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Debut single from forthcoming full length out in May 2019. The first time we heard Bobby Oroza, it was his slow moody ballad 'This Love', that perked the world's ears and made a name for the dapper crooner that calls Finland his home. Since it's release, 'This Love' has become somewhat of an underground hit, the soundtrack to car shows and swap meets in the West Coast, numerous movies and TV shows, and it even made it to Earl Sweatshirt's most recent mixtape. This new single from Bobby Oroza picks up the tempo and showcases another side of his range with a record sure to move bodies and nod heads. The A side 'Your Love Is Too Cold' is a stomper that blends the groovy soul drumming of early Motown records with guitar that could have been lifted from a James Bond

soundtrack. Bobby pleads over the track of his decision to call it quits and keep it quits. The B side 'Deja Vu' finds Oroza leaning again into the B side ballad stylings that made him a name to check for. Heavy duty drums lay down the canvas on which Bobby's vocals paint the picture of a relationship that has come to a fork in the road. The Cold Diamond & Mink production and backing band are tight as ever and this is sure to be another classic with the slowie fans.

2025 Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre.

His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With 9 Is A Classic, Slaves To The Rave, Pitch-Hiker, Stereo Murder and We Have Arrived, just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties!

The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp.

All original tracks have been re-mastered to the highest possible standard of quality.

Wonderwheel is happy to present the very first pressing of Nickodemus' longtime classic "Sun People", pressed on translucent yellow vinyl. Originally released in 2009 by Thievery Corporation's Eighteenth Street Lounge label, "Sun People" was built with songs made for people who love the sun, sunshine and brighter days to come. Appropriate, of course, as Nickodemus has made his mark soundtracking NYC summers with his massively popular Turntables On The Hudson live events as well as with 20 consecutive years touring the World. The songs were inspired by various people Nickodemus met and places he's been, along with his collective feelings of optimism. It's these positive sonic vibes from all over the globe that Nickodemus matches with collaborators hailing from destinations including Guinea, Colombia, Puerto Rico, Brazil, Romania, India, Turkey, United Kingdom and New York City. These are the Sun People.As songs like "N'dini" "Sun Children" & "The Love Feeling" continue to kept parties dancing until today, "Calle Sol" & "Gira Do Sol" are being discovered by new fans & playlists today. As Jason Bentley, former Music Director at KCRW once said, "Sun People reflects a rich musicality, while infectious rhythms keep the party live. Nickodemus truly knows
no borders on this global dancefloor."Wonderwheel recordings is happy to keep the fire burning with this special limited color vinyl reissue out on June 21st, 2024.

a 01: Sun People (Intro) feat. Ismael Kouyaté
b 02: Sun Children (Original Mix) [feat. The Real Live Show]

Corbin (FKA Spooky Black) makes captivating, honest, and raw music that harkens back to the days when the singer-songwriter’s artistic vision prioritized vulnerability over image. The St. Paul, Minnesota native came to prominence during the rise of the SoundCloud gold rush, helping to influence the new generation of Gen Z songwriters. Songs such as the haunting portrait of addiction “Diazepam”, and his battle with insecurity and instability in relationships “ICE BOY”, showed off his ability to connect with the plight of modern adolescence. But it was the internet-breaking, classic ballad of yearning “Without You”, that inspired a generation of disaffected and abandoned adolescents, serving as a soundtrack to make the alienated feel a little less alone. He’s attracted some of the biggest names in music, featuring on songs with Chief Keef, Trippie Redd, and The Kid Laroi, among others. With his latest record, Crisis Kid, Corbin dials back the angst in favor of an intimate vocal style that sounds like he’s reading his diary from a candlelit cabin. A more polished and refined version of Corbin resurfaces as he contemplates collective suffering, generational trauma, and the quest to find hope during the bleakest timeline, offering a voice for the voiceless.

The collaboration between influential DJ/producer Eli Escobar and acclaimed vocalist/songwriter Nomi Ruiz has been a long time in the making. The two Puerto Rican New York native’s first collaboration, the electrifying track ‘Desire’ in 2011, set the stage for a series of projects, including their recent joint effort ‘Dance 4 Love ’99’. Now, they are set to release their debut LP, ‘Love Louder’.

‘Love Louder’ captures Eli and Nomi’s experiences of love and loss, reflecting their enduring connection to New York City and its vibrant, yet fading, nightlife culture. The album, while featuring dancefloor gems like ‘Heathens’ and ‘Full Fantasy’, takes an emotional turn, focusing on the themes of loss and presence in a rapidly changing world. The title track opens with lyrics invoking the late Donny Hathaway, reflecting a more profound introspection from the duo. They share their pain over loss, particularly the passing of mutual friend James Dewitt (DJ BluJemz), whose absence profoundly affected their creative process.

Escobar recently opened a club in Brooklyn named Gabriela, honoring a friend who passed away during the pandemic, emphasizing their commitment to preserving New York's cultural landscape. ‘Love Louder’ serves as a love letter to their hometown, intertwining celebration with mourning. In the poignant track ‘Go Be Gone’, Ruiz expresses the difficulty of embracing change and saying goodbye.

As they honor the past, they also aim for a brighter future through their music.

