Ocean, rich in rare metals and increasingly targeted for deep-sea mining — the film traces a descent into one of Earth’s last untouched ecosystems.


Charrière’s film reveals the deep not as void, but as a luminous biome teeming with fragile life: bioluminescent creatures, swirling schools of fish, and elusive predators. The suspended lens becomes an abyssal campfire, attracting species caught in the tides of uncertainty, their futures hanging in the balance.


Echoing this tension, Halo’s compositions evoke a sensory freefall, where gravity falters and light and sound flicker in uncertain rhythms. Midnight Zone is a sonic drift through the space between what we seek to extract, fail to understand, and must protect.


Halo’s score evokes the life that exists beyond our physical airbound capacity. The material features long, subtle passages of electro-acoustic ambient, drone and sound design, slowly flowing and unfolding with rich detail. The music, composed largely on a Montage 8 synthesizer and Yamaha TransAcoustic piano at the Yamaha studios in New York City, possesses an uncanny quality: that of synthetic waveforms being amplified and sung through the stringboard of the physical body of the TransAcoustic piano. Combined with stacks of violin and viol da gamba, the music on Midnight Zone possesses trace elements of a human hand in an otherwise sunken landscape. Patient, submerged, and alive. The album will be the third on Halo’s imprint, Awe.


The film is central to Charrière’s current solo exhibition Midnight Zone. The exhibition engages with underwater ecologies, exploring the complexity of water as an elemental medium affected by anthropogenic degradation. Reflecting upon its flow and materiality, profundity and politics, its mundane and sacral dimensions, the solo show acts as a kaleidoscope, inviting us to dive deep.

Weiter geht's mit den Ipecac ISIS-Neuauflagen: ,Wavering Radiant" ist das letzte Album der Band aus dem Jahr 2009, neu gemastert von James Plotkin. Die 2LP 140gr-Vinyl kommt in einer Tip-On-Gatefold-Hülle in zwei Versionen: Standard-Schwarzvinyl und eine Indie-Exklusivausgabe in Ultra Transparent. Das Album wurde von Joe Barresi produziert, und die Band hat sich knapp ein Jahr nach der Veröffentlichung getrennt. Das Album setzt die Tradition von Isis fort, lange Songs zu schreiben, weicht aber ein bisschen von der Soft-Loud-Dynamik und der Post-Metal-Ästhetik ab, die frühere Veröffentlichungen geprägt haben. Es wird allgemein als das zugänglichste Album der Band angesehen. Obwohl die Band seit über einem Jahrzehnt nicht mehr existiert, ist ihr Einfluss auf den Metal immer noch spürbar, und die Verkaufszahlen machen sie weiterhin zu einem der Top-Künstler von Ipecac. Continuing in our series of ISIS reissues, Wavering Radiant is the band's final 2009 release, remastered by James Plotkin. The 2LP 140gr Vinyl packaged in a tip-on gatefold jacket in two retail variants. Standard Black Vinyl and an Indie Exclusive Clear The album was produced by Joe Barresi, and the band split just over a year after its release. The album continues Isis' history of lengthy songwriting, yet presents a slight departure from the soft-loud dynamics and post-metal aesthetic which characterized previous releases. It is widely considered the band's most accessible release in their catalog. Although the band has been defunct for over a decade, their impact on metal is still reverberating, and sales continue to make it one of Ipecac's top artists.

Originally released on CD in 2006, It's A Feedelity Affair marked a formative moment in Hans Peter Lindstrøm's early career, compiling key tracks from his first wave of 12-inch releases between 2003 and 2006. Now, twenty years after the founding of his Feedelity label, the album is presented for the first time as a newly remastered vinyl edition.

"Listening back now, I hear an artist still figuring things out, but with a clear instinct for where I wanted to go. It was a period defined by freedom - no rules, no expectations." - Hans-Peter Lindstrøm

Released at a time when electronic music was shaped by extended runtimes and physical formats, It's A Feedelity Affair captured a club culture rooted in patience, atmosphere, and spatial awareness rather than immediacy. Its long-form approach remains central to the album's lasting appeal and resonates strongly with today's renewed focus on vinyl and immersive listening experiences. The album stands as a document of an era marked by experimentation, expansive club tracks, and an open-ended vision of electronic music.

Upon its original release, the album received widespread international attention, including a Best New Music rating (8.4) from Pitchfork. The track I Feel Space has since become one of Lindstrøm's most enduring and recognizable works. The album also documents some of his earliest collaborations with Prins Thomas and Christabelle, resulting in tracks such as Boney M Down and Lovesick.

Lindstrøm relaunched Feedelity in 2024, with the label returning in 2025 alongside his most recent album Sirius Syntoms and the single Cirkl, marking a full-circle moment for the imprint. A new studio album is currently in progress and expected in autumn 2026.

