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Ben Hixon hails from Dallas, Texas and has had a busy year in 2025. He's back once again on home label Dolfin with a new four tracker that features versions of tunes not previously available on wax or digital. '4M1_bh' is a patient, slow-burning dub house cut with glitchy Detroit aesthetics and dusty drums. '14M3_bh' is just as undercooked and raw with rickety kicks and knackered hits, making for a groove steeped in beautiful imperfection. '505.1_bh' allows a little more light in with some warm synth loops flickering above razor sharp hi hats and off-the-cuff drum patterns. '606dreams_bh' shuts down with heavy, trudging kicks and ticking hi-hats way up high to make for a cavernous architecture. A superbly designed EP.

What began as a nostalgic nod to Camden Market’s bootleg culture has become the next chapter of in the Running Back Mastermix series. At once deeply personal and openly communal, it shows how a lifetime of production can be condensed into 90 minutes without losing its edge — proof that the mixtape, even in 2025, still has stories left to tell.
What followed was a patient excavation. Old DATs were pulled out of storage, forgotten files surfaced from hard drives, and new material was written to sit alongside them.
Together, these fragments revealed a body of work stretching back more than 25 years — tracks that moved across the spectrum of house and techno but shared a common thread of character and atmosphere.
In May of this year, the archive finally found its form. Recorded live on three decks using Serato, the resulting mix brings together 24 tracks: unreleased material from the past and brand new productions, all stitched together into a continuous narrative. It’s equal parts retrospective and statement of intent — less a museum piece than a living document.

SoftSun was formed in 2023 by guitarist Gary Arce (Yawning Man) and bassist/vocalist Pia Isaksen (PIA ISA). On their second album they are joined by Robert Garson on drums. The band is experimenting with sounds and are difficult to place in a specific genre. They have a style of their own with contrasts of softness and distortion, beauty and noise and emotional peaks and valleys. The music is patient, heavy and dreamy, with haunting vocals and beautiful guitars drenched in distortion and reverb over patient and thought out drums. The songs are flowing slowly and take inspiration from both the Californian desert landscapes to the Norwegian oceans where the two founding members come from. On this second record SoftSun has developed their sound further and sound both moody, experimental, beautiful, and raw.

Aqua Blue vinyl, limited to 350 copies. SoftSun was formed in 2023 by guitarist Gary Arce (Yawning Man) and bassist/vocalist Pia Isaksen (PIA ISA). On their second album they are joined by Robert Garson on drums. The band is experimenting with sounds and are difficult to place in a specific genre. They have a style of their own with contrasts of softness and distortion, beauty and noise and emotional peaks and valleys. The music is patient, heavy and dreamy, with haunting vocals and beautiful guitars drenched in distortion and reverb over patient and thought out drums. The songs are flowing slowly and take inspiration from both the Californian desert landscapes to the Norwegian oceans where the two founding members come from. On this second record SoftSun has developed their sound further and sound both moody, experimental, beautiful, and raw.

Comes with 4 page insert, English and Japanese liner notes and lyrics.

A contemporary folk wonder from Cornwall (Falmouth), England.

"We at EM Records love to transport our listeners to new worlds, other worlds; “Pantilde”, this magical new album from Cornish avant-folk performance artist The Worm, is indeed an ethereal new world: otherworldly, but somehow rooted; an imaginary oral and musical story of everyday village life in an alternative Celtic landscape. The music here is strange yet familiar, fantastical and enchanting while remaining simultaneously attached to the earth. Amy Lawrence, aka The Worm, plays cello, harp, recorders and percussion, accompanying and framing her rich voice, which is often overdubbed into lovely homespun vocal ensembles; they tell song-stories of mythical and mystical village life, of nature and the human relationship with the natural world. The Worm can be considered part of a lineage which includes The Incredible String Band, Shovel Dance Collective, Bridget St John, Dorothy Carter, Vashti Bunyan, Jessica Pratt, Cathrine Howe, Mary Lattimore, Tristwch Y Fenywod and of course many others. “Pantilde”, a time-trip to a dreamlike, pastoral world that nevertheless feels distinctly realized, is a remarkable avant-folk fantasia, co-released with Prah Recordings.

Tristen stammt aus der lebhaften Roots-Rock-Szene von Nashville, Tennessee, und hat sich in den letzten zwei Jahrzehnten als produktive und vielseitige Musikerin etabliert. Ihr Talent für das Komponieren fesselnder Melodien und scharfsinniger Texte hat ihr hochkarätige Kooperationen eingebracht. Sie war Co-Autorin von ,Love is an Art", dem neuesten Album von Vanessa Carlton, und tourte mit Jenny Lewis als Teil ihrer Band Voyager. Ihr folkiges Debütalbum ,Charlatans at the Garden Gate" aus dem Jahr 2011 brachte ihr das Lob als ,Nashvilles bestgehütetes Geheimnis" (The Boston Globe) ein, während sie sich mit ,CAVES" aus dem Jahr 2013, das von Stephen Hague co-produziert wurde, als hypnotische ,Synth-Pop-Sirene" (SPIN) neu erfand. Sneaker Waves erschien 2017 und markierte ihren Übergang zur vollständigen Produktion ihrer Musik und Musikvideos in ihrem Heimstudio zusammen mit ihrem langjährigen Kollaborateur und Ehemann Buddy Hughen. Rolling Stone beschrieb es als ,Nilsson-würdige Powerballade", während Ann Powers von NPR es als ,voller großartiger Melodien und eingängiger Arrangements, die das Ohr kitzeln und nicht mehr aus dem Kopf gehen" bezeichnete. 2021 erschien Aquatic Flowers, woraufhin Talkhouse verkündete: ,Sie ist eine dieser Songwriterinnen und Performerin, die von anderen Musikern absolut geliebt werden, und das aus gutem Grund. Sie ist eine Risikofreudige im Studio, wagt sich in unbekanntes Terrain vor und findet fast immer etwas, das zumindest interessant und oft unglaublich ist." Ihr fünftes Studioalbum ,Unpopular Music" erscheint im Oktober und enthält Beiträge von Pat Sansone von Wilco, Vanessa Carlton, Becca Mancari, Erin Rae und Natalie Prass. Damit kehrt sie auch endlich wieder auf die Bühne zurück und setzt ihre Karriere fort, in der sie bereits mit Robyn Hitchcock, Television, Ezra Furman und den Mountain Goats aufgetreten ist.