GOLLIWOG is billy woods' first album in two years, preceded by 2023's Maps, his second collaboration with producer Kenny Segal. That nimble travelogue has little in common with woods' newest work, despite the fact that Segal shows up a couple times in the credits. GOLLIWOG is a haunting collection that weaves horror, humor, surrealism and Afropessimism into a cinematic tapestry, aided and abetted by a murderer's row of producers. African zombies, time traveling trap cars, malevolent ragdolls and a dying Frantz Fanon are just a few of the revelers in woods' danse macabre. GOLLIWOG features production from The Alchemist, Kenny Segal, EL-P, Conductor Williams, Preservation, Messiah Musik, Sadhugold, Ant (Atmosphere), Shabaka Hutchings, Steel Tipped Dove, DJ Haram, Willie Green, Jeff Markey, Saint Abdullah, and LA-based experimental jazz trio Human Error Club. Meanwhile, woods is joined on the mic by Backwoodz labelmates ELUCID and Cavalier, along with rappers Bruiser Wolf, Despot, Al.Divino, and singer-songwriter Yolanda Watson. GOLLIWOG is another triumph in the woods oeuvre, as layered and compelling as anything he has ever done. A black carnival pitched in a muddy field overnight, empty rides whirring and clattering in the dark.

Tartelet is pleased to welcome the tranquil acid delights of fast-rising Frankfurt-Leipzig duo not even noticed for a brightly melodic, rolling EP of positive party gear.

Since forming in 2020, the pair have won over a succession of well-established labels and dancefloors with their infectious, easy-going approach to acid and breakbeat. The mellow, soulful mood on their Aerial EP arrives as the perfect soundtrack to the brightening skies of Spring in the Northern hemisphere.

From the airy pads of 'Aerial' and the psychedelic chill-out breaks of 'Voidness' to the tough groove of 'Fidelity' and 'Affected's tightly wound electro framework, there's plenty of scope across the whole record without losing a grip on the warm and grounded mood that makes this duo such a resounding success wherever their music gets an airing.

Coming correct with an all-too-rare restorative quality to their tunes and a serious weight that comes to life over a big system, not even noticed are a perfect fit right here on Tartelet.

The 12-inch is limited to 300 copies and comes in a black sleeve with sticker.

Adeen Records is back with its The Bird series and this time Cad73 is the one at the buttons. First up he flips the age old classic 'Love and Happiness' into a smooth and seductive sound with lush chords and warming melodies. Flop it over and you will find a rework of 'How Can I Forget You' which becomes a Northern Soul great with big hooks and driving rhythms that will get big reactions in the club. Two different but equally effective and cultured cuts.

Senselessness 1/2 is the very first solo issue of the Swiss electronic composer Robin Félix, on his own label De l’Aube (Of Dawn), the occasion for him to prove that field recordings can be (or should be?) an integral part of the global matter, when so often they are just something hovering in the background because it’s “nice” or reminds the artist of a place he loves.

Throughout the length of these four tracks, they are litterally central; moreover, they are electronically transformed, manipulated, skewed and twisted in order to form some sort of framework, a backbone on to which sounds and genres intertwine. On Cluster, violins and cellos (recorded in the gardens of the Venice Biennale) are soon transmuted into the abrasions of the electroacoustic realm, until the pulse of a relentless bass introduces a pure and pristine electronic music that knows and uses the roots of dub, drum’n’bass and the meticulousness of Jan Jelinek’s Glitch aesthetics. A tad “housy”, Chi comes as a second pulse where a modified didgeridoo and African percussions (recorded in a Swiss forest) lead the listener to a sort of tribal mode, as suited to dancers than to those who prefer inner journeys; here, the spatial dub of King Tubby moves from background to foreground.

The more abstract Boiler verges on the IDM and the heady, elegant and spartan Detroit techno – headphones reveal its numerous minute and delicate details. Based on the recording of insects, of which one can hear the actual rubbing of elytras, the closing Swarm ends the record with and intricate blend of ambient, which in some way winks to the Aphex Twin and The Future Sound Of London. Overall Senselessness 1/2 is a mesmerising and concise update of the famous Deutsche elektronische musik of old, that gathered on its way the other genres that made Robin Félix tick. Since field recordings have hardly been that meaningful, one wonders where Senselessness 2/2 will lead us to

2026 Repress!

LTD Edition Double LP, 1 x Pink & 1 x White vinyl version of Australian trio Rüfüs Du Sol's incredible sophomore album 'Bloom' - that went straight in at number 1 on the Australian album charts.

Featuring the singles 'You Were Right' and 'Like An Animal!' it's a journey through richly layered synths behind driving beats, atmospheric build ups and killer breakdowns - all married together with Tyrone Lindqvist's soulful vocals.

From the heartfelt epic that is 'Innerbloom', to the uplifting melody of 'Say A Prayer For Me', 'Bloom' will have Rüfüs Du Sol fans falling in love all over again.

Glasgow-based Effective Dreaming—the solo project of Scottish artist and musician Iain Ross—unveils Dream Catalogue Vol. 1, arriving June 21st, 2025 (Summer Solstice) via Swedish experimental label Fluere Tapes.

Issued as a limited run of 50 cassettes, each adorned with hand-worked, corroded copper sheet inserts and labels, Dream Catalogue Vol. 1 feels less like a release and more like an unearthed artefact: weathered, humming, quietly alive. The materials echo the music’s exploration of fragile impermanence and erosion: oxidised metal, magnetic tape, hiss, hum. A tactile world where sound wears its decay like a patina.

Across its length, the album unfolds in a series of flickering vignettes—drifting, dissolving, reappearing. Shaped by synths, environmental recordings, tape loops, and soft drones, the pieces move like glints of light on water—never fixed, always in motion. Achingly beautiful melodies rise and vanish, tracing fragile pathways through a landscape of shifting sensations. Some moments glow with a gentle warmth, like sunlit glass or breath on a fogged mirror. Others slip into shadow: slow, submerged passages feel closer to memory than music. The album feels loose and weightless, yet dense with feeling—a presence more sensed than held.

