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Artist and multi-instrumentalist Flaer looks to the landscape to explore pastoral melancholy on debut release, Preludes. It is released in a second edition black vinyl, with an alternate cover artwork.

Ensconced in his family home in rural Leicestershire in the early months of 2020, painter and musician Realf Heygate (b. 1994) picked up his childhood cello for the first time in several years and began to play. Setting himself parameters to only record onto 4-track tape with acoustic instruments – cello, piano and acoustic guitar – he assembled a suite of instrumental compositions that form the basis of Preludes, his debut album as Flaer and the inaugural release on Odda Recordings.

Channelling the tension and unease between the pastoral idyll of the English countryside and the darkness which lurks beneath the surface, the mini-album draws inspiration from the analogue aesthetic of 1970s folk horror films, weaving field recordings of birdsong, church bells and the natural environment into chimerical melodies that reflect on Heygate’s childhood experiences of rural England.

“It was really important not to isolate the sound from its environment,” he explains, describing the compositional and recording process as “site-specific”. Developed over a series of intuitive musical enquiries, the mini-album’s uncanny quality emerges from combining raw demo takes with overdubs of almost orchestral grandeur.

Heygate points to the final track as indicative of the work as a whole: “‘Follow’ really is the mantra for the release and embodies the practical approach I was taking to music making: not to force the music but see where it takes you.”

As a painter, Heygate’s practice takes artefacts through sequences of reproduction that embrace the fluctuating materiality of the copy. Since obtaining a degree in Fine Art from Central Saint Martins in 2017, he has exhibited solo at Peter von Kant and Springseason galleries in London, and has participated in group shows at Saatchi Gallery, Cob Gallery and Senesi Contemporanea.

Describing his artistic practice as one of self-erasure, music instead provides Heygate with a more personal and autobiographical outlet. Where the two worlds combine is on Preludes’ striking artwork, which features paintings of 13th century stone carvings from the font of the church in the town where he grew up.

Speaking to a time where people were connected to the land in a more profound way, each symbol is assigned to a track on the album, which Heygate likens to giving them a title.

“To add that one juxtaposition might open a whole new interpretation or language that might be hard to find otherwise,” he explains.“Over time it might reveal itself to you, which is why I'm excited about it being released. To throw them out there and see what comes of it.”

long content, you may need to expand row to see all... Karajans legendärer Dvořák auf recyceltem Vinyl
Die unverkennbare Kraft und Leidenschaft von Dvořáks Sinfonie Nr. 9 „Aus der Neuen Welt“, eingefangen in Karajans legendärer Aufnahme von 1977 mit den Berliner Philharmonikern, erscheint nun in einer limitierten Edition auf recyceltem Vinyl (ReVinyl / Farbe: Red Appeal) – ein beeindruckendes und nachhaltiges Format. Jede zu 100 % aus recyceltem PVC hergestellte Schallplatte besticht durch eine einzigartige, rot-marmorierte Optik, die sie zu einem echten Unikat macht. Hier trifft eine zeitlose Interpretation auf einen neuen Standard für umweltbewusste Audiophile. Diese Einspielung wird weithin für ihren lebendigen, dramatischen Schwung, ihre üppige emotionale Tiefe und ihre erstklassige orchestrale Präzision gefeiert und gilt als Meilenstein in der Geschichte der klassischen Musikaufzeichnung. Karajans Interpretation offenbart feinfühlig, wie Dvořák die musikalischen Eindrücke seiner amerikanischen Zeit in das unverwechselbare Gefüge seines mitteleuropäischen, romantischen Stils einwebt.

Einar Solberg (Leprous) kehrt mit "Vox Occulta" zurück, seinem zweiten Projekt unter eigenem Namen und einem kühnen, schweren und symphonischen Statement, das in Zusammenarbeit mit dem begehrten Norwegian Radio Orchestra aufgenommen wurde. Solberg will sich als einer der epischsten Charaktere der experimentellen Musik etablieren: "Ich möchte als der cineastische Mensch im Prog gesehen werden", erklärt er. "Ich möchte das vollständig für mich beanspruchen. Dies ist ein sehr cineastisches Album, und genau das war mein Ziel."
"Stella Mortua", der Eröffnungstrack von "Vox Occulta", spiegelt diese klare Vision wider. Solberg singt zu klassischen Streichern, bevor sich eindringliche E-Gitarren-Akkorde hinzugesellen und der Sänger sich durch einen majestätischen Refrain kämpft. Von da an hat jeder Song seinen eigenen Charakter - "Medulla" betont sein gewaltiges, metallisches Riff und "Grex" ist eine fast 12-minütige Odyssee.
"Vox Occulta" wurde von Solberg und David Castillo co-produziert, der für seine Arbeit mit Opeth, Katatonia, Amorphis und anderen bekannt ist. Auf dem Album sind Schlagzeuger Keli Guðj\u00F3nsson (Agent Fresco), Violinist Chris Baum (Bent Knee), Gitarrist Pierre Danel (Novelists) und Bassist Jed Lingat sowie John Browne (Monuments) und Ben Levin (ex-Bent Knee) zu hören. Adam Noble, ehemaliges Mitglied von Biffy Clyro, war für den Mix verantwortlich.
"Vox Occulta" wird als limitierte CD-Digipak- und Gatefold-Weiß/Schwarz-2LP-Version sowie digital erhältlich sein..

Made in Hell is Hell Boulevard's new studio album, due for release in 2026. The band remains true to its distinctive style, combining dark gothic rock with cinematic orchestral arrangements and electronic elements to create a powerful, atmospheric sound. For the first time in the band's history, a Hell Boulevard album was mixed by Bengt Jaeschke at Chameleon Studios in Hamburg. The final mastering was done by Stefan Brown at the legendary Abbey Road Studios in London. This high-quality production chain marks an important step in the band's sonic evolution and gives the album a particularly striking and powerful sound aesthetic.

Over the last decade, Portrayal of Guilt have solidified themselves as a pillar in the extreme underground music scene. With relentlessly consistent releases like 2023’s orchestral nightmare Devil Music, and year-round world touring with the likes of Deafheaven, Uniform and Pg. 99, POG have unquestionably carved their own path.
Defying accurate categorization since formation, the three piece blends elements of black, death and nu metal with crust, screamo, powerviolence and hardcore, with the bands forthcoming LP …The Beginning of The End” continuing to further obscure genre lines. The band takes the unhinged discordance to the next level on album standouts “Ecstasy” and “Human Terror”, with KoRn-like guitar dissonance, punishing death metal lows, and haunting spoken passages confidently riding the line between Life is Peachy and Scum.