Emile Sornin has a robot in his life. It's not love, but it's not friendship either, and Forever Pavot is releasing an album documenting the affair on Born Bad. After a bunch of bold pop studio albums and a small stack of soundtracks, Emile needed a break. To put an end to it, he embarked with handyman extraordinaire Jonas Euvremer on the manufacture of an automaton destined to make his musician’s life easier. Melchior, who gave his name to the record, has the face of a ventriloquist's dummy, two plastic left hands, preppy clothes and a primitive logic circuit. This goodie two-shoes cousin of Bender’s is supposed to be doing the interviews and deal with socials for Emile. The plan worked admirably : Melchior is a perfect cover-boy, and his very existence has put our man back to work.



They set a path for phat electronic ventures (and by the way, mostly english-speaking). Sub- continental bass & massive drums, heavy-footed and unabashed : as much appreciated as unexpected. The half-android shares songwriting credits and vocal parts vocoded to perfection. Not a jealous lad, Melchior makes way for a guest of choice on “UFO” and “Waiting for the sign” : Lispector. Julie Margat sings and collaborated on the lyrics for these two bangers that provide a lot of context (robot angst is real). Kumisolo, our favorite Japanese « it » girl in Paris, also sent her “Postcard”, more vapour than song, unreal musical cotton candy of arrangements.


Domotic, who mixes and co-produces, gives a nice spin to “Count to 10”, a hip-hop/kraut crossover with a BEAK> flavour. The Forever Pavot, once a big-band, will be touring as a bass/ drums/keys & vocals trio, with Melchior as guest.



Record after record, Emile Sornin has become an increasingly literate musical illiterate. When needed, his music can still become a thicket of ancient and modern finds. « Le robot gentilhomme », a skillful pastiche of baroque composer Jean-Baptiste Lully, would stand a few rounds against Wendy Carlos. His love for oldies also shines through “Skyway”, a nod to the late Pierre Arvay, France’s Colonel Sanders of library music nuggets.



Forever Pavot may have gone wild, but remains indebted vis-à-vis the golden age of film music. Forebears deluxe Ennio Morricone & François de Roubaix make Hitchcock-style cameos: discreet appearances that you’ll watch out for (those syncopated cascades of syllables at the end of « UFO », and I guess we can indulge with some clavichord/ondioline Victoria sponge). His new flirt is all but a toxic relationship. « Melchior, Vol. 1 »: the robo-bromance is not over yet.

Magnetism markiert das Zusammentreffen zweier einzigartiger Künstler der experimentellen Musik. Es vereint Drew McDowalls Wurzeln in der industriellen Avantgarde von Coil und Psychic TV mit Kali Malones Fundament in zeitgenössischer Orgelkomposition, reiner Intonation und elektroakustischer Musik und verbindet zwei Generationen in einer sich tief ergänzenden Partnerschaft. Auf Magnetism manifestieren sich Malones ergreifende Melodien in McDowalls charakteristischer Klangfarben-Synthese und bilden eine einheitliche Stimme, die mit Klarheit und Vitalität mitschwingt. Obwohl das Projekt innerhalb weniger Tage aufgenommen wurde, entstand es aus einer jahrzehntelangen Freundschaft, geprägt von fortwährenden Gesprächen über Musik und das Leben und von Jahren, in denen sie sich gegenseitig in ihrer künstlerischen Praxis und persönlichen Entwicklung begleitet und unterstützt haben. "Wir vertrauen einander, unseren jeweiligen Fachgebieten und unseren einzigartigen Stärken", sagen sie über den Aufnahmeprozess. Es war eine Erfahrung voller Intuition und Zuversicht, die sie ihrer Freundschaft zuschreiben. Das Album entstand spontan in McDowalls Studio in Brooklyn, wo die Grundlage der Musik fast augenblicklich entstand. Die beiden beschlossen, ihren Improvisationen gewisse Grenzen zu setzen: Sie programmierten maßgeschneiderte Stimmungen auf einem monophonen modularen Synth-Patch und nahmen die Performance-Takes ohne Overdubs auf. "Diese Musik zu spielen fühlte sich an wie Singen, da ich meiner inneren Stimme frei folgte", sagt Kali. Das Erreichen dieser Melodien war wiederum etwas, das sich instinktiv anfühlte, wie das Aufdecken einer längst vergessenen Erinnerung. Sie fährt fort: "Ich hatte viele dieser Melodien so lange in mir behalten." McDowalls Syntheseansatz verwendet Karplus-Strong-Synthese, Delay und Verzerrung, die er mit einem intuitiven Touch formt und Malones Motive elegant verwandelt. "Die Musik ist überraschend zugänglich, obwohl einige der Klangfarben extrem sind", sagt Drew, "sie ist nicht bedrohlich oder gar undurchsichtig. Wir spielen vielleicht sogar mit Pop-Elementen." Nachdem sie die Aufnahmen ein Jahr lang unberührt gelassen hatten, kehrten sie zurück und fanden die Musik verwandelt vor: "Es fühlte sich an, als hätte sie eine unheimliche, mystische Qualität angenommen." Angetrieben von der Anziehungskraft der Wiederholung, Resonanz und Sättigung pulsiert Magnetism als lebendige Musik, die die Sinne fesselt und noch lange nach dem Verhallten der letzten Töne im Gedächtnis nachhallt.