Morcheeba unveil Remix The Chaos: Volume 1, the first instalment in a three-part remix series drawn from their 11th studio album, Escape The Chaos (2025).

Spanning four tracks per volume, the project brings together an eclectic, global roster of electronic producers, each offering a distinct reimagining of Morcheeba’s unmistakable sound. Multi-genre and far-reaching, the series expands further into the rich sonic world the band have built over the past few decades, pushing their music into bold, contemporary electronic territory. Volume 1 features remixes from Paula Tape, the Chilean superstar producer, recent Mixmag cover star and one of electronic music’s most exciting names heading into 2026; Trance Wax (a.k.a. Ejeca), the prolific Belfast producer specialising in high-energy breakbeat and trance-leaning remixes; Frazer Ray, the London-based underground force known for UK bass, breaks and garage; and Brothers Counsell, a side project from the formidable Joy Anonymous.

Together, the tracks form a journey of dancefloor-ready hard hitters, powered by Morcheeba’s iconic vocals and signature guitar lines. Pressed on limited edition traffic light red vinyl, Remix The Chaos: Volume 1 comes with deep-cut grooves designed to hit just as hard on a club sound system as they do from the comfort of your living room.

Sadeira is a production trio made up of members based in both Brooklyn and Brazil and have dropped some global groove heat on the likes of Let's Play House and London-based Leng. For this one, they drop the first release from Ceci Discos in the form of the original single 'Miscigenacao'. It's a summer, deep cut sound with Balearic, MPB and jazz all colouring the swaying rhythms. Breezy vocals transport you to a coastal setting while the percussion is lively and authentic. The Jacques Renault Rhythmental remix lands more heavy but just as patiently, Diogo Strausz ups the sunshine with his piano-led reverie, and the Saidera Steppers dub is one to crank up nice and loud early in the evening.

Tip on sleeve.

Latin Grammy-Winning Producer Pupillo Unites Global
Artists on his new album

Co-produced by Mario Caldato Jr. (Beastie Boys), featuring collaborations with Rodrigo
Amarante, Carminho, Adrian Younge, Gaslamp Killer, Cut Chemist, Hervé Salters, and more
Drummer, percussionist and producer Pupillo, one of the most influential figures in Brazilian
music and a four-time Latin Grammy winner, releases his first original album through the Los
Angeles–based label Amor in Sound. The record brings together an impressive and diverse
group of collaborators from Brazil and abroad. Amor in Sound is run by Samantha Caldato,
the project’s executive producer and creative director, and Mario Caldato Jr. (Beastie Boys),
who co-produced the album alongside Pupillo. The project was developed in a free,
experimental environment, allowing the artist to explore the many rhythmic and sonic
territories that have shaped his career — from Northeastern Brazilian traditions to jazz, hip
hop, and cinematic soundscapes. Listen here.

The album features special appearances by Brazilian artists such as Céu, Rodrigo Amarante,
Agnes Nunes, Amaro Freitas, Davi Moraes, Alberto Continentino and Pedro Martins,
alongside a strong roster of international collaborators, including Carminho, Gaslamp Killer,
Loren Oden, Adrian Younge, Cut Chemist and Hervé Salters (known for his work with
General Elektriks). The album’s 12 tracks were further enriched by contributions from
Jeremy Gustin, Roberto Schilling, and other musicians who make Amor in Sound Studios in
Los Angeles a place of creative exchange.

Beyond his work as the drummer of Nação Zumbi, Pupillo has built a prolific career as a
producer and collaborator with some of the most important names in Brazilian music,
including Gal Costa, Nando Reis, Erasmo Carlos, Céu, and Otto, helping to shape the sound
of multiple generations. This trajectory has earned him four Latin Grammy Awards.
From Pernambuco, Pupillo is also an acclaimed composer for cinema, having written
soundtracks for films such as Arido Movie and Blue Blood (directed by Lirio Ferreira), The
Assailant (directed by João Daniel Tikhomiroff), among others. This cinematic sensibility
permeates the album, which unfolds like a film, moving through richly textured soundscapes
that cross continents and musical traditions.

Double 12" release

The Story — From the Streets of Rome to the Male Productions Label
In the early 1990s, Rome lived in a kind of suspended moment. The city was still tied to its historic clubs, yet in the outskirts—inside abandoned warehouses, quarries along the coastline, and the wooded parks north of the capital—something new was beginning to stir. A nocturnal, constantly shifting movement fuelled by a hunger for freedom and a sonic curiosity that reached far beyond the mainstream.