There is no fixed narrative here—only fragments and artefacts, half-remembered places, echoes of dreams. Each track hovers just at the edge of clarity, evoking not specific stories, but moods, textures, and the quiet drift of time. It’s music that feels both intimate and remote, like overhearing a distant signal only you can understand.

The name Effective Dreaming is drawn from Ursula K. Le Guin’s The Lathe of Heaven, where a dreamer's visions alter the very fabric of reality—past and present reshaped, histories rewritten, unnoticed by all but the dreamer himself. In a similar spirit, Ross’s music inhabits a space where memory, perception, and matter blur—where each sound carries the residue of something once real, now transformed and dissolving as one drifts through the seams of the world.

Dream Catalogue Vol. 1 is a meditation on texture, transience, and the quiet resonance of what slips away.

For listeners of: Wave Temples, Dolphins Into the Future, Guenther Schlienz"

For All The World, the black watch's twenty-fifth (and first double) album is a darkly poppy, brightly moody, many-splendored take on a number of the great themes: Death and Sex, Memory and Lament and Hope and Love. And it is, arguably, this heralded Los Angeles band's most sonically ambitious and moving record yet, since front man/novelist/ex-English professor John Andrew Fredrick formed the group in 1988 in Santa Barbara after he'd seen a London-by-way-of-Canada band called The Lucy Show play to twelve-or-so people in his hometown.

Having recorded 2024's Weird Rooms with producer Misha Bullock and Fredrick's son Chandler at Bullock's studio in Austin, TX, the TBW founder was keen to repeat the experience with, he says, more straightforward, classic psych/jangle/shoegaze songs. The result, though artistically satisfying, spurred a yen in John to write more songs as a sort of reaction against the batch he'd carried with him from LA to Texas. "We had such a productive time recording ‘Weird Rooms’ that I wanted to repeat the experience... without repeating the experience. And once it was over and I left Misha to do what he pleased with respect to mixing and overdubbing, all I could think was 'I need to write another album now.'" So Fredrick brought longstanding producer/engineer and TBW-associate Scott Campbell (Stevie Nicks, Acetone) along this time to help out with engineering and good cheer.

Fredrick, who has been "accused" of being "astonishingly prolific," learned that bandmate Andy Creighton had recently become unemployed, seized the opportunity to have yet another multi-instrumentalist flesh out the new songs he quickly wrote after he came back from Austin. “Achilles Past,” the first single, is in fact a song that John wrote when the production team thought the album was done—and the front man avers that it’s often the case that a very strong song comes to him, as it were, in the eleventh hour. The same could be said for “Listen You Wait”—another number that came late to the Austin sessions.

Nevertheless, the recording of the first half of For All The World has Creighton's signature indelibly stamped on it - especially on such tracks as “Fainting” and “Surely You Rally”- just as the latter half highlights Bullock's formidable talents. "They're both not just brilliant musicians and they understand my aesthetic and bring their own sensibilities to bear on my stuff. Our respective tastes meet in, you guessed it, The Beatles' realm - the great shadow that hangs over all I do, at least."

"There's A Place," the final song on side two, serves in fact as a distinct homage that's been a long time coming for a band that included a cover of "It's All Too Much" as a bonus track and that release a quite punkish, uptempo version of "Eleanor Rigby" on a 7".

Black Truffle is thrilled to announce Spilla, the second album from Nantes-based Ensemble Nist-Nah, 48 minutes of music for Gamelan, drum kits, wood and metal percussion instruments, and plucked strings that will surely count as one of the most electrifying records you hear this year. Founded by the Australian drummer/percussionist Will Guthrie in 2019, continuing the explorations begun in solo form on Nist-Nah (Black Truffle, 2020), the ensemble (eight or nine core members with occasional guests) has been consistently active in the half-decade since: composing, rehearsing, recording and touring Europe (with a mass of equipment in tow) to great acclaim. Spilla tracks the continuing evolution of the project since the recording of their first album, Elders (Black Truffle, 2022). The two sides of this record document two different iterations of the group, and the members' compositional input has increased: each side contains one piece by a member other than Guthrie. It has become clearer than ever that Ensemble Nist-Nah is not an attempt at a European Gamelan ensemble but rather a hybrid percussion ensemble that uses instruments from a Javanese Gamelan alongside other percussion to perform original music informed by a variety of South East Asian music but also by everything from free jazz to contemporary hip-hop: while Nist-Nah and Elders both featured traditional Javanese pieces, on Spilla the only tune not generated by a member of the group is by Guthrie’s long-time musical hero and occasional collaborator Roscoe Mitchell.

The two short pieces that open the record could almost be the two sides of a wild 7” selected to show off what the Ensemble can do. On opener ‘Gerak Maju’, intricately skittering open-snare patterns bounce over clanging metal, chiming bell-like tones and deep gong hits, adapting the rhythm-register connections heard in traditional Gamelan musics—where the lowest pitched sounds are heard least frequently—to a cut-up breakbeat straight off Feed Me Weird Things. ‘Strollabout’ then moves into an entirely different realm of meditative repeating patterns, performed entirely on Chinese, Javanese and Vietnamese gongs. The remaining seven pieces, ranging from three to twelve minutes, offer up a wealth of different percussive, compositional and arrangement possibilities. On ‘Ghostly Klang’, two drumkits mirror each other’s moves, bouncing hats and snares across the stereo field in a way that recalls On the Corner and the jittering hi hat patterns of trap, while slow moving melodies on the tuned instruments add a sense of majesty contrasted by scurrying details in resonant wood. The epic closing track presents a take on Roscoe Mitchell’s ‘Uncle’, performed by the Art Ensemble of Chicago on their classic Urban Bushmen live album. Where the Art Ensemble used Mitchell’s dirge-like melody as a jumping off point for virtuosic improvisational flights, Ensemble Nist-Nah rethink the piece as a near-static dialogue between the monumental, slow-moving sequence of unison tuned percussion notes and a textural cloud that grows in richness and intensity from whispering cymbal rolls into a mass of gong overtones and bowed metal.