Embrace The Abandon is the new project by THE MON, the solo vision of Urlo, vocalist, bassist, and founding member of the Italian heavy-psych veterans Ufomammut.

Structured in two complementary chapters — Songs of Abandon (November 7th, 2025) and Songs of Embrace (March 6th, 2026) — the project tells a journey of duality: loss and surrender on one side, acceptance and rebirth on the other.
The first chapter, Songs of Abandon, is perhaps the most intimate and vulnerable work Urlo has ever created.
Born in a moment of solitude and personal darkness, the album originated from a radical exercise: writing one song a day, for nine consecutive days, using only acoustic guitar and voice.
A collection of stripped-down, emotionally raw ballads. Rooted in acoustic textures and intimate songwriting, these songs explore loss, vulnerability, and the quiet spaces left behind — a personal exorcism of what could have been but never was.
Later, these sketches were shaped into fully realized tracks, with lyrics and subtle layers of sound — not to overwhelm, but to underline the fragile, raw atmosphere that pervades them. The result is a stripped-down, emotionally charged collection that embodies an inner search: the power of music as a tool to face abandonment, to dig into oneself, and ultimately to glimpse the possibility of an embrace.
With Embrace The Abandon, THE MON reaffirms itself as one of the most personal and uncompromising projects.
It is a body of work that fuses vulnerability and strength, speaking directly to the listener with sincerity, leading them through shadow towards light.
An intimate yet powerful sound experience, intertwining the minimalism of acoustic folk with the dark, visionary tension that has always defined Urlo’s artistic path.

As trans-Atlantic alchemists pulling from a shared dialectic that somehow encompassed both postmodern deconstructionist tendencies and a delightfully subversive sense of poptimism, it’s easy to see how David Cunningham and Peter Gordon immediately hit it off upon initially meeting each other back in the late-1970s at the height of their youthful transgressions. Having initially worked together on the second Flying Lizards’ LP fourth wall, with its ingenious fusion of dismantled rhythms and rearranged melodies juxtaposed against the slyly sultry singing of Snatch’s Patti Palladin— with Gordon adding a few sprinkles of mischievous sax in the mix— it’s no wonder the collaboration would lead to further musical adventures.

Which leads us directly to the genesis of The Yellow Box. Embarking on a collaborative exercise in the structural repurposing of music as untethered puzzle pieces in need of rearrangement with no predetermined outcomes, the duo gave birth to a project that would see them move through both time and recording studios across Europe, taking nearly two years from 1981-1983 to complete. Enlisting the great Anton Fier on drums from The Feelies/Lounge Lizards nexus and John Greaves on bass from Henry Cow/Soft Heap lore to round out their dueling creative counterparts, the album would be something of a lost treasure until its eventual release on Cunningham’s Piano imprint in 1996.

Cinematic in scope, and filled with drifting drones, beautiful counter-melodies, eery minimalism, Kraftwerkian synthesizers, looped voices, skronky interludes, and other shifting undercurrents of sound, it was an album that utilized both a diverse array of expressive languages, as well as early sampling techniques and prepared instruments, well before most people were thinking in such expansive, integrated terms at the dawn of the 80’s. But such is life at the vanguard of new music. And one of the reasons that it likely sat on the shelf for so long before finally being released well over a decade later. Like a sparser, less groove-oriented version of My Life in the Bush of Ghosts, or a more radical take on the experimental work of Can’s Holger Czukay, The Yellow Box stands at the crossroads of time and technology, fusing multiple strands of musical thought and compositional techniques into a disjointed whole that somehow still comes off as a conceptually complete record.

Now, here it is again, over 40 years later, with perhaps even more historical resonance than it had before, remade and remodeled just waiting to be rediscovered again.

Volpe is the finely tuned trio led by Ghent-based pianist Heleen Andriessen. Drummer Stijn Demuynck and bassist Kobe Boon support Andriessen's lyrical melodies with an infectious groove. The carefully crafted compositions alternate between energetic and melancholic, allowing the listener to feel immersed in a warm bath while transporting them to an uncanny world.

'elders' (Dutch for "elsewhere"), doesn't refer to a physical place but to a refuge in Heleen's mind-a sanctuary where she searches for beauty on gray, rainy November days. A simple detail taken from everyday life can serve as a gateway to this hopeful, imaginative world. Musically, this translates to repetitive patterns that gradually evolve or suddenly burst open. Subtle dissonance is welcome here, with the band lovingly embracing the slight disruption it offers. Heleen's playful runs and Stijn Demuynck's grooves balance the melancholic undertones. Seemingly simple melodies tell stories and offer familiarity to listening ears.

keywords: piano trio, contemporary jazz, keith jarrett, modal jazz, minimalist

Unchained is the long-standing guitar-based project of Nate Davis, originally from Providence, RI, and based in France for over a decade. In his two most recent LPs—Gabbeh (2024, A Colourful Storm) and Frontalier (2025, Stern Records)—Davis strives to describe a new path for outsider jazz instrumentalism that remains committed to harmonic and rhythmic form while placing greater emphasis on sonic texture through experimental production techniques.

