Cerca:outside

Their debut album, Why Trains Crash was released in June of that year to rave reviews. In 2023 they released their follow-up LP, A Company Sleeve, solidifying their reputation with critics and fans alike for all- killer/ no- filler indie rock. Their third LP, Never Felt Bitter, will be released on March 27, 2026. The music on Never Felt Bitter -- the quartet's first release for Chicago- based Forge Again Records--is the result of playing together on hundreds of nights in innumerable bars and clubs across Southern California and beyond. Over the years the band has honed a fearsome melding of pop melodicism and raw physicality. Their knack for crafting catchy anthems for outsiders and underdogs has made them one of the most respected underground bands in L.A.

Analog Fingerprints Vol. 0 is a compilation bringing together the early 2000s works of Marco Passarani under his Analog Fingerprints alias, collecting key tracks originally released on Rome’s Plasmek and Pigna labels.

For Numbers, the story starts long before the label itself. In their formative years, digging in Glasgow’s Rubadub, Passarani’s records felt like dispatches from a future city. Releases on his own Nature Records and on labels such as Generator and Interr-Ference Communications were mind blowing: rooted in Detroit techno, Chicago house and electro, yet pushing somewhere new. Much like fellow travellers Autechre, who would remix him in 2001, Passarani’s music balanced machine funk with restless experimentation.

Information was scarce, and you would hear these records first on the dancefloor or at listening stations in shops like Rubadub. Print fanzines like Ear and early web outposts such as Forcefield offered only fragments. But there was a palpable axis forming between Detroit techno and a new European wave of record labels including Skam, Rephlex, Clone, Viewlexx and Nature itself. It was the sound that defined Saturday nights at Rubadub’s ‘69’ parties in Paisley, just outside of Glasgow.

Passarani’s records, in particular, were instrumental in bringing together the future Numbers co-founders. Richard had already booked him pre-Numbers; meanwhile Calum (Spencer) and Jack (Jackmaster), then 16/17 year olds working alternate Saturdays in Rubadub, were so enamoured with the Roman sound that they travelled to Rome for the Bitz Festival in 2003 to seek out Passarani and Lory D at their source.

The first Analog Fingerprints release landed as a 12” on Plasmek in 2001, following the fractured, IDM-leaning 6 Katun material. For Passarani, the project marked a recalibration. A DJ first and foremost, he had moved into production via early computer setups, from a Commodore Amiga through primitive PC audio, Cubase and Logic, later experimenting with Ableton. The IDM scene had offered a playground for trial and error, but there was always a tension between abstraction and the dancefloor. Analog Fingerprints became the bridge: still intelligent, but with more dance than distance. After years of broken beats and complex arrangements, he wanted directness without surrendering identity.

Working closely with Francesco de Bellis and Mario Pierro in the Pigneto district, the trio formed Pigna as a vehicle for reclaiming a more accessible dance sound, deliberately steering away from the minimal wave beginning to dominate Europe. Sessions were fast, instinctive, often stretching late into the night with friends dropping by. It was a studio as social space, production as collective energy.

“In that constant search for balance, Analog Fingerprints was my way of expressing something closer to the classic dance floor. The track 'Tribute' - a tribute to my favourite early Detroit techno track of all time, 'First Bass' by Separate Minds - came after I realised I had almost lost my connection with the dance floor. The simplest step was to take inspiration from early Chicago and Detroit and twist it in our Roman ‘Pigna’ way. My goal was to create more accessible dancefloor tracks by mixing my unconscious Italo roots with my teenage love for that early US sound, ensuring the result was as far as possible from the minimal sound that was starting to dominate everywhere.” - Marco Passarani

Technically, the Analog Fingerprints tracks span a transitional era: Roland TR-909, SH-101 and Alpha Juno hardware met early software experiments. A Novation Drumstation rack stood in for the unattainable TR-808, syncing with TB-303 and TR-606. Yet the true secret weapon was Jeskola Buzz, a tracker-style modular environment that allowed step-by-step parameter control and strange melodic constructions, later exported into the audio sequencer. Even the lead on ‘Tribute’ came from an early PPG Wave-style plugin. It was hybrid thinking at a moment when digital tools still felt unstable but full of possibility for technologists like Passarani.