With one exception, this disc is a recording of a concert given at the Ateliers Claus in Brussels in March 2024. It was preceded by three short hours of improvisation the day before and the day before that, during which ErikM and I made a series of careful observations of each other's playing. It must be said that neither of us had skimped on transporting a few cases, the contents of which would have allowed us to play several concerts in a row without ever repeating ourselves. Erik had brought his turntables to Brussels, as well as sophisticated electronic machines, accompanied by a virtually infinite sound bank. For my part, I had both a mechanical orchestra and a range of acoustic instruments at my disposal. In two sessions, we eliminated the superfluous and the ineffective. On the evening of the concert, it was through close observation-of each sound, each direction taken by one or the other, each intention, each break-that we composed this record in the moment: vigilant and scrutinising, like the pairs of eyes on the cover of this album.

Death Is Not The End collaborate with Uzbek label Maqom Soul to deliver an LP counterpart to last year's mixtape of the same title, compiling specially picked & fully licensed individual belters from the ex-soviet studios of Central Asian republics between 1978 and 1989 - incl. Uzbek, Tajik, Kurdish & Uyghur artists pulling traditional folk motifs together with pop & rock and psych elements.

"These recordings do not form a smooth or coherent history. They feel more like a sequence of discoveries made at different moments and in different circumstances. Songs and instrumental pieces that once lived inside specific contexts radio broadcasts, philharmonic programs, touring routes now sit side by side, revealing hidden connections as well as clear fractures between them.

Nasiba Abdullaeva appears here as a voice from the end of an era. Trained within a conservatory system, she worked inside the format of the Soviet pop song while filling it with melodic logic that did not come from Moscow or Leningrad. Her voice is soft and sustained, shaped by Eastern melisma, and it never functions as decoration. Even in tightly structured songs there is a sense of resistance, an effort to preserve a musical language rooted in Uzbek tradition rather than fully adapted to an all Union standard.

The ensemble Sintez, later renamed Navo, represents a different path. Beginning as a student rock group, the band was gradually absorbed into the official VIA system with all its limitations and compromises. Yet it was precisely within those boundaries that Sintez and Navo developed a recognizable sound. Electric guitars and jazz rock harmonies do not overpower the folk material but remain in tension with it. Their recordings feel like negotiations between what the musicians wanted to play and what they were allowed to perform.

The Tajik ensemble Gulshan reflects an institutional approach carried to a high professional level. Formed under television and radio structures, the group treated folk material almost as a written score. Carefully constructed arrangements, close attention to orchestration, and restrained use of pop techniques define their sound. There is less spontaneity here, but a strong sense of discipline and structure, where national melody becomes part of a carefully controlled sonic framework.

Koma Wetan occupies a very different space. Formed in the 1970s, this Kurdish rock group approached poetry and folklore as tools of cultural assertion. Their psychedelic rock never feels like a stylistic borrowing. Instead it functions as a contemporary vessel for language and themes that might otherwise have remained unheard. Even today these recordings sound fragile and stubborn at the same time.

The Uyghur ensemble Yashlik, closely connected to a musical drama theatre, operated somewhere between stage performance and popular music. Their songs are built on folk melodies but shaped for wide audiences. What emerges is a constant attempt to preserve the recognizability of Uyghur musical identity without freezing it in a folkloric frame. Yashlik's music exists in a state of balance between representation and development.

Digging Central Asia does not attempt to establish hierarchies or offer a single wayof listening. Names and dates matter less than the sound itself. Tape noise, abrupt transitions, and unexpected timbres remain part of the material rather than flaws to be corrected. This music existed at the crossroads of multiple routes geographic, cultural, and ideological. Heard today in a new context, it no longer feels peripheral. Instead it stands as a reminder that the history of popular music is far more fragmented, layered, and polyphonic than it is usually allowed to be."

M83 ist seit über zwanzig Jahren eine wichtige Größe in der elektronischen Musik und hat sich durch seine einzigartige Fähigkeit, synthetische Emotionen und cineastische Größe zu verbinden, einen Namen gemacht. Von Hurry Up, We’re Dreaming bis zu seinen zahlreichen Werken für den Film hat Anthony Gonzalez eine starke Verbindung zwischen moderner Popmusik und Autorenfilmen geschaffen.
Mit RESURRECTION präsentiert er nach A Necessary Escape seinen zweiten Soundtrack des Jahres. Dieses neue Werk begleitet den Science-Fiction-Film von Bi Gan, der im offiziellen Wettbewerb von Cannes 2025 ausgewählt und mit dem Sonderpreis der Jury ausgezeichnet wurde.

Das von M83 komponierte, interpretierte und aufgenommene Album umfasst 10 Instrumentaltitel
+ 2 Bonustitel, die luftige elektronische Texturen und orchestrale Kompositionen miteinander verbinden.

Disco-house fusionist Risk Assessment rounds off another successful year with a third and final EP of 2025. Braithwaite deals a near perfect hand on 'Play Your Cards', where excerpts from a Loleatta Holloway/Salsoul Orchestra style maximalist disco hit rise above a chunky, bass-heavy groove, before reaching for elements from a jaunty, piano-heavy disco number on the rolling and ear-catching 'Juicy Smollett'. Elsewhere, 'Testing Testing' is a gargantuan disco-house extravaganza full of sampled horns, rubbery bass, stellar orchestration and urgent male vocals, while 'Baby Call Me' sees him re-imagine a smooth and colourful 80s soul jam as a tactile and funky house workout.

The year that NOW’s story began, and where we started our ‘Yearbook’ series back in 2021. An incredible year in Pop music, and a fabulous selection of the years’ hits have featured on that first ‘Yearbook’, and on the ‘80-84 Final’ as part of our appreciation of 1983. Those tracks were generally the bigger hits of the year, with their Chart achievement a factor in their inclusion. However, that’s not the whole story, and our celebration of 1983 wouldn’t be complete without shining a light on some of the year’s singles that have been compiled much less frequently over the past 40 years. Welcome to the THE VAULT for 1983…Some of the tracks were Top 40 hits, some missed the Chart completely, and some were huge in the U.S. and not in the U.K. – but all are part of the wonderful Pop story of 1983. Released as 80 tracks across 4-CDs, available as a standard 4CD and as a a special edition 4CD in ‘hardback book’ packaging featuring a 28-page track by track guide, original singles artwork and a quiz and 45 tracks across 3-LPs, pressed on stunning translucent red vinyl -

Ben Hixon heads up the Dolfin label, but it operates more as a collective of musicians with him at the centre orchestrating sessions, mixing, mastering and producing both solo and in collaboration with pals. For this one he has again linked with Rami for an immersive EP that traverses various tempos and rhythms. There's whimsical downtempo on 'Break Up', sparse soundscaping on 'Collect' and hurried deep house on 'After Dark' that burns with real late night intensity. 'Pleasure' gets more playful and extroverted in its rugged swing and 'Saturday' is a laidback soother. Another timeless EP.