Moving through this ferment was Francesco “Chicco” Furlotti. First an organizer of unconventional parties and underground nights, he soon became one of the driving forces behind Rome’s itinerant rave scene. Furlotti sensed that a wave of change was about to sweep across the city. It wasn’t just about parties: it was the rise of a culture, a new way of thinking about music, community, and belonging.

It was within those nights—later held with official permits, properly built sound systems, and an ever-growing crowd—that Furlotti recognized the existence of a distinctly Roman sound, and the need to capture it, preserve it, and give it tangible form.
So, in 1991, he decided to take a bolder step: to found an independent record label—small, determined, and far removed from the commercial logic that dominated at the time.
That was the birth of Male Productions.

Male was not a label like any other: it was a workshop, a gathering point, a creative hub where DJs, producers, friends, and wanderers converged. Within that environment, an artistic core took shape—Stefano Di Carlo, Leo Young, and Mauro Tannino, along with other collaborators orbiting around Furlotti. From their synergy emerged a project whose very name declared its mission:

The True Underground Sound of Rome.

The collective did not simply aim to release music; it sought to tell a story of Rome through sounds that defied categorization: house, techno, ambient, electronic mysticism, psychedelic visions… a unique blend, instantly recognizable, emotional, and experimental. The sessions unfolded using essential yet razor-sharp gear: Roland drum machines, analogue synthesizers, Akai samplers, stripped-down mixers. Few tools, endless imagination.
The first result of this work was the 12” Secret Doctrine, released in 1991 in an extremely limited run—around 500 promotional copies, according to accounts. The record captured something that until then had floated only in the air of Roman raves: enveloping atmospheres, deep rhythms, melodies built to make the mind travel far beyond the dancefloor. A sound that did not imitate what was happening in Detroit, London, or Berlin, but absorbed those influences and re-sculpted them with a distinctly Roman sensibility.
Yet, precisely because it was independent and detached from commercial circuits, Male’s output remained sparse: few EPs, few copies, irregular distribution. Over time, those records became rare artifacts—almost mythical objects within the Italian electronic scene. The legacy of Male Productions seemed destined to survive only in the memories of those early years, in the stories told after raves, and in the private archives of a handful of collectors.
Many years later, thanks to the almost accidental rediscovery of a few original copies of the first two releases issued by Male Productions, it became possible to undertake a meticulous process of recovery and restoration of the audio etched into those grooves, with the aim of preserving as fully as possible the quality and character of that unrepeatable sound.

We are therefore able today to present — at last in a complete and faithful form — the first two mixes created for Male Productions, now released on a double vinyl that brings back into the present the exact moment when it all began: the nomadic nights of the raves, Furlotti’s vision, the creativity of Di Carlo, Young and Tannino, and the sonic identity of a Rome in the midst of transformation.

This is not merely a reissue.
It is a historical document.
A fragment of a culture that changed the city.
The authentic sound of the Roman underground, finally returned to the world.

Following on from his debut album, Miles Spilsbury returns to New Dawn with Spirit Level. A new project in collaboration with close friend Gorse Panshawe (formerly known as Slugabed - who also produced Miles Spilsbury's first album Light Manoeuvres).

Recorded over one weekend in a weaving shed in Frome, in the English countryside. Surrounded by reels of yarn, they explored saxophones, flutes, dusty old keyboards & drum machines. The resulting record conjures the murk and moss of Forestland and grounds with grooves from the Bongo setting on a Casio keyboard. Jake Long added mallet drums from his London studio to round off the album.

Fast At Work touches down with its fifth flight, and it’s come a long way. Hailing from Kyoto, Japan, Stones Taro delivers three original productions that move through dubstep, breakbeat and the restless spaces in between — a record that carries the weight and precision you’d expect from one of the most in-demand producers to emerge from Japan’s underground in recent years.

“Dance Music That Hurts” — the motto of Work of Intent.
Hurts, because it goes straight to your heart.
There’s no better way to put it.
His productions are rooted in the UK underground,
dripping with both techno and pop sensibilities.
This is “big room” like you’ve never experienced it before—
music you can’t ignore, driven by storytelling and raw emotion.
He’s found a home on labels such as Monkeytown, Turbo, and REKIDS, and continues his relationship with Laurent Garnier’s COD3 QR .
Founder of the clandestine edit factory *Emotional Weaponry*,
he continues to receive support from industry heavyweights.
Former manager of *DAYTIMERS*, the UK-based collective championing
South Asian sounds, stories, and voices,
and a highly sought-after mix engineer for some of the UK’s most exciting prospects.
We’re beyond happy to welcome Roshan Chauhan aka Works Of Intent to the family.
Feels like the beginning of a long, dramatic love story.