Behind the music sat Finalfrontier, a loose Roman collective orbiting Nature and Plasmek. Distribution and production were intertwined; importing obscure records into Italy built connections with like-minded outsiders across Europe and the US. Expensive phone bills and fax machines forged an “electronix network” that linked Rome to Clone, Viewlexx, Skam, Rephlex, Rubadub and Detroit’s Underground Resistance. There was a shared sense of survival and resistance, of operating against commercial systems.

Passarani recalls “The first time I found a sheet of paper inside an Underground Resistance 12” with info about upcoming releases... and a huge picture of Spock on the back. Imagine that: you love the music, you love Star Trek, and there’s someone on the other side of the ocean sharing those same values and sounds. It was the perfect match. We even gave our original company the suffix ‘Finalfrontier’: that says it all.”

Feedback in that era arrived physically: distributor faxes, conversations with visiting DJs, the experience of playing abroad and meeting kids who had connected with the records. Glasgow became a key node in a scattered outlier network. Passarani personally brought the first two Nature releases to Fat Cat in London, playing them in-store. Shortly after, a fax arrived from Rubadub in Glasgow requesting copies.

“I still remember that phone buzz and the fax paper slowly sliding out, with someone I didn’t know saying they wanted 75 copies of Nature 001. Or like the time we got a fax from the Rephlex crew just saying, “Hello Nature Records, Keep up the good work.” That was how we knew the message was getting through. It was a fantastic feeling; just one piece of thermal fax paper as an analog notification - the mood for the entire week would change.” - Passarani

The connection to Glasgow has since stretched across generations. As Passarani reflects, links often fracture as scenes renew themselves, but in Glasgow something different happened. New and old mixed seamlessly. There was a visible trust in what came before, and a willingness to carry it forward rather than discard it. Observed from Rome, it was deeply encouraging.

Analog Fingerprints Vol. 0 captures that moment of exchange: Rome to Glasgow, Detroit to Europe, experiment to dancefloor. It documents an artist recalibrating his sound and a network of scenes discovering one another in real time, connected by vinyl, faxes and shared intent.

Undun is the story of a man, Redford Stevens, dying in reverse, rewinding from the moment he became a statistic and hitting the points in his life where he's at his most self-aware. That he's a criminal who got caught up in the familiar street-hustle trappings that the modern media's documented countless times is a pivotal detail-- it's hit at an angle that seems to emphasize the futile inevitability of it all. His life could be any number of misdirected narratives that ends with a toe tag, and what details listeners learn about him are hazy, buried under archetypal turns of fate and decisive struggles. That this protagonist is a fictionalized composite of a handful of real people, filtered through a matter-of-fact narrative that splits character ambivalence with journalistic impartiality, only makes his lack of direction and the failure of any real closure stand out even more. "Lotta niggas go to prison," Dice Raw states on "Tip the Scale", "how many come out Malcolm X?"

So the Roots' latest album isn't a sprawling, rise-and-fall crime story, not a condemnation or a veneration of a man living outside the law, not a bullet-riddled grand guignol heavy on explicit details of soldiers getting cut down. It's a character study of a man whose existential crisis ends only with his death-- a death gone largely unspecified, the glamor and tragedy washed over with a doomed resignation. That's a hard thing to pull off, even for a band as given to deep-thinking concepts as the Roots are. And when your main lyrical catalyst is Black Thought-- a man more given to allusions than direct statements-- it's likely that it'll take a while for the full scope of Undun to really sink in.