Release Description:

Unchained—a name which at the project's inception or on earlier recordings spoke perhaps to the ecstatic saturation of high gain guitar—has over the past three albums (N.D. Visitor, Pic, and Gabbeh) come to represent more and more an acknowledgement of and sensitive remove from a crashing world. An excuse of oneself from trend towards a siloed artistic development.

On Frontalier, Nate Davis crosses further into this patient personal lexicon of guitar composition, presenting a new set of richly developed songs and leaps in arrangement which may very well shock Unchained fans the world over. The sympathetic geometric guitar themes of the earlier second-period Unchained style are almost entirely absent, making way for a fully realized presentation of the jazz, MPB, and fusion influence present to varying degrees on the previous three albums. Davis's keen sense of melody and songcraft have never been stronger, here landing on music which is at moments evocative of Wes Montgomery, Allan Holdsworth, Jobim, or the jazzier impulses of Lô Borges. Distinct in Davis's music, however, is what these references might belie: an innate tending towards repetition as an affective tool—one which has less to do with the aesthetics of the scene from which the project emerged than it does with devotional prayer. In this way it feels as if Unchained has always been music for living. What was once a maximalist expression of youth has matured into the sound of living with and in the world and an empathic transmuting of all the joy, disappointment, and ambivalence that comes with it. Songs that feel like the sort of thinking one does looking out the window on a long train ride, or the routinism of internal and external life and the breaking out of it. As much as it will be recognized by the fandom as a significant step forward, Frontalier serves also as a perfect gateway for new listeners to the singular music of Unchained.

Finding Ways is a new project from Sebastian Rochford (Polar Bear).

Sebastian Rochford is a singular force in British music, an extraordinary drummer, composer, and producer. His work with theiconic group Polar Bear helped redefine the boundaries of jazz and earned multiple Mercury Prize nominations. With a careerspanning collaborations with Patti Smith, Damon Albarn, Brian Eno, Adele and Grace Jones, and his 2023 ECM duo album A ShortDiary with Kit Downes, an album written for his father described as a “ quiet masterpiece” , Rochford has carved out a uniquespace in contemporary music.Finding Ways, his new major project, marks a bold new chapter for Seb Rochford. The first album focuses on the guitar, featuringamong others, the dynamic lineup of Tara Cunningham, David Preston, Adrian Utley (Portishead), and Simon Tong(The Verve,Gorillaz), exploring various combinations and layering up to three guitars at once. The result is a striking blend of jaggedexperimental grooves and raw emotional depth, with an unaffected, pedal-less sound that evokes a timeless, exploratory edge.Rochford’s music, as ever, defies categorisation—a sound that feels alive, fractured, and profoundly human, and all mixed by thesingular talent and master of sound, Tchad Blake.The title Finding Ways refers to a frame of mind he chose to adopt after multiple significant life events happening in a smallamount of time. "It’s about finding ways to keep ourselves moving forward and buoyant, transforming life’s challenges intosomething meaningful, also in a practical, everyday type of way.In Finding Ways, it’s direct, energetic music that refuses to be boxed in, a reflection of Seb Rochford's trailblazing spirit. For fansof his previous work and newcomers alike, this album is a testament to his ongoing quest to find emotional truth in sound.

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

The Sludge Of The Land is the new album by digital folklore and post-exoticism Italian duo Babau. Their first full length since 2023’s Flatland Explorations Vol. 2, with The Sludge Of The Land Babau lands on Impatience with their signature audio-prestidigitation at it’s most disorientingly pungent and zonked, a uniquely contemporary approach described as the sound of a continent moving; animals, plants and minerals included.

As part of a residency at Casa degli Artisti, Milan, in 2022, Babau turned their atelier into a recording studio and performing venue thanks to Francesco Piro, who produced the entirety of the album. There, the duo improvised with different acoustic and digital instruments for several hours a day. Returning after ten years to a sound more akin to a band or small orchestra, Babau re-explores tropes and themes of exotica and jazz from their unique and off-kilter perspective of terminally-online diggers-dwellers of the internet flatland.

An homage to digital content consumption and dopamine-infused sensory overloads, The Sludge Of The Land imagines itself as an abstract sonic wunderkammer of online detritus. By diving into the world of ‘sludge content’: audiovisual chaos produced by mixing different content using split screens or dizzying patchworks of videos, Babau celebrates the formless, viscous goo, spam, chum and slop of out-of-context moving image, fast paced digital videos and lo-fi mp4 artifacts. By endlessly spiraling into the non-spaces of The Net, Babau explore the uncharted parageographies of lavacasts, mysterious Chinese anthropozoomorphic legendary beings, vampiric doomscrolling glides and doppelganger, ctrl+c & ctrl+v spiritualism. These ghosts of pointless microevents and traveling-without-moving bedroom boredom are stuffed by Babau with the epic tone and compositional approach of exotica and world music 2.0 reveries, resulting in an absurd, playful narrative of the dangers and allures of the web.

Bringing together the sound of Richard Hayman and Black Dice, Korla Pandit and Sun Araw, Tony Scott and Carl Stone, once again the duo crafts a compelling audio-textual hallucination of transglobal chimera. A multi-fi, extremely layered treasure of fifth world music.

RIYL - Sun Araw, the strangest corners of the internet, Senyawa, digital wind instruments, Nuke Watch, Black Dice, exotica, hallucinating.