Credits:
Written and produced by *Works of Intent*
Distributed by *One Eye Witness*

Some grooves don’t rush to the dancefloor — they crawl there, slow and heavy, like smoke wrapping around a bassline. With Fragments of Reality, The Balek Band sculpt an electronic funk that lives between shadow and light — an end-of-the-world fever dream, a Barjavel-style Ravage where chaos turns nihilistic.

No sequencer grid here — just four musicians sharing the same room, shaping air and tension together: drums locked tight with a slap bass, a guitar dripping with echo and heat, and a one-man orchestra behind his machines, weaving acid lines and synth arpeggios while mixing the band live — drenching it in delay, reverb, and saturation, like a dub producer in a Kingston studio, Lee Scratch Perry or King Tubby conjuring ghosts through smoke.

This isn’t fusion — it’s friction. A living ritual where the TB-303 hums, and machines don’t dominate but converse with the human pulse. Each track feels like a night that refuses to end — that humid in-between where trance slips into languor, and the body starts to think for itself.

The record recalls the cosmic jazz of Alain Mion or Eddy Louiss meeting the fiery energy of West African afrobeat musicians freshly arrived in a smoky Belleville basement in the mid-’80s. When The Balek Band summon ghosts, it’s only to reshape them — bending the past into something futuristic, alive, and strangely refreshing. Both disciplined and delirious, Fragments of Reality feels like a promise at dawn: dark funk for the late hours, slow acid for warm blood.

This EP isn’t nostalgic, though it remembers. It’s a transmission from a parallel past — a moment when jazz players met drum machines and decided never to stop playing. Each note sweats, each rhythm breathes. You can almost see the light cutting through the haze, faces half-awake, half-possessed.

The Balek Band aren’t recreating a moment — they’re keeping it alive.
Flesh and cables. Impulse and patience.
A band, not a loop.
A trip, not a format.

16 years after debuting, Coyote's hush-hush Magic Wand imprint continues to be one of the most reliable sources of Balearic-minded re-edits and reworks. Their latest is suitably mysterious - a single-sided missive released with no information about either the uncredited scalpel fiend behind it or the source material. What we can tell you is that 'Suntrip' is undeniably ace, with our shadowy editor delivering an extended, lightly dubbed-out take on what sounds like a mid-1980s big studio number: the kind of off-beat pop-not-pop record that Balearic heads love. Think synth marimba lines, fretless bass, effects-laden drums, glassy-eyed male lead vocals, glistening guitars, nods to dub and lashings

Peer Du is the next artist to be released on the ever-versatile Zenit Ltd.

This EP fully reflects the spirit of the label, unfolding through a wide range of moods and textures. Side A opens with “Spezial,” the title track of the release: a melancholic yet hopeful piece suspended somewhere between electro and trance, and one that is hard not to be moved by. The A-side closes with another version of the same track, deeper in tone, yet still as dreamy and ethereal as the original. Side B shifts gear and atmosphere, reaching further into the night. “DYT” is an insistent breakkatone cut with moments of lift and openness, as if stretching toward the sky. The mood remains recognisably Peer’s, but there is also a clear change in intention. DYT reworks a minimal electro break, drawing its roots from the late 1990s. The release closes with “Rabotnik,” where all the uncertainty of the night takes shape. An intense and multifaceted release, rich in nuance and hard to walk away from untouched.

Presenting the remarkable second album by the Chinese musician, DJ and creative chef Yu Su. An evolution from her 2021 debut LP and two track single released last year, Foundry radiates a fresh, fully-fledged and far-reaching sound.

The nucleus of Foundry began with material penned for live performance at MUTEK in 2025, alongside a move to London which brought about new shifts in perspective. Searching for a style that was true both to her roots and progression as an artist, Yu ventured in a post-orientalist direction, and came upon a language of ‘in-between music’.

Mixing the eclectic influence of her DJ sets with genre-defying collaborators and newfound taste for minimal and ambient techno, a dusky, dub-inflected character began to emerge. This broad palette reiterates Yu’s prior form in making connections across disciplines, which have not only consisted of music, but also multisensory endeavors which incorporate taste and smell.

With cover art featuring hammered metalwork by the artist Brendan Ratzlaff, for Yu the foundry represents a nexus of creation; a shared workspace where collaborators combined their materials and skills. With the input of Seefeel, Dip In The Pool, and Memotone, together their broad spectrum of aural elements underwent a chemical transformation, and were forged into something new.

Well-designed, ergonomic yet occasionally amorphous, the effect is that of meticulous freedom, both controlled and free flowing. Using immersive sound design, Yu creates inspiring spaces to revel in, which are warm yet steeped in shadow, with flashes of silvery light.