Amore Libero – Free Love marks the first film score composed by Fabio Frizzi, written in 1974 for the movie of the same name directed by Pier Ludovico Pavoni. Set against the exotic backdrop of the Seychelles, the film tells the story of Simo, a free-spirited young woman played by Laura Gemser in her cinematic debut, blending sensuality and the spirit of liberation so typical of the 1970s.

Frizzi’s score perfectly captures the film’s atmosphere, weaving together evocative melodies, funky grooves, and progressive textures — an elegant, psychedelic soundscape that reflects both the tropical setting and the film’s themes of freedom and desire. The recording features the Goblin in their classic line-up: Fabio Pignatelli (bass), Massimo Morante (guitar), Walter Martino (drums), and Claudio Simonetti (keyboards), with Vince Tempera handling arrangements and orchestral direction.

Long regarded as a true holy grail for collectors, now, for the first time ever, it is officially reissued on vinyl, bringing back to light a fundamental chapter in Italian film music and progressive sound. An essential record that merges Frizzi’s melodic genius with the visionary energy of the Goblin, Amore Libero – Free Love stands as a timeless document of an extraordinary era in Italian cinema and its music.

A Record Store Day 2026 exclusive / Pearly light blue vinyl edition / 30x30cm insert with extensive liner notes

Naive Melodies is a bold and visionary tribute to the music of Talking Heads, reinterpreted through the lens of Black musical innovation. Curated by Drew McFadden — the creative mind behind BBE’s acclaimed Modern Love (David Bowie tribute album) — this new collection dives deep into the Afro-diasporic rhythms and experimental soul roots that helped shape Talking Heads’ unmistakable New Wave sound. Inspired by artists like Fela Kuti, Parliament, and Al Green — whose influences loomed large in the band’s rhythmic DNA — Naive Melodies shines a light on the Black music traditions that underpinned their artistry. Far from a conventional tribute, Naive Melodies reframes the band’s catalog through the voices and visions of a new generation of genre-defying artists. These interpretations illuminate the foundational grooves and sonic textures that fueled Talking Heads’ rhythm-forward aesthetic, bringing them full circle with authenticity. “With Naive Melodies, I wanted to spotlight the deep and often overlooked influence of Black music on the sound of Talking Heads, drawing from the rhythmic foundations of Afro-diasporic traditions, soul, gospel, Latin, and spiritual jazz. This project is a chance to reimagine Talking Heads’ legacy through the lens of the very innovations that helped shape it, bringing those influences to the forefront through the voices of today’s most forward-thinking artists.” — Drew McFadden The album features a globally minded lineup, including Liv.e, Bilal, Rogê, Miguel Atwood-Ferguson, Aja Monet, Georgia Anne Muldrow, Theo Croker, Kenny Dope, Rosie Lowe, Pachyman, W.I.T.C.H., and more — spanning Afrobeat, jazz, soul, funk, gospel, dub, electronica, orchestral, and Latin styles. It reflects not only the boundary-pushing ethos of Talking Heads, but also the influence of Black music as a cultural force that helped shape it. This is not just a tribute album — it’s a recontextualization. A cultural conversation. A rhythmic reawakening.

Im Mai 2026 würde Miles Davis seinen 100. Geburtstag feiern. Einen Monat vorher gratuliert ihm bereits
Decca Frankreich mit der LP-Wiederveröffentlichung eines besonderen Albums innerhalb seines Schaffens.
Auf “Michel Legrand meets Miles Davis” treffen ein amerikanisches und ein europäisches Musik-Genie
aufeinander. Zum Jubiläum erscheint das ursprünglich als ”Legrand Jazz“ veröffentlichte Album aufwändig
remastert als 140g-LP im neuen Artwork mit Foto beider Künstler.
1958 war Legrand erstmals in die USA gereist und hatte dort die größten Stars des Jazz zusammengetrommelt: neben Miles Davis waren das John Coltrane, Phil Woods, Bill Evans, Ben Webster, Art Farmer,
Donald Byrd u.v.a. “Legrand Jazz“ präsentierte einige der größten Jazzklassiker aller Zeiten in fantastischen Legrand-Arrangements, gespielt von der damaligen Crème de la Crème des Jazz.
Speziell die Zusammenarbeit von Michel Legrand und Miles Davis auf vier Tracks des Albums gilt als
historisch, da sie kurz vor den Aufnahmen zu Davis’ Meisterwerk ”Kind of Blue“ (1959) stattfand und
bereits die harmonische Tiefe und den orchestralen Ansatz vorwegnahm, den Davis später weiter verfolgte

"Weejuns is all about interplay,"erklärt Gitarristin Mollestad. ,Bitches Blues besteht aus sechs Instrumentalstücken oder Musikabschnitten mit einer extremen Bandbreite an Dynamik. Einige basieren auf kräftigen Beats, während andere Stücke weitaus lyrischer und rubato sind. Die Bandbreite reicht von riffbasierten rockigen Stücken über lautes Chaos bis hin zu melancholischen Balladen und sogar völlig freien Improvisationen." Mit einem kultivierten und dennoch erfrischend instinktiven Ansatz, Instrumente und Einflüsse miteinander zu verflechten, wechselt Bitches Blues (ein ironischer Verweis auf Miles Davis' Album Bitches Brew) unvorhersehbar zwischen langsamen und sanften, klar gegliederten Songs mit disziplinierten Akkordfolgen und explosiven Ausbrüchen kathartischer und komplexer Strukturen. Weejuns (eine Slang-Abkürzung für ,Norwegians") stellten sich 2023 mit einem selbstbetitelten Doppel-Live-Album vor. Ursprünglich von Mollestad für das Kongsberg Jazz Festival zusammengestellt, wo sie mit dem renommierten Musicians Prize ausgezeichnet wurde, hat sich die Chemie innerhalb von Weejuns als dauerhaft und verlockend erwiesen, auch als Gegenpol zum bisher härtesten Album des Hedvig Mollestad Trios, Bees in the Bonnet aus dem Jahr 2025. Mollestad hat mit ihrem gleichnamigen Trio acht gefeierte Alben veröffentlicht. Das Markenzeichen ihrer 15-jährigen Karriere ist die Verschmelzung von ernsthaftem Können mit einem offensichtlichen Fokus darauf, Spaß am Klang zu finden. Als Tochter eines Jazzmusikers vertiefte sie sich in dessen Plattensammlung und studierte klassische Werke von Miles Davis, Charlie Parker, Joe Pass und Jim Hall, bevor sie in ihren 20ern Riff-gewaltige Titanen wie Led Zeppelin, Black Sabbath und Mahavishnu Orchestra entdeckte. Dies führte zur Gründung des Hedvig Mollestad Trios, dessen unermüdlicher Aufnahme- und Tourneeplan seit Anfang der 2010er Jahre der Gitarristin eine Reihe von Auszeichnungen einbrachte, darunter zwei norwegische Grammys (Spellemannprisen) und die Ernennung durch das DownBeat-Magazin zu einer der 25 Künstlerinnen, die ,den Jazz für Jahrzehnte prägen könnten". Ståle Storlokken (Bass, Synths) ist Gründer und langjähriges Mitglied von Supersilent und Elephant9, seit Mitte der 90er Jahre die ,rechte Hand" von Terje Rypdal und hat mit Motorpsycho auf Platte und auf der Bühne sowie mit unzähligen anderen zusammengearbeitet. Ole Mofjell (Drums) ist das jüngste Mitglied und spielt bei Krokofant, Signe Emmeluths Amoeba und seinem eigenen Free-Jazz-Trio 3 Days Of Maceration.