Beautifully recorded and mixed, Spilla arrives in a sleeve decorated with core member Charles Dubois’ drawings of cymbals and gongs. Against the backdrop of a wider musical landscape dominated by over-produced electronic slop and bland harmonic wallpaper, Ensemble Nist-Nah stands out as a reminder, vital and unpretentious, of the joys and possibilities of human beings playing instruments together.

Dummy is a rock band from Los Angeles comprised of Alex Ewell, Emma Maatman, Nathan O'Dell, and Joe Trainor. Their debut full-length "Mandatory Enjoyment" (Trouble in Mind) arrived in late 2021, becoming one of the year 's sleeper hits and garnering praise from Pitchfork, Stereogum, and more. Coming out of lockdown, the band spent two years touring in support of the record, and it is this transformational experience that pulses through "Free Energy ", the exhilarating follow-up to "Mandatory Enjoyment". A creatively restless band, Dummy (Ewell: drums, synths, bass; Maatman: vocals, synths, organ; O'Dell: vocals, guitar, organ; Trainor: guitar, bass, synths) wanted to get harder, dancier, more psychedelic for their next record. This meant applying explorative potentials of electronic textures to the elemental qualities of rock i.e. more vocal loops, sampling, more crazy rhythms, and playful synths - but make those samples of Trainor 's guitar, let Maatman sing bolder, experiment with using cold mechanical elements in warm and sparkly ways, and lean harder into traditional-yet-still-awesome forms of rock guitar experimentation like feedbackThe result is a record that celebrates music's ability to move the body, whether that be through a teeth-rattling wall of MBV-esque noise, a sticky pop chorus, or a joyous drum machine_or, if you're Dummy, maybe all of them in the same song. Pop music has always been a big part of Dummy's sound and it manifests in different ways all over Free Energy: the bubbly synth sequence made with a Korg EM1 popping all over "Nullspace," the revved-up drone-pop inspired by second and third wave Dunedin Sound bands like Look Blue Go Purple and Dadamah, and the motorik beat powering "Nine Clean Nails," perhaps the most confidently pop song Dummy has ever recorded and one that exemplifies "Free Energy "'s balancing of live performance intensity with electronic augmentations, the dancier rhythmic elements created out of a drum loop recorded by Ewell while the bridge recalls the Feelies with call-and-response guitars from O'Dell and expressive vocals from Maatman. "Free Energy " also features guest appearances from Oakland-based saxophonist and electroacoustic artist Cole Pulice (Moon Glyph) contributes saxophone and wind synths and Jen Powers of Powers / Rolin Duo (Astral Editions, Feeding Tube Records).

The new darlings of the American post-rock underground present a collection of well-wrought bangers on their debut full-length album. Powerfully melodic and heavy at the same time, Wield shows the Philadelphia-based quintet mastering their game of creating compelling melodies that sound larger than life. 2022 saw HIROE burst onto the scene with an explosive debut minialbum "Wrought" full of soaring anthems and sublime soundscapes. Combining the sonic expansiveness of Deftones with the dynamic heaviness of bands like ISIS and Caspian, HIROE already figured out how to make the most majestic sounding post-rock early in their career. "Our first, Wrought was a statement of creation," explains principal songwriter EricKusanagi about the intent behind their debut. "This second record is about what to do with that creation. The thought was, we've created this, now how do we wield it?" "We wanted to show a larger range of musical themes on this record," continues Eric. "You'll hear us dive into some synth work, some piano work, some really interesting effects that Mario helped us dial up." Wield packs a lot of details, which are fun to uncover over repeated plays. «Collider» is almost completely driven by high precision tapping leads, which are ingeniously mirrored by the chords on the final climax. «The Crush» sees the band's three guitarists chugging away happily over a clever 7/8 rhythm subtly exchanging thrashy, sludgy and prog-inspired stylings. Nevertheless, Wield is still an affair of instant gratification for fans of guitar driven post-rock. From the soaring leads of «Tides» to the epic finale of «I've Been Waiting For You All My Life», HIROE show they've upped their game in every department, but especially the one that tugs at your heartstrings. Wield presents the brave new future we all need in these confusing times. A new American frontier on which we can build our wildest dreams and our most daring ambitions! FOR FANS OF Caspian, Isis, pg.lost, Red Sparowes, If These Trees Could Talk, Shy Low, Ranges, Pray For Sound