Featuring Yu in with duet Miyako Koda of cult Japanese art pop duo Dip In The Pool, the record kicks off in swirling but poised fashion with ‘A Jewel’. The dusky, reverberant underwater minimalism of ‘Sunless’ follows, which features British composer Memotone, and was influenced by Chris Marker’s 1983 film Sans Soleil.

The dubby, sunkissed affirmation on ‘Cul De Sac’ leads to the thumping acid stomp of ‘Foundry’, and onto the hazy glow of ‘One Place After Another’, featuring lauded soundheads Seefeel, where Yu’s voice is joined by Sarah Peacock’s, alongside Mark Clifford’s seductively gauzy fuzz guitar.

Venturing into more ominous territory is the liminal ambient dub of ‘Wanli’, followed by the rich textured flutter of ‘Os Cionn’, which translates from Gaelic as ‘above’. The album ends with the reflective, processional pulse of ‘Ripe Fruits’, which was inspired by Frederic Leighton’s 1892 oil painting The Garden of the Hesperides.

The LP’s visual was art directed by Lucas Dupuy, whose approach perfectly encapsulates Yu’s spatial sonics: “We both think in layers”, she comments. “Not linear layering, but horizontal layering, like weaving metallic threads, where a bigger picture of a grainy sphere will occur at the end.”

Mastered by Miles

Art by Lucas Dupuy & Brendan Ratzlaff

A special 20th anniversary repress of one of the most sought after Sushitech releases by the UK legend Dexter! Limited copies!!

“Tako” means “octopus”, “kite”, and even “bunion” in Japanese. Bald men or men with shaven heads, as well as red-faced, staggering drunks, are also referred to as “tako”. It’s a word that appears in a lot of slang and sayings. Taco is also the name of an 80s music and performance collective whose performances were like nothing before or since. The Japanese band Taco, formed at the beginning of the 80s, is a loose group/collective of varying members that belongs to the post-punk alternative music movement. The network of members were all friends and acquaintances of Harumi Yamazaki, ex-member of Gaseneta and Taco’s central member.

Taco can be described as a band of guerrillas who, over the years, continued to connect, collect, interrupt, and scatter while sending out into the world music and sounds that can best be described as transient. Taco also performed without Harumi, and so it is as though the band is an anonymous group of mercenaries. Taco’s first album was released in 1983 and had a huge impact on Japan’s underground music scene as an anomalous and collaborative album involving various participating artists (the stars of Japan’s underground music scene!) and Harumi, who provided the lyrics. Although each track represents a reverberating conglomeration of sounds created by this transient local network, common to all the tracks are Harumi’s expressive lyrics. This has the effect of transforming all the tracks into a single powerful force which, in turn, spawns an “incident” which spreads like a giant ripple. However, because of another incident in which the records were recalled due to the scandal caused by some of the lyrics, only a limited number of people actually own a copy of the album. Taco’s second album (a 12” EP), released in 1984, features a live recording of a performance that was held at the end of 1982. Taco is a band of indeterminate members which only ever played one-off performances, but this is an album that reveals a unit whose performance was unusually musically coherent. This is an album which effectively conveys the power of Taco’s astounding and legendary live performances, as well as Harumi’s inflammatory, sensational, and masochistic presence on stage. Her mutterings and screams, which practically ignore the detached beat, confront the audience like an overwhelming groundswell.

The following is a description of Taco by one of its members following one of its live performances: “Taco’s like a project where the indeterminate participants fan each other’s heightened emotions of wanting to wreak personal revenge and retribution. It’s an ecosystem of tangible and intangible mouldy slime which accumulates in order for emotions to be acted out, both indoors in the studio, or outdoors on stage. That’s why the avenger can often end up being the victim.”

Nameless, March 1985

No-one could have predicted the success of The 88, the first album from Minuit
(minwee), or how warmly it would be received. Equally no-one could have predicted that the band would return to the live arena a decade after their final fling or consider pressing their debut on vinyl for the first time.

Formed in Nelson, NZ in 1997, the trio cut their teeth playing regularly around the South Island’s underground club and festival scene. After a hiatus overseas, they began recording The 88 in 2002 in Ryan’s home studio. The lyrics were influenced by their travels around Europe and Ruth's time working for the UN in Kosovo and East Timor; the beats by The Prodigy, Portishead and the UK’s trip-hop and breakbeat scenes.

Signed to indie label Tardus, their tunes were eagerly picked up by the bNet student radio network, which then ballooned into high rotates on TV station C4, helped along by Alyx Duncan’s stunning video for Except You. A busy summer playing live every weekend for three months and seemingly universal praise from the music press led to them swiftly gaining gold sales.

Now 22 years later, with live shows looming, the trio have decided to revisit their debut, completing two previously unfinished tracks from the period to add a bonus to this inaugural vinyl release.