If and when it does, it might strike listeners as a bit skeletal: omit the mood-setting instrumental bookends, including a brief, four-part orchestral suite that builds off Sufjan Stevens' "Redford (For Yia-Yia and Pappou)", and you've got maybe a half hour's worth of material. By ?uestlove's accounts, writing Redford's story introduced the headaches and challenges that come with scriptwriting into their songwriting, and what's left on Undun is the end result of frequent revisions and rewrites that attempt to reconcile character, theme, and continuity. If it comes at the expense of nuance, it's not always obvious: There's an easy-to-trace narrative line from Redford's acceptance of his fate ("Sleep") to his acknowledgement of how close it's approaching ("Make My"), back through declarations of aggravated toughness ("One Time"), and celebratory fatalism ("Kool On"), along ups and downs that juxtapose motivation ("Stomp") and helplessness ("Lighthouse"). When the vocal portion of the album ends with two of the bleakest sets of verses in the Roots discography, peaking with the estrangement of "I Remember" and the desperation of "Tip the Scale", Undun reveals itself as a story where a man's actual death isn't quite as tragic as the circumstances that pushed him to it.

The Activist returns to Sneaker Social Club with a fresh double-drop of mutant grime futurism featuring deadly flows from Tia Talks and Jammz.

Low End Activist first came through centred on link-ups with grime MCs before widening the scope of his sound with purely instrumental, conceptually-charged albums. This sure-shot double single reaffirms his affinity for outsider grime production as a vessel for deft bars from breakthrough talent and seasoned mic veterans alike.

On 'False Idols' and 'Atomic Clock' there's an emphasis on sharply angled, glitchy production that bends and warps well outside the established formula of MC-focused beats. Constantly shifting, hyper-detailed and front-loaded with walloping slabs of bass, both cuts are devastating in either vocal or instrumental form. Tia Talks pulls no punches stating her truth on the former, while Jammz muses on the endless battle against time on the latter, continuing the peerless run of avant-grime that courses through the Activist's back catalogue.

Double LP pressed on transparent red vinyl with black marbles. In Dying Light: The Beast, you step back into Kyle Crane's skin, but he's no longer the man he once was. Years of experiments have left him torn between fragile humanity and a monstrous power that he can barely control. Every light, every shadow, every choice feels dangerous. The forests and ruins of Castor Woods don't just set the stage, they breathe, they watch, and they punish the reckless. This is survival stripped to the bone, where horror is not just outside, but inside you. Olivier Deriviere's powerful and capturing score for Dying Light: The Beast doesn't just accompany Crane's journey, it is his voice. Sometimes it whispers in empty rooms, fragile and broken, sometimes it roars with distorted rhythms and pounding drums when the Beast takes over. Between silence and sound, the music pulls you deeper into Kyle's fractured soul, making every step and every heartbeat part of the story. It's not just a soundtrack, it's the echo of a man losing, and maybe finding, himself.

Igor Tamerlan is a stranger in his own land. Born in 1954 the Hague and spent most formative years in Paris, Igor suddenly had the urge to relocate to Bali in 1986. “I want to settle in Indonesia and marry a local girl,” he told his sister shortly before flying out.

His next journey would be as audacious as his time in the Fifth Republic. Born from a prominent Indonesian expatriate family in Paris with ties to Indonesia’s first prime minister Sutan Sjahrir, Igor earned a degree in architecture at Ecole nationale supe´rieure d’architecture de Paris-La Villette.

He could have been a brilliant architect or a political scientist (he was accepted to Sciences Po), but his passion for music distracted him from his academic works. He was after all named after Russian composer Igor Stravinsky.

During his brief stint at Sciences Po, Igor spent most of times hanging out at recording studios and rub shoulders with the likes of singer-songwriter Jean-Jacques Goldman and Michel Polnaref. He had a brief encounter with The Rolling Stones at the Cha^teau de Thoiry studio in the early 1970s.

But Igor’s musical education and his occidental eyes appeared to be ill-suited for Indonesia. His first record, titled Langkah Pertama (First Step) on the mainstream label Musica was met with a shrug and was a commercial dud. An experimental record blending the influence of Spanish motifs, Francophile production and a whiff of hip hop and ska was seen by critics as being too alien. His sarcasm-laden lyrics and his biting critique of excessive materialism among the upper tier of Indonesia’s nouveau riche in the album was met with confusion from the audience. He was just too far ahead of his time.