"Weejuns is all about interplay,"erklärt Gitarristin Mollestad. ,Bitches Blues besteht aus sechs Instrumentalstücken oder Musikabschnitten mit einer extremen Bandbreite an Dynamik. Einige basieren auf kräftigen Beats, während andere Stücke weitaus lyrischer und rubato sind. Die Bandbreite reicht von riffbasierten rockigen Stücken über lautes Chaos bis hin zu melancholischen Balladen und sogar völlig freien Improvisationen." Mit einem kultivierten und dennoch erfrischend instinktiven Ansatz, Instrumente und Einflüsse miteinander zu verflechten, wechselt Bitches Blues (ein ironischer Verweis auf Miles Davis' Album Bitches Brew) unvorhersehbar zwischen langsamen und sanften, klar gegliederten Songs mit disziplinierten Akkordfolgen und explosiven Ausbrüchen kathartischer und komplexer Strukturen. Weejuns (eine Slang-Abkürzung für ,Norwegians") stellten sich 2023 mit einem selbstbetitelten Doppel-Live-Album vor. Ursprünglich von Mollestad für das Kongsberg Jazz Festival zusammengestellt, wo sie mit dem renommierten Musicians Prize ausgezeichnet wurde, hat sich die Chemie innerhalb von Weejuns als dauerhaft und verlockend erwiesen, auch als Gegenpol zum bisher härtesten Album des Hedvig Mollestad Trios, Bees in the Bonnet aus dem Jahr 2025. Mollestad hat mit ihrem gleichnamigen Trio acht gefeierte Alben veröffentlicht. Das Markenzeichen ihrer 15-jährigen Karriere ist die Verschmelzung von ernsthaftem Können mit einem offensichtlichen Fokus darauf, Spaß am Klang zu finden. Als Tochter eines Jazzmusikers vertiefte sie sich in dessen Plattensammlung und studierte klassische Werke von Miles Davis, Charlie Parker, Joe Pass und Jim Hall, bevor sie in ihren 20ern Riff-gewaltige Titanen wie Led Zeppelin, Black Sabbath und Mahavishnu Orchestra entdeckte. Dies führte zur Gründung des Hedvig Mollestad Trios, dessen unermüdlicher Aufnahme- und Tourneeplan seit Anfang der 2010er Jahre der Gitarristin eine Reihe von Auszeichnungen einbrachte, darunter zwei norwegische Grammys (Spellemannprisen) und die Ernennung durch das DownBeat-Magazin zu einer der 25 Künstlerinnen, die ,den Jazz für Jahrzehnte prägen könnten". Ståle Storlokken (Bass, Synths) ist Gründer und langjähriges Mitglied von Supersilent und Elephant9, seit Mitte der 90er Jahre die ,rechte Hand" von Terje Rypdal und hat mit Motorpsycho auf Platte und auf der Bühne sowie mit unzähligen anderen zusammengearbeitet. Ole Mofjell (Drums) ist das jüngste Mitglied und spielt bei Krokofant, Signe Emmeluths Amoeba und seinem eigenen Free-Jazz-Trio 3 Days Of Maceration.

Malta’s Human Safari returns to R&S Records, building on the momentum of his 2023 debut ‘Sax Paradiso’, with another EP of fast, physical club music on ‘Children Of The Sea’.

Propulsive opener ‘Children Of The Sea’, balances tensile strings and frenzied percussion fused around a high-tempo techno framework. ‘Jazz Affair’ follows suit but shifts the mood inward, pairing feverish, hypnotic drum programming with expressive instrumentation - layering drifting piano chords, fragile pads and a winding bassline that lends the track a kinetic pull.

‘Turbulence At The Orchestra’ draws from the raw spirit of ’90s warehouse techno, weaving in the sounds of sensationalist news reports on illegal raves of the time and overall diving into darker territory, led by a foreboding, spiralling 303 line and punctuated with dramatic horn flares.. Closing track ‘Lido’ locks into another deep, rolling groove, with pulsing low-end, reverberant horns and skittering, Latin and jazz-tinged rhythmic details threading through the mix.

‘Children Of The Sea’ by Human Safari is available on R&S Records from 13th March 2026.

DJ 3000 BRIDGES CONTINENTS WITH "SO SHEIK": A CINEMATIC MIRAGE ON MOTECH #178

DETROIT / GLOBAL — Motech Records founder DJ 3000 returns with "So Sheik," a release that operates in the shadows between the Motor City and the Mediterranean. Having carved out a unique sonic identity among Detroit’s elite producers, DJ 3000 moves away from standard tropes to craft a cinematic mirage that blends the mechanical pulse of Detroit with a haunting, orchestral depth.

The production is anchored by the rhythmic drive of the shekere and deep percussion, layered with a haunting fusion of analog strings and horns. Rather than traditional brass, the horns blend seamlessly with the strings to create a lush, otherworldly atmosphere—making "So Sheik" a masterclass in global techno mystery.

True to the label’s roots, Motech #178 is a limited vinyl-focused release, continuing the label's unwavering commitment to the wax tradition in a digital age.

Artist and multi-instrumentalist Flaer embraces the search for quiet miracles on first full-length LP Translations.

In 2023, Realf Heygate - who makes music as Flaer - released his debut mini-album Preludes, composed on his mother’s piano and his childhood cello.Returning to ODDA for his debut full-length album, Heygate is now looking in another direction. A record that embraces transition and movement, Translations is in many ways more internal, less rooted to a single place and reflective of the process of laying new foundations in Cornwall.

Like Preludes, Translations is coloured with found sounds and field recordings, from the starlings which can be heard singing through the open window of his studio, to the brittle recordings of his mother, who was a linguist, learning Spanish on a set of language tapes. In both cases, Heygate embraced the translations and memories inherent to the sounds.

“When I digitised my mother’s tapes, they warped and stuttered in a very similar way to the starling’s song,” he explains. “They had this uncanny rhythm and pulse that I couldn’t quite decode, but was saying something." These decayed transmissions hint at loss, resisting clarity in favour of the ineffable.