Babau is the pantropical project of Artetetra founders Matteo Pennesi and Luigi Monteanni, where their fascination with exotica, world music 2.0, and field recordings merges with the compositional and improvisational techniques of computer music.

Their latest work, All the Gurls were at the Women’s Archo Ashinto, was recently released by Bamboo Shows, while the previous Stock Fantasy Zone and Flatland Explorations Vol.2, were released by Discrepant. They were selected as SHAPE+ artists in 2023, and the duo has performed at various festivals in Italy and beyond, including Fusion, Club to Club, Terraforma, Nextones, Outernational Days, Camp Cosmic, and Saturnalia. For years, they have been striving to synthesize what has been described as the sound of a continent in motion—people, animals, plants, and minerals included.

The Sludge Of The Land was produced and mixed by Francesco Piro at Casa degli Artisti, Milan, and co-produced by Babau
Drums by Giovanni Todisco, bass by Francesco Piro and piano on A4 by Vittorio Cosmo.
Master by Nick Foglia.
Art by Luca Schenardi.

Akhira Sano is a Tokyo-based artist working across sound, drawing, installation, and video. His practice finds generative potential for music in life's fleeting incidents, etching meaning from unassuming spaces and resonances. With releases on 12k, LAAPS, IIKKI, and The Trilogy Tapes, Sano has steadily carved out a distinctive voice within minimal and experimental music - one that privileges attentiveness and patience over spectacle.

"To Material Past", Sano's debut for SWIMS, carries this thread with a single 30-minute work built solely using glockenspiel tones and field recordings from his local neighbourhood. This is a night walk with no map or end point; Sano follows irregular, coiling fragments that extend to form a tessellating luminous whole - like a subliminal mass of tree roots quietly shifting the concrete slabs beneath our feet.

Under this faded gauze of gestures and interactions, Sano's glockenspiel interjects like a grandfather clock, softly marking the partitions that make up a day's collected experience; clicking and chiming like the sleeping brain, as it sifts and catalogues a lifetime's ephemera of thoughts, faces and puzzles.

The Eves celebrate the first anniversary of their acclaimed EP Both Sides with
a special vinyl edition to be released in November 2025
Produced and co-written with Dan Gautreau (Alicia Keys, Paolo Nutini) Both Sides was
released only on CD and digital in 2024. The new vinyl edition of the EP features a
previously unreleased bonus track The Silence produced by Mark Morrow (wrest,
Swim School). Title track Both Sides features prolific drummer and percussionist Ash
Soan (Snow Patrol, Tori Amos, Del Amitri). The EP showcases the duo's distinctive
songwriting style that encompasses smooth vocal harmonies and thoughtful
production, culminating in a fresh yet timeless sound that delivers their signature
blend of melodic pop.
The Eves have been played across BBC Radio 2, BBC Radio Scotland, BBC Introducing.
Their song Brand New Day has over 137k streams on Spotify and spent 5 weeks on
the BBC Radio 2 playlist. It was also made 'Single of the Week' on BBC Radio Scotland,
played on Bauer Media's Forth 1 radio station, reached No. 6 and No. 15 in the iTunes
pop charts and iTunes main download chart respectively, charted in the Amazon 'New
Hot Releases' UK Chart, and made an impressive debut in the UK Official Charts
Company download and single charts in the top 65. The song also features on an
episode of 'The Kardashians' on Disney Plus and Hulu across America.
'Big Love' was adopted as the official anthem for Scottish Women's Football for the
2022/2023 League Season, and was the pair's first release as a co-write, written with
Jim Duguid (Paolo Nutini) and producer Lewis Gardiner (Ellie Goulding, Nick Jonas).
The track was also featured on BBC Scotland's most popular football show 'Off the
Ball' with Tam Cowan and Stuart Cosgrove.
The pair are seasoned performers having opened for major artists at sold out shows
including Belinda Carlisle, Sister Sledge and The Shires. They've toured extensively
with Skerryvore and Horse across the UK, opened for Callum Beattie, and have
performed at festivals including TRSNMT, Country to Country, Edge Fest, Tiree
Festival, Moonbeams and Fringe by the Sea, sharing stages with Wet Wet Wet, Sophie
Ellis-Bextor, Gabrielle, Tony Hadley and Heather Small.
Other highlights include performing at the Guinness Six Nations rugby for Scotland v
Wales at BT Murrayfield, recording a live session for BBC Scotland's 'The Quay
Sessions', and several TV appearances on BBC Scotland's 'The Edit' on national TV
and BBC i-Player and STV's 'What's On' and 'The Braw and the Brave' chat show.

"Released in 1994, “Dellamorte Dellamore” (known internationally as Cemetery Man) is one of the most fascinating and unconventional films of 1990s Italian cinema. Directed by Michele Soavi and based on the novel by Tiziano Sclavi (the creator of Dylan Dog), the film blends horror, dark comedy, and surreal poetry into a story suspended between life and death, love and madness.
The protagonist is Rupert Everett, as Francesco Dellamorte, the caretaker of a cemetery where the dead return to life. Beside him, a mysterious woman (played by Anna Falchi) embodies the obsessive nature of love and the cyclical pattern of desire and loss. Soavi crafts a visionary, melancholic, and ironic film in which death becomes a metaphor for existence itself.
Giving voice to this suspended universe is Manuel De Sica, who composed one of his most evocative and underrated scores. The soundtrack for Dellamorte Dellamore is an alluring blend of gothic romanticism, mystery, and lyrical melancholy, perfectly attuned to the film’s tone."