SILENCER's merciless emotional firestorm "Death – Pierce Me" is one of the few albums truly deserving the designation ‘cult’. From humble beginnings in the extreme underground, it rose to become a widely acclaimed masterpiece with a massive following.

To celebrate the album’s 20th anniversary, Lupus Lounge reissues this pioneering depressive metal milestone in lavish editions worthy of its legacy. "Death – Pierce Me" will be available as a 48-page hardcover CD book edition including a bonus track, and as part of a complete box set featuring a gatefold vinyl edition, a 12" version of SILENCER’s 1998 demo, and additional bonus materials.

When SILENCER released their sole full-length album under the same title as their 1998 demo, the time seemed ripe for an emotionally devastating strain of black metal incorporating doom elements and expressing bleak emotions of bereavement, loneliness, and despair. This emerging subgenre became known as ‘depressive black metal’, sometimes more extremely labeled ‘depressive suicidal black metal’.

Around 1998, this movement coalesced around Swedish acts SILENCER and SHINING, alongside Quebec’s MALVERY and US band XASTHUR, drawing influence from earlier pioneers such as Norway’s STRID and Germany’s BETHLEHEM.

While SHINING gained notoriety, SILENCER faded into obscurity, surrounded by rumor and legend. With only one historical interview, no live performances, and no follow-up album, the band became mythic. Through word of mouth alone, "Death – Pierce Me" continued to grow in stature, culminating in an IMPALA Silver Award in 2021 for 20,000 verified European sales.

5th solo-album from former Ozzy Osbourne guitarist! 1st album release in over 5 years. Guest appearances from Doro, Matt Barlow, Ronnie Romero & Dino Jelusick. Gus. G. will be touring extensively all over the world during 2026. Gus G. is featured as a playable character in the mobile-game Rock Kommander. The game has a global reach with hundreds of thousands of downloads, and will be promoting Gus G. and Firewind extensively throughout 2026.

Das fünfte Soloalbum des ehemaligen Ozzy Osbourne-Gitarristen! Das erste Album seit über fünf Jahren. Mit Gastauftritten von Doro, Matt Barlow, Ronnie Romero und Dino Jelusick. Gus G. wird 2026 ausgiebig auf Welttournee gehen. Gus G. ist als spielbarer Charakter im Handyspiel Rock Kommander vertreten. Das Spiel hat eine globale Reichweite mit Hunderttausenden von Downloads und wird Gus G. und Firewind im Laufe des Jahres 2026 ausgiebig promoten.

Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.

“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”
Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.

The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”

What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.

Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.

“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”
Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.

The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”

What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.

Die US-Kultband veröffentlicht ihr viertes Album.

Als die Idee für ein viertes Album (zum zweiten Mal) aufkam, war American Football klar, dass es düsterer werden würde. Nach einer einjährigen Welttour mit ausverkauften Konzerten zum 25-jährigen Bandjubiläum und der Veröffentlichung eines Coveralbums (mit Songs von Iron & Wine, Ethel Cain, Blondshell, u.a.) tat sich das Quartett mit Produzent/Toningenieur Sonny Diperri (My Bloody Valentine, M83, Kurt Vile) zusammen, um sein bis dato essentiellstes Album aufzunehmen. LP4 verbindet atmosphärische Soundlandschaften mit emotionaler Katharsis im Post-Rock-Stil. Anders als alles, was American Football bisher aufgenommen hat, fügt sie sich dennoch nahtlos in ihren stetig wachsenden und beeindruckenden Katalog ein. LP4 ist ein ambitioniertes künstlerisches Statement einer Band, die die Grenzen von Genre und Kultur immer wieder neu definiert. Es ist ein wunderschönes und vielschichtiges Album, das sich Zeit nimmt, seine Schönheit zu entfalten, während es gleichzeitig die dunkleren Seiten anklingen lässt, die sich so gut wie möglich verbergen. Das Album enthält Gastvocals von Brendan Yates (Turnstile), Wisp und Caithlin De Marrais (Rainer Maria).

Oceanine, Jolanda Moletta’s third album and her first for Beacon Sound, is a powerful and ethereal statement of artistic community. Expanding on her previous work, each track represents a collaboration with a different female vocalist, with the foundational elements being generated entirely by her own voice. By turns haunting, enchanting, and inspiring, you won’t want to come up for air once you’ve been pulled under. Representing a
musical practice that is distinctly feminist, this is an album with a longer view in mind, to an age when the altars were to goddesses and women were centered as powerful beings representing the earth’s cycles of regeneration and renewal. Oceanine then, in all its beauty, can be viewed as an album of survival. It is deeply transportive, accessing something that lies within all of us. As the late, great Lithuanian folklorist and archaeologist Marija Gimbutas noted, “We must refocus our collective memory. The necessity for this has never been greater as we discover that the path of 'progress' is extinguishing the very conditions for life on earth.”