He left the label Musica – or may had been dropped – soon after Langkah Pertama and decided to go independent. He then relocated to Bali and set up a state-of-the-art recording studio in Sanur, across the street from Southeast Asia’s first boutique hotel where luminaries like Mick Jagger, David Bowie, Sting, Yoko Ono and Ringo Starr stayed for their holiday.

From the studio, Igor recording everything from the sounds waterfalls, geckos, minibuses to motorized rickshaw and mix them with hip hop, jazz, electronica, dub and Balinese gamelan. A visionary, Igor was the first musician to use MIDI, which started to be available globally in the early 1980s.

On paper, songs like “Bali Vanilli” should not work, a mish mash of disparate elements mentioned above, sung in three languages, Balinese, English and Bahasa Indonesia while tackling the subject of overtourism. The song was also the first to introduce rap to an unsuspecting audience. But for some strange reason “Bali Vanilli” became a sensation and overnight Igor became household name. And in 1987, long before overtourism was an issue, Igor broached the subject to a national audience in Indonesia on the possible destruction of nature and culture from tourism.

Ever an iconoclast, Igor decided to step out of the limelight following the success of “Bali Vanilli” and in early 1990s he relocated to Indonesia’s cultural capital, Yogyakarta. Here, he worked on some more experimental music while juggling as music video director. He passed away in 2018 at the age of 64.

The 10 songs in this compilation, Bali Vanilli: Experimental Pop from Paradise Island (1987-1991), are some of Igor’s best works, music that would have gone into obscurity had it not been for the diligent work of film director Alfred Pasifico Ginting, who managed to track down some of the master tapes while researching on a documentary on the musician.

These recordings have never before been released outside of Indonesia. Igor would have been proud with this reissue project.

Devotional music most often gets distilled into earthy chants and ancient folklore, it doesn't always ascend to the sky like Julinko’s ‘Naebula’ an album that from the first organ note clearly trades in terrestrial dreams for ethereal visions. A feverish quality permeates the whole record, as if a ritualistic performance was being captured from start to finish, a collection of hallucinatory doom, synthetic neo-folk hymns and ghostly art-rock.

Julinko, stage name for Giulia Parin Zecchin, has long been one of the best kept secrets of the experimental community in North-East Italy, with three records that helped define her unique blend of heavy psychedelia, slowcore and dark ambient. On ‘Naebula’ what really stands out is how powerful and soaring her voice is, a weapon of undeniable force that can transform into a vessel of raw fervour or glide effortlessly as a delicate lament. Her unconventional approach shines through on tracks like ‘Jeanne De Rien’, where a marching pulse acts as a pillar for an extended mantra, almost verging into powwow territory. ‘Peace Of The Unsaid’ uses its arrhythmical structure to create space, a crepuscular night ode that reaches the heights of Sinead O’Connor’s most intimate force-fulness while retaining a sweet composure. Whether it’s glacial murderous shrieks or gospel-esque vitality, songs like ‘Cloudmachine’ or ‘Kiss The Lion’s Tongue’ seem to draw as much from a tradition of European minimalism, the use of drones and repetition, to the tradition of folksongs as hymns, where modal harmonies make way for an apparent stasis. Another key element in Julinko’s songwriting is the seamless blend of her minimalistic approach with these dense textures borrowed from a distant outsider metal heritage, Lynchean noir on steroids or wordless exorcisms with deep undercurrents.

Mahjong Room is the second album Cameron Lew released under the artist name Ginger Root which explores his coming of age and discovery of his own signature sound; self coined as Aggressive Elevator Soul. Self Produced and Performed, this album marked the beginning of Ginger Roots' rise in popularity outside of his Huntington Beach hometown. Lew was still in film school at the time of recording and releasing Mahjong Room. His attention was equally focused on the music videos that were made for singles `Two Step', `Call it Home', `Jeanie', `Mahjong Room', and `Ohio'. Becoming a signature of Ginger Root releases, the video treatments of songs were humor-filled and directed and produced by Lew himself. Catching the attention of other touring indie acts Ginger Root spent most of the fall of 2018 on tour with artists Khrunagbin, Duran Jones & The Indications, The Marias, and Omar Apollo.