Dark Entries release 'A Boy Alone', a double LP set from Manchester electronic music pioneer Eric Random. Best known for his early recordings for New Hormones and Les Disques du Crépuscule and collaborations with Pete Shelley (Buzzcocks), Cabaret Voltaire and Nico.

As an original member of The Tiller Boys with Shelley, Random injected a healthy dose of Krautrock into the dour Manchester post-punk scene in 1978/79 before going solo the following year. Random's first 7' 'Subliminal'/'23 Skidoo' was released in 1981 via Les Disques du Crépuscule and explored ominous sonic surrounds. That same year also saw the release of a second 7" single on New Hormones, 'Dow Chemical Company'/ 'Skin Deep'. Both tracks offered bubbling, rhythmic sound patterns, and were the first to feature other musicians that would become know as The Bedlamites. Consisting of Lynn Walton on vocals, Ian Runacres and Andy Diagram of Dislocation Dance, and bassist Wayne Worm, aka Wayne Sedgeman. Their debut 12' single 'Subliminal Seduction'/'Bedlam-a-Go-Go' was released in 1982 through Plurex, mixing arid funk textures and sparse melodies. That same year the group contributed proto chill-out track '6.55' to Plurex compilation 'Hours' and the highly filmic track 'In Cassette Conference' to the Touch cassette package 'Feature Mist'. In 1983, Random spent several months in the Himalayas with a group of musicians from the Kulu Valley and studied non-Western instruments such as tabla. On returning to Manchester, Random convened a new group of Belamites including Walton, Sedgeman and drummer Graham Dowdall aka Dids of Ludus. They released the 12' single 'Mad As Mankind'/'Dream Web Of Maya' in 1984 on Cabaret Voltaire's Doublevision, embracing electronic, industrial and dub styles. In 1985 they contributed the soothing 'Pure Power' to Food Records' 'Imminent Episode One' compilation.

Our reissue also includes 4 unreleased bonus tracks from Eric's archives recorded between 1981-1984. The whole set adds up to 115 minutes of sinister, somnambulant Random music. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a gatefold jacket designed by Eloise Leigh featuring a spread of ephemera, photos with liner notes by James Nice of LTM.

Alina Kalancea's Impedance is an entirely instrumental album spanning four sides, contains powerful rhythmic sequences, heart-beating frequencies and hypnotic loops that are paradoxically encapsulated in carefully crafted compositions which are full of secret passages and hidden doors. Kalancea's work creates ungraspable sonic experiences, which overtakes you, immersing its listeners in powerful and mind-altering soundscapes. There's no quick payoff on Impedance. This is the sound of new, patient electronic music, full of depth and substance.

Alina Kalancea is a Romanian sound artist and composer based in Modena, Italy. She has studied sound design and synthesis with Enrico Cossimi and collaborated with producer Alex Gamez, and artists Julia Kent and Raven Bush. Highly recommended to fans of Eleh, Caterina Barbieri, Shasta Cults, Jessica Ekomane, Eliane Radigue, and Alessandro Cortini. Packaged in a deluxe, heavy duty tip-on gatefold sleeves printed by Stoughton; cut by Golden Mastering and pressed at RTI.

Downwards present Alexander Tucker in metamorphosis from psych folk to techgnostic bard, aided by notable guests – Justin K Broadrick, Regis, Phew, Karl D’Silva, JJOWDY, and Elvin Brandhi – in a quest for disordered convention and new thrills. One up to Tucker’s outings for Alter and The Tapeworm, and spiritual successor to his »Nonexistant« trio on Downwards, »Clear Vortex Chamber« is an enigmatic take on the brownfield edgelands where the eldritch intersects electronic heck. Decades of work spread between hardcore punk, psych rock, folk, and drone — including work with Stephen O’Malley (Ginnungap) and Neil Campbell (Astral Social Club, ESP Kinetic) — feed forward into this album’s unsteady machine rhythms and cranky junkyard atonalities, where Tucker panel-beats aspects of his previous sound with a newfound industrial thrust and cyber-punky lust that suits him dead well.

A crafty example of how to mutate without losing sight of yourself, the album’s eight parts feel like a cyborg patching itself into modernity. On opener »Udug« Tucker’s signature falsetto peals from a A Scanner Darkly-style scramble suit of stereo-strobing electronics, setting a melodramatic, neo-gothic tension that riddles the album thru the knotted, fractured industrial dancehall bullishness of »Mallets« with Yeah You’s feral gob Elvin Brandhi, via a pair of standout »Fedbck« parts with Tucker’s personal idol, Justin K Broadrick (Godflesh, Jesu, and the rest), featuring the Brum deity’s claw-handed riffs and howl on the first, and smeared with Karl D’Silva’s brass in its noctilucent second part.

Regis also proves a staunch foil for the album’s most robust, club-ready cut »Zona«, hammered out from buzzing metallic drums and monotone bass drones, and pitting his severed vox against Tucker’s own androgynous harmonies to recall aspects of The Ephemeron Loop via British Murder Boys, whilst scene legend, Can and Ryuichi Sakamoto spar Phew (aka Aunt Sally) ideally tempers the flow in a relatively soothing »Sansu«, sharing more cyber-romantic, recombinant sentiments with the channelling of Robert Wyatt gone Funk Bruxaria on »Folded«.