Jolanda Moletta is a multimedia artist and one-woman electronic choir. She creates wordless compositions through extended vocal techniques, integrating wearable-controlled live processing, alongside symbolic visuals. Moletta considers her performances to be a collective ritual and creates her Sonic & Visual Spells following the cycles of nature and the moon. Jolanda's 2022 critically acclaimed album Nine Spells was released on the Ambientologist label, followed by Night Caves on Whitelabrecs in 2025. Moletta’s artistic practice is a radical and spiritual journey through sound art, ritual, and the symbolic archaeology of the feminine.

Oceanine is inspired by sirens, water nymphs, and the timeless call of the sea. At its core lies Jolanda’s deep, lifelong connection to the Mediterranean Sea and to the ancient and modern myths and folklore that have emerged from its waters. Growing up by the Mar Ligure, Jolanda was surrounded by stories carried by salt, wind, and waves: legends of sirens, echoes of ancient voices, and the sea as both origin and oracle. This intimate relationship with the Mediterranean is not merely a backdrop, but a living source that shapes Oceanine’s emotional, symbolic, and sonic world.

Each track features a different female vocalist, creating a rich tapestry of voices, styles, and perspectives. This artistic choice not only broadens the album’s sonic palette, but also deepens its narrative core: celebrating the power, beauty, and mystique of feminine energy through myth, history, and sound.

The entire album is built exclusively from the human voice, processed and layered, yet always remaining voice, and nothing else. For each piece, Jolanda invited every vocalist involved to contribute a raw stem: a short, unedited melodic fragment of just a few seconds, inspired by the album’s themes. These intimate vocal seeds became the foundation of each track: the guest artists’ voices appear as brief, melodic stems, while the entire surrounding “orchestral” fabric is created solely from Jolanda’s own layered and processed voice. In this way, Jolanda’s voice becomes the Ocean itself, embracing, absorbing, and carrying the sirens’ calls within a vast, immersive soundscape. Every song is a unique expression of the feminine experience, revealing its depth, complexity, and emotional range, echoing the call of the sea and the many faces of the siren archetype.

The figure of the siren has transformed across centuries. In myths of Ancient Greece and Rome, sirens were hybrid beings, part woman, part bird, whose irresistible songs lured sailors to their doom. During the Middle Ages, the image shifted toward the half-woman, half-fish figure, often associated with temptation and danger. Historically, the voice of women has often been feared. Sirens were considered harbingers of misfortune not simply because they seduced or destroyed, but because they were powerful liminal beings.

In Ancient Greek, sirens functioned as psychopomps: figures who existed between worlds and guided souls, especially between life and death. Their songs were believed to carry forbidden knowledge, including prophetic insight and the ability to reveal truths about fate and the future. The danger of the sirens lay in what they revealed: knowledge that humans were not meant, or ready, to hear.

Oceanine confronts this legacy head-on. The voices heard throughout the album are not merely beautiful: they are dark and luminous, wild and enchanting, magical, soothing, dreamy, and at times fractured or distorted. They whisper, lament, beckon, and enchant. Like sirens, they skim the surface of the water and sink into its depths, hovering on the edge between tenderness and danger, vulnerability and power. They rise toward the sky, dissolve into mist, and return as echoes charged with raw, elemental emotion: voices that seduce, warn, mourn, and remember. They refuse to be reduced to decoration.

Alongside the album’s release in May, Oceanine will also unfold as a visual and performative work through a short art film. The film includes a live session recorded inside a sea cave facing the Mar Ligure, the very coastline where Jolanda spent her childhood, dreaming of sirens and listening to the sea as if it were speaking directly to her. This site-specific performance reconnects the music to its place of origin, allowing the voice to resonate within stone, water, and air, and transforming the cave into both a sanctuary and a threshold between myth and reality.

What if the sirens’ songs were considered dangerous because they carried another truth, an ancient truth long forgotten?

Oceanine embraces the idea that we are still deeply woven into myth. Though we may see ourselves as rational and modern beings, our world is saturated with ancient symbols and archetypes, often distorted, simplified, or stripped of their original meaning. And if those symbols are allowed to shift, if the mirror once held by the siren becomes an invitation to look beyond appearances and into what has been obscured, then we may finally uncover a deeper truth and reclaim the voice that was always ours.

Oceanine is not just an album. It is a reclamation, a spell, and a call from the depths.

8 years after their last LP Kites, Submotion Orchestra return with their long awaited sixth studio album, the remarkable Passed Me By. A deeply personal journey into memory, creativity, and the passing of time, it shows the band continuing to push their signature electronic sound forward, and the result is some of the boldest and most emotional territory of their storied career. 