Rom Com is the debut album from Disco In Sochi; a Liverpoolborn duo injecting full-throttle glam rock theatrics into modern pop. Built on strutting guitars, neon synths, & unapologetically huge hooks, their sound is loud, glossy, and engineered for the spotlight. Drawing from the lineage of glam’s excess and pop’s instinct for spectacle, Disco in Sochi trade subtlety for swagger. Their songs are designed to hit hard and fast — all attitude, amplification, and choruses made to be yelled back from the front row. It’s music that treats the stage like a catwalk. Disco in Sochi make pop music for outsiders who dress loud, move louder, and don’t believe in playing it cool. Equal parts flash and force, they arrive with the confidence of a band ready to turn volume into a statement.

Pioneering Swiss trombonist and composer Andreas Tschopp marries contemporary jazz with South African horns and homemade ocarinas, creating a record quite unlike anything you've heard before. "What if We Align Our Breath" disregards the curvature of borders, genre, and time itself - tugging a thread through the history of wind instrumentation with ghostly agility.

At the heart of the record lie spiralling, bonelike kudu (antelope) horns - instruments that have lent their stirring calls to indigenous South African rituals and signalling systems for millennia. These horns are clustered, harmonised and stretched beyond their godly usage by Tschopp - his extended techniques coaxing an array of melancholy, playful voices to canter through the album.

Flourishes of trombone, alpine flutes and a stellar supporting cast on double bass (Shane Cooper), cornet (Ben LaMar Gay), udu drums (Gontse Makhene) and spoken word (Koleka Putuma) bring groove, countermelody and a sense of earthy introspection to the proceedings. This is inconceivable music: a sighing tapestry of brass, clay and bone that hints at some preconscious connectedness, tracing figures that rejoice, exhale and embrace outside of time.

Recommended if you like Francis Bebey, quantum physics, peat bogs.

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 outside the mainstream, aware of the world's failings but determined to create his own haven. Palmier embodies themelancholy of unfinished struggles, perseverance, and the promise of a brighter dawn.FEAT. NATACHA ATLAS & LE VIOLONISTE SAMY BISHAI

Yuvi Havkin aka Rejoicer returns with an exceptional collaborative album, California Space Craft. On this aptly titled record, he joins forces with seasoned LA bass polymath Sam Wilkes — known for his inspired studio work with Sam Gendel and his dynamic live performances alongside Louis Cole and KNOWER — and drummer Tamir Barzilay, completing the LA-connected trifecta alongside a select handful of key featured guests. The idea for California Space Craft was born out of a series of inspired live sessions in Los Angeles between 2019 and 2022, notably at Listen to Music Outside in the Daylight Under a Tree, where the trio’s natural chemistry first began to bloom. The resulting recordings encompass a wide variety of inspired sound stylings, as one would expect from any of these accomplished artists on their own; however, the sum is truly greater than the parts here, with the fluidity of their freeform improvisations over a dedicated three-day recording session feeling remarkably focused as a cohesive whole. Opening track “Traveling Light” sets the LP’s tone with equal parts Sly & Robbie-style, space echo– drenched rhythms and the cozy kosmische, guitar-led feel of early-2000s genre-fluid explorers like Tortoise. As we continue on to “Ritual in G#,” we are reminded that this is indeed a unique and timeless sonic space the trio has created, as Havkin’s crisp Rhodes chords anchor an ever-evolving psychedelic sound bed. The soaring trumpet of Avishai Cohen adorns the Afrobeat-indebted “Lion Water,” with Barzilay laying down a proper Allen-esque groove, while “Further (with you),” featuring Nitai Hershkovits on keys, offers a defining look at the titular concept of the album — with pure Cali feels coalescing effortlessly into sciNew Release Information fi narrative modes and a proper dose of Rejoicer futurism. Elsewhere, “Her Hair in the Air” shines with fresh polyrhythmic intention, illustrating the balanced bond between the three collaborators at their conversational peak, and the brisk synth strokes of “Early Porpoises,” alongside LP closer “Oceanic Friends” — again ideally named — double as a grand, in-stereo ride into the blissful Pacific sunset horizon. California Space Craft embodies the power of open, collective intention and musical kinship, offering memorable, uplifting moments and an aural glimpse of hope, warmth, and loving melodious calm in an otherwise quite chaotic time for humanity.