There is a new artist from Japan followed by the name Kakeru who is giving his Shaw Cuts debut with ãRaw CourageÒ, telling the story of an emperor besieged by an army who then entrusts his child to the Black Dragon Clan heading off to a dangerous journey.
An attempt to usurp the Ming Emperor's throne by the sinister martial artist simply known as ãold monster" and his armies results in most of the palace being massacred. ãQuagmireÒ and its vibrant percussive pattern carried by a heavy broken kick and a driving bassline help the emperorÕs infant son to escape and put in care of the Black Dragon Clan.
En route they are attacked by government forces but rescued by two knights. They prove to be a valuable addition to the party in subsequent encounters with their pursuers. ãMirror ForestÒ and its laid-back atmosphere, mysterious vocal snatches and shining pads carried by an expressive drum pattern help the travellers parrying every sneaky attack on their journey.
Trying to head to the White Dragon Clan in order to seek for help, the squad has to masquerade and take several battles, always protecting the baby in tow. The razor-sharp percussions, corrosive bass and thrashing kick of ãSwayingÒ tremendously supports the warriors in each fight.
Finally they make it to the temple of the White Dragons where they show their Black Dragon seal as a sign of solidarity. But all of a sudden the mood changes. ãBroken BubblesÒ and its menacing atmosphere built up by a monstrous sub bass, reduced but impactful drums and subtle synth elements underline the potential threat. Did they walk into a trap? Is there enough energy left for one big fight? Raw courage is vital now.

Zonate presents its fifth release, The Roots EP, uniting four tracks from three exciting new voices in the scene. The A1 comes from Guzman with Final Point - a grooving electro cut that builds patiently before unleashing a roaring drop in the second half. Bassy Bee follows with Will Not Hurt You - dark and evolving, driven by growling low-ends and self- recorded vocals. The flip side is all Gaston Cabrera. On B1, Persiguiendo Pesadillas is propelled by a defining arp that touches into prog-trance territory. Closing with B2, A La Luz De Las Velas, Cabrera returns to his South American–infused sound - hypnotic, driving techno / prog.

In between the folds of ceremony and commonality lies a perennial spring of musical expression.

A statement along the time continuum, or a testament to the resilient resourcefulness embedded in that truth, forms the philosophical approach of this album – the first outing of Dídac.
Studying an extensive archive of instruments, artifacts, and field recordings at the Musée d’ethnographie de Genève—a space steeped in folkloric gesture – Dídac encountered a cosmos of liturgical music and folk song. Anchored in reverance for tradition and transformation alike, this album navigates the old-world Mediterranean lore through a post-modern ambient lens, threading drone, gentle rhythm, electroacoustic textures and the crude tactility of archival material into one woven tapestry.

Under the guidance of Dr. Madeleine Leclair, Dídac was invited to work within one of the world’s most extensive ethno- musicological archives—L’AIMP. In the saturated basements and tape-lined backrooms of the museum, he submerged himself in the sounds of ritual and rural life: wax cylinders from the Eastern Mediterranean, tapes of liturgical hymn, the worn edges of communal song.
In a makeshift studio on the fourth floor of the museum, he sifted through the hours of material he collected, gradually discovering that the archive was no static source – It did not dictate; rather, it served as a companion—offering not answers, but questions. Not a beaten track, but a cluster of sonic clues and riddles. Samples do appear occasionally, tenderly interwoven into the dialogue of the songs. In Dídac’s self-titled debut, the past is not worn as ornament or kitsch; it is listened to and responded to. The museum, its archives, and the visit to Geneva became a foundational culisse of sorts, igniting a myriad of rough cuts and improvisational outtakes.
Dídac, or Diego Ocejo Muñoz, was born in Madrid in 1994 to a family of both Catalan and Castilian origin.

Brought up in a religious household, the influence of the Catholic Church innately shaped the social fabric, schooling and daily life. This lingering dominance led the adolescent Diego into a path of rejection of everything sacramental, promptly resorting to subversion in the shape of grafitti, skateboarding and underground music. Only later in life, after a rigorous venture as an acid and electro producer, the Church re-emerged before him in new light, invoking a deep fascination for its mysticism, iconography and choral tradition.

Spain in general and Catalonia in particular, has long served as a crossroads of the eastern–western Mediterranean continuum, with many of its cultures sharing aspects of way of life and ceremony. At the MEG, Diego found himself puzzled with this realization, resulting in a sonic amalgamation that reaches farther away from the rugged mountains of Catalonia than you might perceive at first encounter.

The deeply embedded memory of rite and public ceremony, religious hymn and landscape—sieved through the undercurrent of personal re-emergence, forms the emotional topography of this album. The record does not trace this landscape; it inhabits it. Its repetitive mysticism and ambient, wide-eyed gaze could possibly evoke (perhaps redundant) comparisons to artists such as Dimitris Petsetakis, or Popol Vuh’s late 70’s cinema scores.
The delicate lines between the sacred and the secular – between memory and re-invention – serve as a cipher to understanding this album in its entirety. Titles like Malpàs Mines or Pantocrator’s Portal Outro nudge toward a folkloric and devotional bedrock—places where labor and spirituality coexist, where names preserve both dust and veneration.

Nevertheless, this is far from mere nostalgia. It is a reclamation — singing alongside the spirits of the past, nurturing what still hums beneath the soil. It is an intimate reflection on tradition, rebellion, adolescence, ceremony and fantasy – a pastoral contemplation on what once was and what is to be.

Andy Ash is a long time contributor to the sound of Quintessentials, with his album "All the colours" being the highlight of his work. Until now! The Liverpudlian shows superb diversity on his new EP called "Silent Planet". The opener, "Patch 2" is a stripped down masterpiece of Dub Techno and a perfect club tool. "Hross" can be called Acid House, and you know we love that! The B-side shows more of a relaxed vibe with the beautiful string-laded "Franco alley" and the smooth low BPM track "Yellow". This silent planet has something to say and shows great variety of styles and Andy's skills as a producer - and yes, all AA releases have his own artwork!