Translations is also a record of ambiguities and in-betweens, suggested by the double meaning of the album’s opening track ‘Entre’. At once intricate and expansive, threaded with birdsong and acoustic guitar motifs, this and ‘Starling Descends’ (a reference to Vaughan Williams’ ‘The Lark Ascending’) act as a bridge away from the pastoral themes of Preludes towards a more assertive sound. At times intimate in its textured instrumentation and at others more overtly grand in orchestration, reflecting awider palette of influences.

“Flaer began in many ways when I picked up my mother’s instruments, seeking a form of reconnection. Where words evaded me, they became the tools through which I found a language for grief – and above all, for love.”

Recorded between 2023 and 2025 – what Heygate calls “A gradual process of sowing and harvesting ideas rather than a single intense creative period” - each track follows a rhythm similar to the small maquettes and sculptures he has been working on in his visual practice, whereby structures and melodies form intuitively in moments that are as rare as they are fleeting.

“It's that feeling of searching that I really enjoy,” Heygate continues. “I never know what the destination of the composition is going to be, and I never really find what it is."

Translations is released on limited edition off-white vinyl LP (500 copies worldwide) with one of five signed and numbered handmade risograph prints. It's also available as standard black vinyl LP and digitally.

First time reissue of JP free jazz rarity, pre-Seikatsu Kōjyō Iinkai group.

The single album self-released by the quartet Shūdan Sokai in 1977 is one of the most vital documents of mid-seventies Japanese free jazz, documenting Tokyo’s free scene at the precise moment when it began to shift to a handful of tiny venues on the western fringes of the city. In Free Jazz in Japan, Teruto Soejima identifies the extant venue Aketa no Mise in Nishi-Ogikubo as the pioneer of this decamping from the centre: a cramped basement beneath a rice shop, seating just 20 people. Musician-run, operated on a shoestring, these spaces offered a vital site for community, creativity, and a small measure of financial independence — “even though it was in a basement, in spirit it was a loft.”

Among the most active of the new venues was Alone in Hachiōji, nearly an hour from Shinjuku, in a district shaped by universities, lower rents, and a thriving counterculture. Originally opened in 1973 as a jazu kissa, Alone was unusually spacious and equipped with a stage, grand piano, and drum kit. Around 1974, Junji Mori and Yasuhiro Sakakibara began working there, booking free jazz players on weekends and establishing the venue as a crucial hub. Mori recalls early appearances by figures including Kazutoki Umezu, Toshinori Kondo, and others who would define the scene.

In early 1976, Umezu and pianist Yoriyuki Harada — recently returned from New York’s loft jazz environment, where they had played with musicians such as David Murray and William Parker — formed Shūdan Sokai with Mori and drummer Takashi Kikuchi. The name, meaning “mass evacuation,” pointed to their self-chosen exile in Hachiōji. With Alone as their home base, the quartet developed a music characterized by an infectious sense of enjoyment and a willingness to integrate free jazz with elements of song structure. Harada switched between piano and bass; the group experimented with rap-like vocal pieces, jabbering nursery rhymes over bass rhythms.

They returned to Alone on December 24 to record Sono zen’ya (Eve), releasing it on their own Des Chonboo Records, partially funded by advertisements from local businesses printed on the rear cover. The closing “Ballad for Seshiru,” dedicated to Harada’s newborn son, unfolds over a delicate piano melody that moves into emphatic chords as intertwining alto lines rise and spiral.

Alone closed in September 1977, and Shūdan Sokai soon dissolved, later morphing into the expanded Seikatsu Kōjyō Iinkai Orchestra. What remains is a recording rooted in a specific place and moment: a fiercely independent scene sustained by small rooms, close listening, and collective commitment.

mixed by aloisius

mastered by Amir Shoat

tracklist poem written by Isaiah Hull

releasing on digital + physical (Vinyl, CD & Cassette) 9th April 2026. Physical editions will feature a secret unlisted bonus track.

aloisius is a prolific, artist and producer, who recently produced a full length album for Pretty V, which released via life is beautiful records (and sold out at Big Love & Rough Trade). aloisius has also collaborated with artists such as: James Massiah, CTM, Nova Varnrable, DJ Spanish Fly, Cities Aviv, zukovstheworld, Kenichi Iwasa & many others.

‘vernacular’ is the debut studio album by improvisation-based artist, and founder of life beautiful, aloisius.

Built entirely from layers of improvised instrumentation recorded via laptop microphone, using various instruments such as guitar, piano, cello, trumpet, saxophone, drums & voice. vernacular is inspired by the spirit of collective improvisation, and embodies aloisius' instinctual & organic approach to musical composition.

Crafted solely by aloisius (except for track 6, which features a layer of piano by life is beautiful member, friend & collaborator Bianca Scout).

To celebrate the release of the album, a semi-improvised interpretation of the project will be performed live by ‘orchestra379’ (a collective improvisation project curated by aloisius, consisting of a fluctuating lineup that differs on each occasion of performance). Initially in London, then at a select few cities across Europe.

David Bowie ist einer der bedeutendsten Popmusiker der Siebzigerjahre. Da er einen Sohn namens Zowie hat, interessiert er sich besonders für gute Musik für Kinder. Mit Blick auf seinen Sohn beteiligte er sich an dieser Aufnahme von Prokofjews sinfonischem Märchen. … 1977 produzierte Bowie ein Album von Iggy Pop und ging mit ihm auf Tournee, wo er als Pianist in der Band spielte und bescheiden auf Soloeinlagen verzichtete. Außerdem sang er mit Bing Crosby in dessen Weihnachts-Fernsehshow und sprach den Text zu Peter und der Wolf für ein Album, das Eugene Ormandy und das Philadelphia Orchestra aufgenommen hatten. (aus dem Original-Booklet)

the first-ever reissue on studio mule of the debut album by japanese jazz legend and bassist yoshio ikeda.

having performed with such illustrious figures as sadao watanabe, masabumi kikuchi, and terumasa hino, ikeda’s first album as a leader features pianist and vocalist ichiko hashimoto—also known for her involvement with yellow magic orchestra—berlin-based jazz pianist aki takase, and leading japanese drummer motohiko hino.

avant-garde yet imbued with a distinctly japanese sense of melancholy, this is a work that resonates profoundly with the present moment.

the gem “whispering weeds,” highlighted by thrilling piano and hashimoto’s evocative scat vocals, was also included on a compilation by bbe.

remastered from the original master tapes by kuniyuki, the album has been revived with a richer, more lustrous sound in this definitive reissue.