The new darlings of the American post-rock underground present a collection of well-wrought bangers on their debut full-length album. Powerfully melodic and heavy at the same time, Wield shows the Philadelphia-based quintet mastering their game of creating compelling melodies that sound larger than life. 2022 saw HIROE burst onto the scene with an explosive debut minialbum "Wrought" full of soaring anthems and sublime soundscapes. Combining the sonic expansiveness of Deftones with the dynamic heaviness of bands like ISIS and Caspian, HIROE already figured out how to make the most majestic sounding post-rock early in their career. "Our first, Wrought was a statement of creation," explains principal songwriter EricKusanagi about the intent behind their debut. "This second record is about what to do with that creation. The thought was, we've created this, now how do we wield it?" "We wanted to show a larger range of musical themes on this record," continues Eric. "You'll hear us dive into some synth work, some piano work, some really interesting effects that Mario helped us dial up." Wield packs a lot of details, which are fun to uncover over repeated plays. «Collider» is almost completely driven by high precision tapping leads, which are ingeniously mirrored by the chords on the final climax. «The Crush» sees the band's three guitarists chugging away happily over a clever 7/8 rhythm subtly exchanging thrashy, sludgy and prog-inspired stylings. Nevertheless, Wield is still an affair of instant gratification for fans of guitar driven post-rock. From the soaring leads of «Tides» to the epic finale of «I've Been Waiting For You All My Life», HIROE show they've upped their game in every department, but especially the one that tugs at your heartstrings. Wield presents the brave new future we all need in these confusing times. A new American frontier on which we can build our wildest dreams and our most daring ambitions! FOR FANS OF Caspian, Isis, pg.lost, Red Sparowes, If These Trees Could Talk, Shy Low, Ranges, Pray For Sound

Love in the time of collectively assured techno-capitalist-nuclear holocaust! It’s the endless summer the Brits have been harping on about since they think they won the World Cup. The soundtrack is the debut album of the Content Provider; where Octatrack illbient and industrial chanson mesh in a singed postcard addressed to the UK Border Force and co-signed by aliens plucked from the petri dishes of Young Echo, Cold Light and Avon Terror Corps.
It’s a name she tried to keep anonymous, but Drowned By Locals and Bokeh Versions are breaking contract to reveal that the Content Provider is in fact the shock production alias of DALI DE SAINT PAUL. Patron saint of Bristol’s self-destructive improv idols EP/64 as well as post-feminist chamber collective Viridian Ensemble, avant-terror duo Harrga and constant collaborator with the likes of *breathe* Moor Mother, Valentina Magaletti, Mariam Rezaei, Vincent Moon, Maxwell Sterling, Ossia, Ben Vince.
And isn’t it such a strange release? And won’t people be surprised? Endless Summer is grubby and heartfelt, defiant and hopeful, with flecks of warped reggae on E-System nudging the freeform dream balladry of A Feeling and Sunday Morning, Kode9 & Spaceape-worthy dread poetry of Close Ur Eyes next to anthemic electro-crush of Overdrive. Even to those that know her well, and EVERYONE with their belly in the Bristol underground knows her, Endless Summer is a revelation. Perhaps the apex of the known Dali-verse……where her live gigs have boiled with an experimental volcanic vocal force, Endless Summer is twisted, syrupy, sultry, POP.

Formed on a rooftop in the East Village of New York City over a decade ago,
SKYFACTOR was born when the musical paths of longtime friends Bob
Ziegler and Jason Taylor (formerly of Michigan's Brother Rabbit) and brothers
Jon Rubin and Cliff Rubin (formerly of NYC's Sky Blues) finally crossed. Almost instantly the songs started flowing, and they knew they were on to something.
Their debut album Daydreams received much critical acclaim and notice, including that of MTV's hit show Teen Mom, who chose the track "OK" as their
season 2 finale theme, resulting in thousands of downloads and streams from around the world. The band then honed its musical chemistry and style for
Signal Strength, which further spotlighted personal, insightful lyrics backed by a big acoustic guitar and one very powerful rhythm section. The guys even
had a song from the album prominently (and humorously) featured on
Adult Swim's Eric Andre Show, resulting in even more buzz for the band.
Cut to 20 25 and just one listen to Master Plan proves these guys know how to craft memorable and powerful songs that grab you from the get-go-and
won't let go.

To fans of black metal, Dødheimsgard need no introduction, being one of the great purveyors of the Norwegian Black Metal creative evolution.

The band was formed in 1994 by Aldrahn (Thorns) and Vicotnik (Ved Buens Ende). The early incarnation was that of a raw and at often melodic black metal band, with their debut album also featuring Fenriz of Darkthrone on bass. In recent years, Dodheimsgard has become known for its eclectic musical ventures and poignant mood shifts, with a less chaotic, more considered approach compared to their earliest works. Following the 'Kronet til Konge' and 'Monumental Possession' opuses, there was a shift in direction as demonstrated on 1998's 'Satanic Art' EP and by Dødheimsgard's third album, 666 International, Vicotnik had taken over a lot of the writing duties, with DHG's style becoming more technical yet ferocious black metal, with strong experimental ideas and industrial elements.

Vicotnik's riffs were inspired by cult bands such as Thorns and perfectly entwined with Aldrahn's delightfully twisted lyrics and immense vocals to create something truly unique. In its 666 International incarnation, DHG (as they were later to be known) featured a line- up of well- respected Norwegian musicians including Czral (Aura Noir, Ved Buens Ends, Virus), Apollyon (Aura Noir, Immortal), plus Mr Magic Logic (Fleurety) on keyboards, as the album was constructed over a period of time. All in all, 666 International is rightly regarded as a highly influential masterpiece of avant-garde metal by many since its release in 1999.