Delphine Dora, the prolific French composer and multi-instrumentalist, graces Marionette with a suite of keyboard instrumentals that evoke futurism and the transcendental. Based in France and actively releasing music since the 00’s, Delphine’s remarkable solo and collaborative projects loosely connect the dots scattered across modern classical, folk, ambient, and poetic writing - always seeking new ambitions in terms of her sound.

Leaving behind the chaos of city life for the quiet solitude of a small village in the French countryside, Delphine finds herself fully immersed in the present moment and committed to her multi-disciplinary creative practices, savoring the experiences of deep listening in nature and her environment. Drawing from an academic background in Outsider Art and Art Brut, Dora yearns to express intimate inner dialogues, revealing the beauty of vulnerability through transportive musical passages to the mystical and sublime.

L’inéluctable pulsation du temps was composed in 2018, at a time when Delphine’s life was becoming increasingly busy, marked by relentless touring and concerts unfolding in rapid succession across different places. Written in parallel with L’Inattingible, her most ambitious album, it stands as its instrumental counterpart. The recordings reflect a period of exploration and assimilation of the Nord Electro, an instrument that opened up vast sonic possibilities, particularly for the development of rich polyphonies inspired by repetitive music. The track titles draw inspiration from an essay by Hartmut Rosa on the notions of acceleration and alienation - a reflection that resonates strongly with the pre-covid era right before the quarantine. The album reveals Delphine’s most colorful and rhythmic side, an aural mille-feuille, in total contrast with her previous melancholic vocal works.

On L’inéluctable pulsation du temps, Dora sustains atmospheric drone miniatures that form the foundation for flowing, cyclical arpeggios, spiraling into a liminal dream space where the repetitive phrasing of melodies rewards introspective listening. The compositions move through (dis)enchanted landscapes, taking unexpected turns into more haunted terrain, their contours further blurred by Dora’s intuitive articulation and sense of refinement. By mirroring both the acceleration of time and the experience of alienation, Delphine conjures up timeless sonic meditations, rendering the inevitable pulsation of time as something at once mesmerizing and unsettling.

Bonnie 'Prince`Billy kehrt am 6. März 2026 mit dem Album 'We Are Together Again' zurück. Das Album ist warm und persönlich und außerdem so angelegt, dass es mit denselben Worten beginnt und endet: 'Why is the lion still here, outside?'

Thematisch ist das Album tief in Louisville, der Heimatstadt von Bonnie „Prince“ Billy, verwurzelt. Es feiert die Kraft von Freundschaft, lokaler Gemeinschaft und gemeinsamem künstlerischem Schaffen. Damit setzt es bewusst einen Kontrapunkt zur Globalisierung und plädiert stattdessen für Lokalismus. Aufgenommen wurde es live im Studio End of an Ear mit lokalen Musiker:innen, Freund:innen und Familienmitgliedern. Jeder Ton ist direkt und unverfälscht – was im Raum passiert, hört man auch auf der Aufnahme. „We Are Together Again“ nimmt die Ängste einer sich verändernden Welt nicht weg, sondern begegnet ihnen mit Harmonie. Das Album erzählt von Zusammenhalt, von der Freude am Miteinander und davon, wie das gemeinsame Fragen selbst zur Quelle von Hoffnung wird."