long content, you may need to expand row to see all... Zeitlose Meisterwerke - erstmals auf Vinyl
Dieses Album vereint die beiden Schumann-Konzerte in einer absoluten Starbesetzung: Es präsentiert den Dirigenten Nikolaus Harnoncourt und das Chamber Orchestra of Europe, die Pianistin Martha Argerich sowie den Geiger Gidon Kremer. Seit seiner Veröffentlichung vor über dreißig Jahren zählen diese Aufnahmen zu den Bestsellern im Teldec-Katalog und sie haben bis heute nichts von ihrer Brillanz verloren. Pünktlich zum 85. Geburtstag von Martha Argerich am 5. Juni erscheint diese legendäre Aufnahme nun zum allerersten Mal auf Vinyl. „In ihrer Live-Aufnahme liefert Martha Argerich eine lebendige, fesselnde und charakteristisch unbeständige Interpretation des Schumann-Konzerts ab; zugleich poetisch und fantasievoll, um nicht zu sagen kraftvoll und oft individuell. Die im Juli 1992 live aufgezeichnete Darbietung gipfelt in einem Finale, das so gewagt ist, dass man am Ende jubeln möchte.“ – Gramophone Magazine

White vinyl. Signed Print Edition. When Jack Tatum began work on Life of Pause, his third full-length to date, he had lofty ambitions: Don't just write another album; create another world. One with enough detail and texture and dimension that a listener could step inside, explore, and inhabit it as they see fit. "I desperately wanted for this to be the kind of record that would displace me," he says. "I'm terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn't need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before." What came before: a rightfully acclaimed, much beloved display of singular pop craftsmanship. Tatum's dreamy, unexpected 2010 debut, Gemini, was written while he was still a student at Virginia Tech University. Its equally disarming follow-up, 2012's Nocturne, marked the first time he'd been able to bring his bedroom recordings into a studio, to be performed and fully realized with the help of other musicians. There has been a set of wonderfully expansive EPs in between_each hinting at new directions and punctuating previous ideas_but with Life of Pause, Tatum delivers what he describes as his most "honest" and "mature" work yet, an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. "I allowed myself to go down every route I could imagine even if it ended up not working for me," he says. "I owe it to myself to take as many risks as possible. Songs are songs and you have to allow yourself to be open to everything." After a prolonged period of writing and experimentation, recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn and John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran Pelle Jacobsson, to contribute drums and marimba. In California, at Monahan's home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists. From the hypnotic polyrhythms of "Reichpop" to the sugary howl of "Japanese Alice" to the hallucinogenic R&B of "A Woman's Wisdom," the result is a complete, fully immersive listening environment. "I just kept things really simple, writing as ideas came to me," he says. "There's definitely a different kind of `self' in the picture this time around. There's no real love lost, it's much more a record of coming to terms and defining what it is that you have_your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new."

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.

mixed by aloisius

mastered by Amir Shoat

tracklist poem written by Isaiah Hull

releasing on digital + physical (Vinyl, CD & Cassette) 9th April 2026. Physical editions will feature a secret unlisted bonus track.

aloisius is a prolific, artist and producer, who recently produced a full length album for Pretty V, which released via life is beautiful records (and sold out at Big Love & Rough Trade). aloisius has also collaborated with artists such as: James Massiah, CTM, Nova Varnrable, DJ Spanish Fly, Cities Aviv, zukovstheworld, Kenichi Iwasa & many others.

‘vernacular’ is the debut studio album by improvisation-based artist, and founder of life beautiful, aloisius.

Built entirely from layers of improvised instrumentation recorded via laptop microphone, using various instruments such as guitar, piano, cello, trumpet, saxophone, drums & voice. vernacular is inspired by the spirit of collective improvisation, and embodies aloisius' instinctual & organic approach to musical composition.

Crafted solely by aloisius (except for track 6, which features a layer of piano by life is beautiful member, friend & collaborator Bianca Scout).

To celebrate the release of the album, a semi-improvised interpretation of the project will be performed live by ‘orchestra379’ (a collective improvisation project curated by aloisius, consisting of a fluctuating lineup that differs on each occasion of performance). Initially in London, then at a select few cities across Europe.

Blademasters is a new Melbourne instrumental project formed by Patrick Ryan (Cantrips) and Lachlan Stuckey (Surprise Chef). Built around the central conceit of "duelling" acoustic guitars - Ryan on steel-string and Stuckey on nylon-string - the project draws on 1960s and 1970s live studio recording traditions, foregrounding ensemble interplay, room sound, and performance-led arrangements. The wider lineup features musicians associated with Melbourne's instrumental soul and funk scene, including members of Surprise Chef, Cantrips, Karate Boogaloo and Ella Thompson's band.

Recorded live over a single day, Kings Knight / Live by the Blade was tracked with two acoustic guitars performing together in the room alongside bass and drums, with piano and vibraphone overdubs added sparingly. The release is influenced by David Axelrod's Pride (1970), particularly its fusion of cinematic orchestration, Latin and folk inflections, and deep rhythmic foundations. Both tracks share related harmonic material, presenting two contrasting but connected movements: the A-side's dramatic, tension-building opener and a more restrained, groove-led B-side. The release is presented on 7-inch vinyl with digital distribution.

The Lift Records is an independent electronic music label focused on vinyl releases. The physical format is prioritized as the primary medium. Digital versions are made available via Bandcamp as free downloads.

The label operates with a selective release policy and a consistent editorial approach, without engagement in streaming platforms or trend-driven distribution.

The Lift Records kicks off its debut with Electroshock, a bold EP blending breaks, techno, and house with distinct intensity and character. Highlighted by José’s psychedelic remix, the release drops via Melting Pot Records worldwide.

Scorsese Sounds - A Tribute To Martin Scorsese - The Finest Selection of Martin Scorsese"s Soundtracks Martin Scorsese ist nicht nur ein Meister des Films, sondern auch ein Virtuose der Musikauswahl. Mit "Scorsese Sounds" erleben Sie die unverwechselbare Klangwelt seiner größten Werke - von epischen Gangster-Sagas bis hin zu psychologischen Dramen und zeitlosen Klassikern. Diese exklusive Doppel-Vinyl vereint die Essenz der Soundtracks, die Scorseses Filme zu Kult gemacht haben. Jeder Track ist sorgfältig ausgewählt, um die Atmosphäre und Emotionen der legendären Szenen einzufangen - von der rauen Energie des New Yorker Untergrunds bis zur eleganten Nostalgie vergangener Zeiten. Ein Muss für Cineasten, Vinyl-Liebhaber und alle, die die Magie von Bild und Ton schätzen. Tauchen Sie ein in die musikalische DNA eines der größten Regisseure unserer Zeit.