Horace Andy has always commanded a place high on the list of Reggae singers from Jamaica. His distinctive haunting vocal style stands strong on any rhythm,song or style he chooses to cover. Of the singers on that long list, he has managed more so than any other, to crossover to a new generation of listeners due to his individual style, helped also by his collaborations with the likes of Massive Attack. Horace Andy (b. Horace Hinds,1951,Kingston Jamaica) like many otherJamaican singers began his musical career at Coxsonne Dodd's Studio One. So impressed with the youth, Coxsonne decided on a name change for theyoung artist and called him after his top songwriter of the time Bob Andy. So Horace Hinds became Horace Andy. His first tune for Coxsonne 'Something On My Mind' was a slow burner in Jamaica, but his belief in his young protégé paid off when followed later by 'Skylarking' a tune that burst the singer all overthe radio and sound systems of Jamaica. After numerous singles and two albums worth of material, Horace moved on to work with many of the topflight Jamaican producers, among them Keith Hudson, Augustus Pablo and Niney the Observer, but it was his work with producer Bunny Lee in the 70's that he cut most of his hits for and from this stable of work, that we have compiled this set. Some of his late 60's classics were recut in the popular1970's style, working with the rhythm kings themselves, Sly Dunbar andRobbie Shakespeare. They have added some shine to the tracks, 'SomethingOn My Mind' and 'Skylarking' and made them hits all over again. Such wasHorace's delivery to the covers he sang like Delroy Wilson's version of theTams 'Riding For A Fall', the Heptones 'My Guiding Star', John Holts'Man Next Door' and Bill Wither's 'Ain't No Sunshine', that these finetunes were made his own. The roots end of his musical style was covered by
Andy originals such as 'You Are My Angel', 'Zion Gate','Money Money'and the cut which we have taken our edited title, the timeless 'Just SayWho'.A bass heavy cut to Bob Marley's 'Natural Mystic' works so well inthis style also. Another nickname Horace acquired was the affectionate title of Sleepy, as he was always hanging around the yards and studios of Jamaica waiting his turn, sometimes so long he would fall asleep. His enthusiasm to get back in the studio to work some more of his magic, to a catalogue of material that has developed into one of the finest in Jamaica. I hope you will agree, this fine set of 1970's classics will sit alongside.














O B8 | AIN'T NO SUNSHINE

The seeds of Her's have well and truly rooted themselves in Liverpool. Originally a meeting of minds between Norway's Audun Laading and Barrow-born Stephen Fitzpatrick, Her's forged a strong chemical bond through a mutual love of off-kilter humour and outsider art. Having clocked over one million streams between the two tracks on their debut single 'Dorothy' and 'What Once Was', and after following it up with the lackadaisical thrift-store humour of their sun-bleached single 'Marcel', Her's have compiled a rollicking record of their infant career so far. 'Songs of Her's' will be released on LP 16th March and it includes all their recorded output to date plus six new songs to make for the most complete introduction to their slacker world yet. Her's will be teasing this gnarly collectors-item-to-be with the release of 'Speed Racer'. With its sultry vocals and signature descending guitar and bass lick, it plays like the soundtrack to some oddball American stoner comedy involving a beach, a girl, a conspiracy, and a musical group from Liverpool.

Back to the future and northern velkommens to bro Morken. EPs for Prins 'Blud' Thomas' Full Pupp show early production chops, but it's his residency as part of Oslo's Jaeger crew where the range of styles is truly showcased.

Appearances on Trushmix series and his recent Road Trippin' cassette for L.I.E.S last year show depth(charge) DJ on a roll, but it's setting up the Moonlighting label where vibes came alive via some electro bass tribal sub bass wonder. Jungle dialects!

All and more over these 5 cuts >>> afro-bump-shuffle-rat-tat-hats-acid-stab-meets-storyville-dark-tom-toms-pads-relentless-hypnotic-down-down-electro-italo-endings-and-bass! Strange Thank f***.

The Wandering Hearts are a British Americana-Folk band known for their enchanting harmonies and heartfelt songwriting influenced by the likes of Simon & Garfunkel, Fleetwood Mac, Crosby, Stills, Nash & Young and have a similar sound to The Lumineers and First Aid Kit. Their new album, Déjà Vu (We've All Been Here Before), is a beautiful re-work of Crosby, Stills, Nash and Young's 1970 hit album of the same name. Recorded in one week in Joshua Tree, Taurus Rising Studios. This isn't an album out to besmirch the original, but to become a loving companion without being an overly reverential copy. With a band as distinctive and exciting as The Wandering Hearts, a note-for-note facsimile was never an option. One listen to how The Wandering Hearts have taken Déjà Vu's ten songs to new places and reimagined it over 50 years later, and it's clear this is a very bold, very new work by one of Britain's most accomplished Americana artists.

Orientation is proud to present its very first release!

Teik Aro is a Berlin-based DJ and producer from Italy. His first self-releases and early influences were driven by a passion for acid techno and high-energy, rave-inspired sounds, reflecting his love for raw and intense rhythms.

Over time, his sound has evolved into something deeper and more refined. Now, he explores a more organic and mental side of techno, focusing on seamless atmospheric flows while keeping the energy and pulse that defined his early work. Constantly shaping his sound, Teik Aro stays true to his roots while pushing forward into new sonic territories.

MME circles back to the mothership with their highly anticipated second release, this time guided by Philadelphia-based astral pilot, Sweater. This four-track EP delivers a perfect blend of deep, driving rhythms and futuristic soundscapes, designed to assist your escape from the gravity of a distant future. The opener, 'Mighty Morphin' sets the tone nicely with a housey track, lighting up the night with rays of starlight followed by 'Body Scan' with an otherworldly bassline and atmospheric elements that ebb, flow, and weave through late-night magic. Flip over to the B-side where 'Escape The Future' plunges into the dub-laden depths of hyperspace, wreaking havoc on any dance floor in its path. Closing the journey is 'Hydro Pump,' a pure electro tour de force with playful yet dynamic synth work and intricate percussion, culminating in a well-balanced release, primed for the most arduous celestial voyages.