Bonnie 'Prince`Billy kehrt am 6. März 2026 mit dem Album 'We Are Together Again' zurück. Das Album ist warm und persönlich und außerdem so angelegt, dass es mit denselben Worten beginnt und endet: 'Why is the lion still here, outside?'

Thematisch ist das Album tief in Louisville, der Heimatstadt von Bonnie „Prince“ Billy, verwurzelt. Es feiert die Kraft von Freundschaft, lokaler Gemeinschaft und gemeinsamem künstlerischem Schaffen. Damit setzt es bewusst einen Kontrapunkt zur Globalisierung und plädiert stattdessen für Lokalismus. Aufgenommen wurde es live im Studio End of an Ear mit lokalen Musiker:innen, Freund:innen und Familienmitgliedern. Jeder Ton ist direkt und unverfälscht – was im Raum passiert, hört man auch auf der Aufnahme. „We Are Together Again“ nimmt die Ängste einer sich verändernden Welt nicht weg, sondern begegnet ihnen mit Harmonie. Das Album erzählt von Zusammenhalt, von der Freude am Miteinander und davon, wie das gemeinsame Fragen selbst zur Quelle von Hoffnung wird."

One of the UK’s most singular voices, Murkage Dave has spent the last decade crafting a body of work that refuses to fit neatly into any genre box. His music, loosely pop but informed by indie, outsider art, and an instinct for storytelling, is built on honesty, empathy, and fearless social commentary. Across his career, he has earned a cult following and praise from Pharrel Williams, Iggy Pop, BBC Radio 6 Music, The Guardian, Rolling Stone, Pitchfork, Clash, Complex, Highsnobiety, and Vogue. His debut album Murkage Dave Changed My Life (2018) amassed over 12 million Spotify streams, while follow-up The City Needs A Hero (2022) reached #10 on the UK iTunes Chart and #15 on the UK Independent Chart.

One Believer, the Elektra debut by the late bluesman John Campbell, was outside of virtually every trend on major labels and in pop at the time. Other than Chris Whitley's Living with the Law, it was the only roots record issued on a major label in 1991.

A deeply atmospheric record full of subtle shimmering organs and warm guitar textures that accent the dreamy spooky side of the blues more than the crunchy stomp and roll that Campbell was known for in the clubs and displayed on his follow-up Howlin' Mercy. Tracks like "Angel of Sorrow," "World of Trouble," and "Wild Streak" offer shimmering ambient textures from which the blues emanate from the ether. Campbell was living and working in New York and his music was certainly influenced by that late-night environment. These are beautiful songs, tempered in shadow and restraint while baring their teeth at all the right moments. On "Couldn't Do Nothin'," "Devil In My Closet," and "Person to Person the roadhouse magic comes out. The album's last two tracks "Take Me Down" and the title track are menacing in their conviction and creepy swampy in execution.

One Believer is available as a limited edition of 750 individually numbered copies on blue vinyl and contains an insert.