Step into the second chapter of the The Jazz Sinners saga dedicated to cool, groovy and sinful
Jazz. The Jazz In You goes deeper with richer grooves, glamorous moods, pure analog soul.
A cinemac journey through jazz’s most seducve decades, pressed and presented with
uncompromising audiophile standards. This is jazz that moves, seduces, and stays. Every cut is pure
jazz alchemy. Rare, prisne vintage first pressings and top-er sources only. No shortcuts, no
compromises. Mastered organically for a full 360° sound spectrum, where every nuance and every
breath feels as if the players were right there in the room. The mood is cinemac, midnight cool. Jazz with a;tude inspiring shadowed alleys, smoky clubs, late-night elegance.
Music that speaks equally to jazz lovers, lounge selectors, DJs, and serious collectors.
At the heart of the journey, instantly recognizable landmarks light the way:
Gloria Lynne’s “The Jazz In You”, Benny Golson’s “Tippin’ On Thru”,
Nina Simone’s “Central Park Blues”, Diane Maxwell’s “Love Charms”,
Sabu Marnez’s “Enchantment”, and Zoot Sims’ “Recado Bossa Nova – Pt.1”.
Timeless names, meless grooves, each cut is chosen for its power to move and to suggest feeling
and emoons. Behind the selecon stand true masters of mood, with over thirty years of digging,
taste, and style shaping every decision.
On this double vinyl, the experience is treated with the respect it deserves. Pressed under expert
supervision, housed in a premium 100% Italian-made cover on luxurious 350g cardstock, with polylined inner sleeves designed for long-term preservaon. Built for collectors. Made to last
generaons and here is the promise: Triumphant. Timeless. Deeply grooving.
Soulful vocals, hard-swinging combos, cinemac big bands, Afro-Lan heat, late-night Blues. Every
track is a winner. The Jazz In You is feeling. It’s a;tude. It’s moon and emoons.
Now, sit back, close your eyes and get ready to find something captured, once again, that escapes
explanaon … The Jazz Sinners’ way!

Market East teilt endlich seine wichtigste Botschaft mit der Welt in Form seines Debütalbums ,French Street". Die Band, bestehend aus Kurt Cain (Gesang), Vincent John (Gesang, Bass, Gitarre und Keyboard) und Maxwell Perla (Gesang, Schlagzeug und Percussion), liefert ihre charakteristischen himmlischen dreistimmigen Harmonien über Arrangements, die noch nie so reichhaltig und fesselnd geklungen haben. ,French Street" ist extrem gefühlvoll und die Vocals sind üppig, als hätten die Zombies in Muscle Shoals aufgenommen. Die Texte sind poetisch und nostalgisch, da die Band Songs über ihre vergangenen ,goldenen" Jahre geschrieben hat. Damals hatten die Jungs nicht viel außer einander und ihrer gemeinsamen Liebe zur Musik. Sänger Kurt Cain lebte in einem kleinen Reihenhaus in North Philadelphia in einer fast verlassenen Gasse namens French Street. Hier trafen sich Cain, John und Perla jede Woche, um der Realität zu entfliehen und sich gemeinsam an der Musik zu berauschen. Sie entwickelten eine tiefe Wertschätzung für alles aus den 60er- und 70er-Jahren, von Simon & Garfunkel bis The Moments und allem, was dazwischen liegt. All diese Jahre später hat Market East ein eigenes klassisches Album geschaffen. Vom Barock-Pop des Titelsongs und dem mitreißenden Soul von ,Roses" bis hin zu den lateinamerikanischen Klängen von ,Echoes of My Heart" und den orchestralen Klängen von ,Everyday, Springtime" zeigt Market East ihre beeindruckende Bandbreite. Die Platte wurde in Philadelphia auf Analogband aufgenommen und von Market East und Eraserhood Sound produziert. Hol dir noch heute dein Exemplar dieses zeitlosen Klassikers.

Market East teilt endlich seine wichtigste Botschaft mit der Welt in Form seines Debütalbums ,French Street". Die Band, bestehend aus Kurt Cain (Gesang), Vincent John (Gesang, Bass, Gitarre und Keyboard) und Maxwell Perla (Gesang, Schlagzeug und Percussion), liefert ihre charakteristischen himmlischen dreistimmigen Harmonien über Arrangements, die noch nie so reichhaltig und fesselnd geklungen haben. ,French Street" ist extrem gefühlvoll und die Vocals sind üppig, als hätten die Zombies in Muscle Shoals aufgenommen. Die Texte sind poetisch und nostalgisch, da die Band Songs über ihre vergangenen ,goldenen" Jahre geschrieben hat. Damals hatten die Jungs nicht viel außer einander und ihrer gemeinsamen Liebe zur Musik. Sänger Kurt Cain lebte in einem kleinen Reihenhaus in North Philadelphia in einer fast verlassenen Gasse namens French Street. Hier trafen sich Cain, John und Perla jede Woche, um der Realität zu entfliehen und sich gemeinsam an der Musik zu berauschen. Sie entwickelten eine tiefe Wertschätzung für alles aus den 60er- und 70er-Jahren, von Simon & Garfunkel bis The Moments und allem, was dazwischen liegt. All diese Jahre später hat Market East ein eigenes klassisches Album geschaffen. Vom Barock-Pop des Titelsongs und dem mitreißenden Soul von ,Roses" bis hin zu den lateinamerikanischen Klängen von ,Echoes of My Heart" und den orchestralen Klängen von ,Everyday, Springtime" zeigt Market East ihre beeindruckende Bandbreite. Die Platte wurde in Philadelphia auf Analogband aufgenommen und von Market East und Eraserhood Sound produziert. Hol dir noch heute dein Exemplar dieses zeitlosen Klassikers.

"Collected Works and War of the Martian Ghosts" ist die ultimative Sammlung von Aufnahmen der lebenden Chicagoer DIY-Legende Dr. Charles Joseph Smith. Es ist auch die erste Archivveröffentlichung von Sooper Records aus Chicago. Die Musik hier ist zum ersten Mal überhaupt für alle zugänglich. Diese 90-minütige Sammlung umfasst 30 Jahre von Charles' selbstveröffentlichter Musik, darunter Konzertklavier, elektroakustische Experimente, elektronische Beats, freie Improvisation und zwei Instrumentalversionen seiner sich weiterentwickelnden Science-Fiction-Oper "War of the Martian Ghosts" (eine elektronische Version von 2023 und eine Klavierversion von 2018). Diese Doppel-Vinyl-/Dreifach-CD-Sammleredition enthält ein umfangreiches Booklet mit 9000 Wörtern über das Leben und Werk des Künstlers sowie Gedichten, Interviews, Zitaten und 30 Archivfotos. Dies ist ein Stück Musikgeschichte Chicagos. Die bemerkenswerte Geschichte von Dr. Charles Joseph Smith beginnt mit der musikalischen Begabung eines stummen Kindes und der zielstrebigen Art und Weise, wie er dieses Talent förderte, um es zu seiner Lebensaufgabe und Daseinsberechtigung zu machen. Charles erzählt von dieser künstlerischen Reise in seiner Autobiografie ,The 88 Keys that Opened Doors", einem selbst veröffentlichten Buch, das ein Leben beschreibt, in dem Musik der wichtigste Schlüssel war (und immer noch ist), um die großen Herausforderungen durch Autismus-Spektrum-Störungen (ASD) zu meistern. Seine Karriere als Musiker startet in der Kirche, führt ihn in die internationale Konzertszene und endet schließlich in Chicagos experimenteller Underground-Szene, wo sie seltsame Früchte trägt. Auf diesem Weg hat Charles Joseph Smiths kompositorische Stimme populäre Musik von Pop bis Jazz, den Gospel der Kirche, den Kanon des klassischen Konservatoriums, moderne Tanzmusik und den regelbrechenden Experimentalismus der DIY-Subkultur seiner Stadt, in der er seit über 30 Jahren eine tragende Rolle spielt, aufgenommen und verarbeitet. Seit Mitte der 1990er Jahre tritt Charles auf, tanzt und verkauft seine selbst veröffentlichten Musik- und Schriftwerke persönlich, oft bei lokalen Shows, die er regelmäßig besucht. In Chicago ist er als lebendes Symbol für die Kraft der Musik und den beliebten Gemeinschaftsgeist im Herzen der DIY-Szene bekannt. Dies ist die definitive Sammlung seiner Originalaufnahmen - auch wenn es unmöglich wäre, die ganze Bandbreite der Musik, Poesie und Prosa des produktiven Dr. Charles Joseph Smith zu erfassen.