Jess Kerber aus Nashville nahm im Alter von 12 Jahren erstmals eine Gitarre in die Hand, um mit ihren frühreifen Stimmungen und Zupfstilen zu experimentieren - beeinflusst von Gleichgesinnten wie Joni Mitchell und Susan Tedeschi. Dies führte zur Entwicklung einer einzigartigen Klangpalette und zu einem authentischen, persönlichen Zugang zum Songwriting. Inspiriert wurde sie gleichermaßen von ihrer Erziehung in Louisiana und dem Studium am Bostoner Berklee College of Music. Ihr Debütalbum "From Way Down Here" zeigt die Dynamik und Tiefe ihrer großartigen Stimme und ihrer nachdenklichen, humanistischen Texte, sowie die raffinierte Komplexität ihres Gitarrenspiels. Während der Entwicklung vieler dieser Kompositionen, bei frühen Live Auftritten in und um Boston und Cambridge, lernte Kerber den Songwriter Will Orchard kennen, der schnell zu einem Partner und Kollaborateur in der Entstehungsphase ihrer Aufnahmen wurde. Orchards Fähigkeiten als Produzent und Multiinstrumentalist heben Kerbers Arrangements auf eine neue Ebene, mit einer entwaffnenden Reinheit und Emotion in einer Dynamik, die derjenigen von Gillian Welch und David Rawlings angelehnt ist. Mit den Traditionen der Americana erschaffen Kerber und Orchard zusammen mit Mischtechniker Charlie Dahlke von The Brazen Youth ihr eigenes Subgenre, das gleichzeitig intim und und universell, tröstlich und rau ist. Über das gesamte Album hinweg erhält Kerbers reicher, samtener Tenor eine tiefe Zärtlichkeit und Wärme, während unterschiedliche Elemente wie Pedal Steel, Wurlitzer, Schlagzeug und Ambient-Gitarre für den schimmernden Background sorgen. Der Einfluss ihrer Erziehung - und und das, was sie liebevoll als ,Abgehobenheit vom Rest der Welt Gefühl" des tiefen Südens nennt - zeigt sich in den ehrlichen, geradlinigen und zeitlosen Qualität ihrer Kompositionen. "From Way Down Here" ist das seltene Debüt, das alle Merkmale einer erfahrenen Songwriterin aufweist. Sie konstruiert eine fesselnde Welt von rauer Schönheit und Wahrheit, deren Bann lange nach dem Verklingen der letzten Töne anhält.

We always knew we would return to this project because Brutalism remains a profound part of our lives, something we cherish deeply. Inspired by the photographs we have been capturing for a new book, the music emerged effortlessly. Documenting these buildings feels instinctive; this is where we belong.

Our unwavering fixation on symmetry, synchronisation, and repetition endures, but this time we believe the music reveals a more emotional depth. That is the direction we have been moving towards. Some things simply take time, yet this album seemed to take shape of its own accord.

Join us as we walk through these modern day cathedrals, monuments to the people.

Eudaimonia is the outcome of a spontaneous connection between two artists, united by a shared passion for deep and emotional sounds. What began as an unplanned session evolved into a deeper exploration, flowing so naturally that it felt inevitable to create something more.

Inspired by the ancient Greek concept of Eudaimonia - a profound sense of fulfillment found through living authentically and purposefully - this EP dives into the inner world of its creators. From moments of reflection to waves of intensity -each track serves as a chapter in a journey toward inner exploration, embracing both the light and shadow within.
Eudaimonia celebrates the beauty of imperfection, the power of acceptance, and the pursuit of authentic expression. It invites listeners to lose themselves, to feel deeply, and to find meaning and healing through sound, connecting to something greater within themselves and the world around them.

When the trio of Sontag Shogun gathered at Laura Naukkarinen's home on the Finnish island of Kimitoön in the summer of 2019, they had not the slightest inkling that the world was about to change irretrievably with the onset of a long-predicted pandemic the following year. By the time their collaborative album, Valo Siroutuu ("The Light Scatters"), was released nearly two years later, the intimate and reflective nature of the work they had created together had taken on new meaning, resonating powerfully (and quietly) with a world in which the proverbial cracks in the wall only seem to be widening. 



Päiväkahvit completes the story that began with Valo Siroutuu, featuring 9 songs from the original sessions as well as 4 interpretive reworks courtesy of Amulets, Fadi Tabbal, Post-Dukes, and Jeremy Young. Available digitally and in a one-time vinyl pressing of 300 copies, the album flows seamlessly from beginning to end, incorporating field recordings, tape, sublime vocal melodies, and a host of acoustic and electronic instruments. Richly textured and immersive, Päiväkahvit positively crackles with warmth and a sense of creative embrace.



"We invite the listener into the sauna, out to the garden and onto the trampoline, to sit by the water’s edge and to take a coffee in the waning afternoon light, and to stay as long as they like." – Jesse Perlstein

Lau Nau, aka Laura Naukkarinen, is a Finnish composer whose music is imbued with an idiosyncratic, finely honed sound world. Her palette consists of acoustic instruments, singing voice, modular synthesisers, reel-to-reel tape recorders and field recordings. To date Lau Nau has released ten albums on record labels in Europe, the USA and Japan and a large number of collaborative releases. Lau Nau is known for her music to films and multi channel sound installations. She was awarded the Finnish State Prize for the Performing Arts 2021 as a sound designer. She has toured abroad for over 20 years, playing in venues such as Super Deluxe in Tokyo, the Lab & Castro Theatre in San Francisco and Blank Forms & Issue Project Room in New York.