The album sees the band dive further into the synth-led, minimalist electronic textures and driving beats explored on the 'Five Points' EP, creating hypnotic analogue patterns alongside the post-dub spaciousness and celestial effects of their earliest work. With Ruby Wood's always-emotional vocals soaring over the top, the tracks effortlessly glide through genre and mood, resulting in the widest range of expression and emotion found in a Submotion album yet. 

Synopsis: Tsuna, a shy teenager, learns he is destined to become the next mafia boss. Guided by Reborn, a hitman in baby form, he faces countless enemies to protect his friends. Blending humor, action, and personal growth, Hitman Reborn! delivers a unique and thrilling adventure. This album draws on the musical style of quirky Italian mafia films, and includes the main openings and endings from the series.

In 2006, "Undiscovered" introduced the UK to one of its most distinctive new voices. Powered by the breakout single "You Give Me Something", the album debuted at No.1 in the UK Albums Chart, and went on to become 5x Platinum in the UK, and achieved Platinum and Gold certifications across Europe, Australia and beyond. Blending soul, acoustic pop and classic British songwriting, "Undiscovered" delivered a string of enduring tracks including "Wonderful World" and "The Pieces Don"t Fit Anymore", establishing James Morrison from the outset and laying the foundation for a successful international career. To celebrate its 20th anniversary, the album returns in new formats for collectors. The vinyl has been cut by John Webber at AIR Studios to showcase the warmth and depth of the original recordings, and a deluxe CD edition features 4 bonus tracks, available exclusively on CD. A landmark British debut of the 2000s, "Undiscovered" remains a defining release of its era.

When five-time Grammy award winner Taj Mahal intersects with The Phantom Blues Band, it’s one of those rare joints that hits you before you even know you’ve been hit. They walk in, plug in, and the whole room shifts. Studio assassins, road lifers, groove keepers and somehow still hungry. They are an internationally renowned Two-Time Grammy Award winning group. Taj Mahal’s fearless, open-hearted spirit still shadows the whole thing with that genre-hopping joy. He leads you down the road with a history lesson and the Phantoms carry it with honor to the Griot.

Mahal sings and plays harp as he fronts an all-star lineup of legendary musicians with the three ringleaders for the Phantoms--Johnny Lee Schell, the soulful gunslinger with tone for days, Tony Braunagel keeps the whole ship steered straight and on time, every time, and Larry Fulcher, the anchor, the heartbeat, the quiet storm on bass. Additionally, Jon Cleary, with that unmistakable New Orleans piano swagger, Mick Weaver, a session master who’s playing slides in with an undeniable velvet magic, and in the horn section, Joe Sublett on sax and Les Lovitt on trumpet bring the orchestration into the full view of this genre. This band doesn’t ‘back” anybody. They lift you up, carry you, and dare you to rise higher. On this record they slide through blues, soul, R&B, and island color with the ease of men who’ve lived every bit of it. This is deep-groove, grown-folks music from a band that still plays like the night is young. ‘Time’ is their new release on Resonatin’ Records / Thirty Tigers and celebrates over thirty years of making this uplifting inspiring and aspiring music together.

Formed in February 2025, but with a live show which outshines that of groups five times their age and experience, the north are the latest and greatest export of Leeds’ longstanding, fervent indie scene. Fronted by singer/guitarist Billy Memphis, the group have spent the past 12 months building up a reputation as one of the country’s most exciting new acts - though they’re not too fussed about the hype train. “Fuck trying to be cool or mysterious, we wanna be real,” says Billy, “If it’s to ten people or ten million.” After convincing his mum to move the family home from Scarborough to Leeds in search of culture at the age of 16, Billy spent the past three years traversing the city’s music scene, eventually forming the north (completed by drummer Sian Keates, guitarist Kobi Griggs and bassist Mecca Boylan) after cherry-picking the finest young talent in the city.

3rd full length album fron the UK's heaviest band. This is an accolade not thrown around lightly. BOUND IN FEAR have been crafting their sound over the years, honing it into an undisputed heavyweight bomber. 'A MIND TOO SICK TO HEAL is a hellish journey into the darkest side of the human mind, Smashing out of the gates with 'SENTENCED' & 'CHASM', the first stand alone singles to be lifted from the forthcoming album, BIF roar a statement of intent that ups the heat ever so slightly from their usual downtempo delivery, before returning to the familiar crushing slabs of concrete the band are revered for. 'THREE KNEE DEEP' & 'DARKNESS REDEFINED' follow as the spotlight cuts for what is unquestionable one of the heaviest albums to ever emerge out of the United Kingdom.