“I wanted to explore how a big band can cry — not only through sorrow, but through joy, tenderness, and release. Music can hold grief and celebration at the same time, and Paid To Cry lives in that space.”
Nils Berg has been a cornerstone of the Swedish jazz scene since the turn of the millennium. Known internationally as an innovative bandleader and collaborator, this release places the spotlight — for the first time — on Berg’s work as a composer for large ensemble.
Paid To Cry is the result of an intensive collaboration with the Norrbotten Big Band, one of Scandinavia’s most acclaimed jazz orchestras. Drawing melodic clarity and emotional directness from composers such as Burt Bacharach and Kurt Weill, while embracing the raw courage of Björk and Sun Ra, and the pulsating minimalism of Steve Reich, the music forms a sound world that feels both familiar and entirely its own.
This is contemporary big band music without nostalgia: physical, vulnerable, and expansive. Written with deep trust in the individual voices of the ensemble, the compositions allow space for both collective force and intimate expression. And what an ensemble to breathe life — and tears — into this music.
With fifteen musicians moving as one organism, Paid To Cry carries enough air, rhythm, and resonance to lift the listener far beyond genre boundaries. It is music that dares to be emotional without explanation, and powerful without grandstanding — inviting the listener to feel first, and understand later.

Some tracks are just too good to only feature on a compilation, even if it is a significant and celebratory set like Leng’s 15 Year anniversary album from late last year. That’s certainly the case with Payfone’s brilliantly atmospheric ‘Dime Algo’, a seductive slab of slow-motion Balearic disco featuring ‘I Feel You’ vocalist Kyd Nereida, along with Sofi Hardoy and Ludmila Rodriguez.

For this single release Black Science Orchestra, one of Britain’s most storied production collectives, deliver some truly exceptional remixes. Initially making their name with a series of sensational house jams on Junior Boy’s Own across the 1990s, BSO became renowned for the quality of their remixes as well as an ever-evolving trademark sound that put soul, organic instrumentation and references to dance music’s rich and varied past front and centre.

Comprised of Rob Mello, Ashley Beedle and Darren Morris, Black Science Orchestra work has been rare in recent years but here they deliver some magical takes on ‘Dime Algo’, blending Payfone’s original instrumentation with their own low-tempo magic. The Vocal Mix begins with sparse drums, Kraftwerkian bleeps and heavy sub-bass, building the action in waves with 303 lines, electro synths, warm chords and Nereida’s superb lead vocals combining to re-frame ‘Dime Algo’ as a deep, far-sighted slice of chugging 21st century acid-disco. The Dub Mix stretches things out with effects-laden instrumentation, acid lines and vocal snippets. Deeper and woozier, with more prominent use of the trio’s 303 trickery and Payfone’s superb original elements, it’s a heady, intoxicating and loved-up interpretation that subtly gains intensity throughout its seven-minute duration.

Since establishing his Stereo:type imprint, former Papa Records contributor Risk Assessment (real name Glyne Braithwaite) has released a dizzying amount of material, both digitally and on vinyl. His latest wax outing boasts four superb, tried-and-tested cuts. He gets straight to the point on opener 'Get Up', a chunky, emotive and life-affirming affair that appears to make liberal use of orchestral and vocal samples from what sounds like a luscious, maximalist Philly Soul workout of the mid 1970s, before going percussion crazy on 'Circus' (which also boasts samples from a much-loved disco record). 'I Had Enuff' is a colourful and piano-rich classic house number boasting fine vocals from Kathy Brown, while 'Man Like Mike Delgrado' is a swirling, filter-heavy chunk of swirling disco-house hedonism.

Joff Bush and the Bluey Music team proudly present the brand-new Bluey album. Featuring 17 brand-new recordings including ‘Sleepytime’, ‘Flat Pack’, ‘Seesaw’, and the new ‘Bluey Theme Tune (Orchestral Version)’.

“This was our most ambitious album to date - so we wanted something extra special - something we’ve wanted to make for a long time."..."Hearing the music from episodes like ‘Sleepytime’ and ‘The Sign’ in all its orchestral splendour meant tissues needed to be on hand throughout the mixing process.”


“Fittingly, the theme of this album is ‘growing up’. Much of this music, like the episodes they derive from, explore what it means when kids start to discover their independence and venture out on their own. Whether that’s learning to sleep in their own bed or taking a spaceship to Mars. I hope you enjoy ‘Up Here’, as the opportunity I had to make this album is thanks to YOU!"

Mit Home Safe veröffentlicht der Pariser Produzent und Songwriter Crayon am 24. Oktober sein lang erwartetes Debütalbum auf Erased Tapes. Nach Jahren als gefragter Produzent für französische Rap-Größen wie Josman und Dinos tritt Crayon nun selbst ins Rampenlicht - mit einem Werk, das Soul, Folk, Jazz, Hip-Hop und Elektronik zu einem warmen, vielschichtigen Klangkosmos vereint. Die Entstehung des Albums begann in einer Pariser WG, wo Crayon und Jazzpianist Bastien Brison intime Jam-Sessions veranstalteten. Aus dieser kreativen Gemeinschaft entstand ein Sound, der orchestrale Größe mit der Intimität von Bedroom-Produktionen verbindet. Nach einer persönlichen Rückzugsphase in seinem Elternhaus verfeinerte Crayon über drei Jahre die Klangästhetik des Albums - inspiriert von Erinnerungen an das Zuhause und der Frage: Was bedeutet Heimat für dich? Das Ergebnis ist ein zutiefst persönliches, visuell geprägtes Album mit Gästen wie FKJ, ELIZA, Rhye, anaiis, Yamê und Arthur Teboul. Tracks wie Home Safe und Diamond Miner laden ein in eine Welt, in der Sound, Bild und Emotion verschmelzen.