Sontag Shogun is a collaborative trio that makes use of analog sound treatments and nostalgic solo piano compositions in harmony to depict abstract places in our memory. Textures built from organic materials such as sand, slate, boiling water, brush and dried leaves, both produced live in performance and recorded to weathered 1/4" tape warm up the space between lush piano themes. All of which is abstracted coolly in the reflective digital space of treated vocals and a live-processed feed from the piano. Bringing us back, like a faded passing scent or any natural emotive trigger, but to where? The wordless journey there will inevitably be more revealing than the destination itself.


It has been almost seven years since the release of Alpestres, the impressive debut by Matthias Puech on Hands in the Dark. While that first experience took us on a mystical journey through fascinating fictional landscapes, 'Cabanes' lets its narrative unfold in a confined space: eight pieces each resembling small structures or makeshift shelters that, while enveloping and isolating the listener, remain open to their surroundings. These are not merely interiors; they are handcrafted spaces through which we gain insights into the world. Yet they allow the light from the outside to seep in, reminding us of reality.

According to Puech, each composition has a distinctive two-part story that are both clear and intriguingly interconnected. The first one often revolves around the anecdotal and tangible aspects of instrumental "play," showcasing a technical exploration with his tools, the discovery of sounds in a library, and the serendipitous encounters that inspired them. The second part, however, delves into the more elusive yet profound state of existence that the French artist experienced while engaging with these sounds, reflecting on the moments he listened and re-listened to them, ultimately deeming them worthy life companions. These two narratives, perhaps reshaped over time like distant memories, interact in ways that can either clash or complement each other, creating a lasting impact on the listening experience.

A significant aspect of the compositional process involves distancing oneself from these connections to creation, allowing for the rediscovery of a state of listening that is free from prior emotional influences—what one might call "pure" listening. This method enables the transformation of a sequence of events into a narrative that is independent of its original intent, resulting in a universal object. After spending considerable time with the attached pieces and attempting to induce a form of amnesia to reconstruct an artificial narrative, Matthias Puech has ultimately chosen to relinquish this pursuit. Thus, the album is aptly termed “Cabanes” (“Huts”): fragile structures whose design clearly reflects the intention behind their creation, showcasing all the signs of considerate craftsmanship.

Impressed proudly presents the soundtrack to Memoir of a Snail, a 2024 Australian stop-motion animated film directed by Academy Award-winning animator Adam Elliot, on a very special golden swirl picture disc.

The film follows the story of Grace Pudel, a quirky, book-loving misfit with a passion for collecting snails, whose world unravels when she is separated from her twin brother, Gilbert. As she faces challenges, Grace finds unexpected hope and inspiration in a heartwarming friendship with Pinky, an eccentric and wise elderly woman. Together, they embark on a journey of self-discovery, proving that even in the most difficult times, connection and courage can shine through.

Composed by Elena Kats-Chernin, and performed by the Australian Chamber Orchestra, the soundtrack masterfully blends classical, contemporary, and emotionally dynamic arrangements to mirror the film's emotional journey. This 42-track record is both delicate and powerful, with soft piano passages, rich strings, and an overall mood that is whimsically bittersweet.

Critics have lauded the soundtrack for how it beautifully captures the heart of the film through its effortless flow between reflective intimate moments and dramatic passages.

Nach 20 Jahren kehrt Daniel Graves zu dem Album zurück, mit dem alles begann.

Closer to Human ist nicht nur eine Neuauflage - es ist eine Auferstehung. Mit denselben Synthesizern und Samples, die bei der Originalaufnahme von 2005 verwendet wurden, hat Graves jeden Track akribisch von Grund auf neu eingespielt. Und das Ergebnis? Eine Neuinterpretation, die ihren Wurzeln treu bleibt und gleichzeitig eine Tiefe und Klarheit erreicht, die nie zuvor möglich war. AESTHETIC PERFECTION hat noch nie besser geklungen.

In einer exklusiven Partnerschaft mit Dependent Records wird Closer to Human in begrenzter Stückzahl als 1-Disc-Digisleeve, 2-Disc-Digipak und farbiges Vinyl erhältlich sein.

Green vinyl, limited to 500 copies. Helheim, one of the founding pioneers of the Norwegian viking metal genre, are ready to release their 12th studio album "HrabnaR / Ad vesa". On this record, Helheim has made a split album with themselves. For the first time, the main songwriters V'gandr and H'grimnir have divided the album in two, where they solely take care of the vocals on the part they represent musically. This has resulted in two very different expressions - not uncommon for this band, but never as clearly as here. The first half, "Hrabnar", contains four stand-alone songs written by H'grimnir. The second part, "Ad vesa", is about the four components in Norse mythology that we know collectively as the human soul. In pre-Christian Norway, the concept of the soul was not a singular, unified entity, but a composite of many elements, of which the four key components were Fylgja, Hamr, Hugr, and Hamingja. Founded in 1992, Helheim are known and renowned all over the world for their authenticity and integrity when it comes to portraying their Norse heritage. Constantly growing and evolving, and staying clear of musical trends and fads, they've carved their own way for more than 30 years. This split album is no exception. Recorded in Duper and Solslottet Studio in 2024/2025, the album was engineered, produced, mixed and mastered by Iver Sandoy.

REPRESS of the legendary debut EP. The great thing about this EP is that it takes all these 70s influences and makes, dare I say it, something just as amazing, if not even better! I only have one real complaint: It's too short. Four songs, just over 15 minutes. Is it worth it? Fuck, yes!