Der in Paris geborene Soulsänger und Songwriter Tiwayo, der wegen seiner zeitlosen, ausdrucksstarken Stimme den Spitznamen ,The Young Old" hat, gibt die Veröffentlichung einer limitierten 45er-Vinyl-Single bekannt, die zwei herausragende Tracks aus seinem kommenden Album Outsider enthält - produziert vom Grammy-Gewinner Adrian Quesada von den Black Pumas. Die am 20. Februar erscheinende 7"-Single vereint den Up-Tempo-Soul-Stomper ,Up For Soul" auf der A-Seite mit dem strahlenden und herzerwärmenden ,Sunshine Lady" auf der B-Seite. Mit einer limitierten Auflage von weltweit 500 Exemplaren ist diese Single ein Muss für Funk-/Soul-DJs und Sammler. ,Ich wollte, dass das Album einen Up-Tempo-Track hat, der wirklich bewegt", sagt Tiwayo über ,Up For Soul". ,Eines Nachmittags hörte ich Sly Stone und Johnny Guitar Watson, und am Ende des Tages war dieser Song geboren. Es ist eine spielerische Auseinandersetzung mit den Höhen und Tiefen des Musikerlebens - dem Trubel, der Freude und dem Chaos -, alles verpackt in der Soul-Energie der 70er Jahre." Aufgenommen mit Adrian Quesada und mit einem üppigen Streicharrangement von Sly5thAve, ist der Track ein Beweis für Tiwayos Fähigkeit, klassischen Soul frisch und lebendig klingen zu lassen. Auf der anderen Seite glänzt ,Sunshine Lady" als Moment der Zärtlichkeit und Hoffnung. ,Ein Freund hat mir mal gesagt, dass ich immer traurige Songs schreibe", lacht Tiwayo. ,Also habe ich versucht, etwas Fröhliches zu schreiben. Der Song handelt von Dankbarkeit - von der Person, die dich auffängt, wenn du am Boden bist. Er ist einfach, gefühlvoll und voller Licht." Mit dem geschmeidigen Rhythmus von Jay Mumford (Schlagzeug) und Terin ,Moswen" Hector (Bass) strahlt ,Sunshine Lady" den warmen, analogen Spirit eines verlorenen Soul-Klassikers der 70er Jahre aus. Beide Tracks sind eine Vorschau auf Tiwayos mit Spannung erwartetes drittes Album ,Outsider", das am 10. April 2026 erscheinen soll - eine Zusammenarbeit zwischen Tiwayo und Adrian Quesada, die Pariser Soul mit der rohen Hitze des Südens von Austin verbindet.

The music of these Louisville-NYC art-punk-rockers continues to exist bafflingly outside of time - so when better than 42 years after initial release to reissue their album debut on vinyl? New listeners will find, in addition to the roiling compulsion of its odd, dance-damaged clockwork and synthesis of feral and aestheticized values, a refined understanding of the width and breadth of "post-punk" music, from any era, known or unknown.

"And what about you? What are you looking for?" - René Daumal

This musical journey pays tribute to René Daumal and his enchanting world of mysteries and magic. The album shares its title with Daumal's novel, Mount Analogue: A Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing, published posthumously in 1952, eight years after the author's untimely death.

Mount Analogue is a classic allegorical adventure novel. The novel describes an expedition undertaken by a group of mountaineers to travel to and climb the titular Mount Analogue an enormous mountain on a surreal continent, that is invisible and inaccessible to the outside world and can be perceived only by the application of obscure knowledge. The central theme of mountaineering is extensively explored through literary and philosophical lenses. Daumal died before the novel was completed, providing an uncanny one-way quality to the story, which ends abruptly in the middle of a sentence.

The first disc features a fifty-minute composition divided into six chapters: Introduction, Meeting, Supposition, Crossing, Arrival, and Conclusion. This album weavestogether a rich tapestry of diverse instruments, sounds, and voices that collectively tell the story of this conceptual work, loaded with a synesthetic multitude of colors, aromas, meanings, textures, and moods.

Contributors to this musical poem include Bill Laswell (bass), Henry Kaiser (guitar), Anna Clementi (vocals), Percy Howard (voice), Hideo Yamaki (percussion), Graham Haynes (cornet), Dorian Cheah (violin), Nils Petter Molvaer (trumpet), Peter Apfelbaum (keyboard), and P.ST (concept, electronics), who all lend their talents to a series of excerpts from Daumal's text.

A truly global project, the recordings took place across various locations in Europe, North America, and South America, culminating at Orange Music Studio in New York, thanks to the collaborative efforts of Bill Laswell, James Dellatacoma, and Michael Fossenkemper.

The second disc presents five improvisations for solo electric guitar by Henry Kaiser. The first solo, Jodorowsky's Peradam, draws its inspiration from Alejandro Jodorowsky's 1973 film The Holy Mountain, which was inspired by the Daumal novel. Kaiser's initial forty-eight-minute guitar solo serves as a foundational guide for his four subsequent, Rashomon-esque, solo musical interpretations of Mount Analogue, as seen through the psychedelic labyrinth of Jorodrowsky's cinematic masterpiece.