Kee'ahn, whose name is derived from kee’an, the Wik word meaning to dance and to play, is a proud Yalanji, Jirrbal, and Badulaig artist. Her music is steeped in connection to culture, community, Country, and self and with her soulful voice and storytelling, Kee’ahn has had a powerful impact on the Australian music scene, earning her the Archie Roach Foundation Award and Music Victoria’s Best Emerging Artist award. She has since performed at the 2025 AFL Grand Final collaborating with Baker Boy, Thelma Plum, Emma Donovan, Dallas Woods, Alice Ivy and shared stages with the likes of Julia Jacklin, Hiatus Kaiyote, Greentea Peng and Angie McMahon.

Kee’ahn’s debut EP “for me, for you x” is a collection of lush cinematic soul and rnb love letters. Across 5 tracks, Kee’ahn explores the pursuit of hope, compassion, connection, heartbreak, and healing. This project naturally and authentically came together, detailing moments across 5 years of Kee’ahn’s life. Each song begins on guitar and vocals with demo production in Kee’ahn’s Brunswick bedroom - they are diary entries to herself, formed into messages that hit the hearts of its listeners.

Each song is reminiscent of classic 60’s jazz soul to 90’s neo-soul rnb, to early 2000’s inspired soul pop weaving dynamic soundscapes with clear and meaningful catchy lyricism.

Cindy Lee is the brainchild of singer/guitarist Patrick Flegel. While some may know Flegel from his time spent in Canadian experimental indie band Women, Cindy Lee has spent the past four years crafting songs that push and pull in opposing directions - from tales of tragedy laced with haywire distortion to moments of breathtaking beauty. On Malenkost, Flegel combines everything that makes Cindy Lee so essential: heart-wrenching romantic pleas, rough shards of noise and twilit ballads. Featuring the lo-fi pop single "A Message From The Aching Sky," Malenkost sounds like Deerhunter playing The Supremes or vice versa.

Cindy Lee is the diva alter-ego of singer / guitarist / drag queen Patrick Flegel, the one-time captain of heralded Canadian experimental guitar pop act, Women. In Flegel's working on / as Cindy Lee exclusively over recent years, their songwriting makes a move toward high atmospherics, often achieving a mysterious sweetness rooted equally in beauty and ache.

As Cindy Lee's first long-form statement, Act Of Tenderness makes use of antipodal themes to create a living sound: static with grace, distortion and sugar, all masterfully arranged with crooked nods toward pop classicism. The layered vocal on "Power And Possession" creates a palpable haunt, bringing historical girl-group lament to choir-esque heights. The feedback shriek and industrial grind of "Bonsai Garden" provides near-operatic damage, yet never stumbles into the irrevocably grave. These snowy pieces give the album a decidedly cinematic feel, albeit one bent more towards Eraserhead.

Originally released in a scant private edition in 2015, Superior Viaduct's imprint W.25TH is pleased to give Act Of Tenderness its deserving wide release.

Limited edition Gatefold LP version on 180g Red/Black Marble Vinyl with 16-page lyrics booklet. El Pez Que Volo (The Fish who Flew) is a musical quest to unearth the divine gem hidden within oneself. A cartoonish collection of desires, phobias, pathologies and virtues which are funnelled to create an ambivalent moral mishmash of East and West traditions. This zoomorphic, naïve & messianic hero's journey is infused with a psychedelic aura that invites us to dream the impossible... Act II - The Cave: After leaving the nest, Teezûck feels he's ready to fly, but in his premature attempt he hits a bump and fails, falling back to the bottom of the sea and plunging into the darkest and most terrifying cavern of all: the subconscious mind. Reality, fiction, memories, myths and legends intertwine in this dark, acidic mirrored circus where Teezûck will have to learn to meditate and master his psyche. The El Pez Que Voló series feature a capricious, free mixture of musical styles, genres, production values and aesthetics, which serve as narrative devices to highlight moments, characters & emotions across this highly unconventional sonic expedition.

Das Fantasy-Mittelalter-Metal-Phänomen CASTLE RAT präsentiert sein zweites Album! Castle Rat ist die NY Fantasy-Heavy-Metal-Band, die von der Rat Queen angeführt wird, welche die Mission verfolgt, ihr Refugium gegen diejenigen zu verteidigen, die es zerstören wollen. Ihr zur Seite stehen The Count, The Plague Doctor und The All-Seeing Druid. Gemeinsam stellen sie sich mit Heavy Magie dem unerbittlichen Zorn ihrer Erzfeindin - dem Tod in Form von The Rat Reaperess. Das zweite Album The Bestiary ist ein riffgeladenes Kompendium mystischer Kreaturen und vorwarnender Erzählungen aus einer vergessenen Welt. Es erzählt 13 allegorische Geschichten von mythischen Bestien und dem Zauberer, der sie beschwört, und verwebt kraftvolle Heavy-Hymnen und dunkle Verzückungen zu einer betörenden und unvergesslichen Heavy-Metal-Odyssee. Als ob Grace Slick mit Black Sabbath um ca. 1200 A.D. auf einem KISS-Konzert rumachen würde. Aufgenommen von Randall Dunn (Sunn O))), Wolves in the Throne Room, Björk) und gemischt von Jonathan Nuñez (Torche, Restless Spirit), bietet das Album fesselnde Tracks zwischen epischem Heavy-Gemetzel und doomy Hard Rock. The Rat Queen kommentiert das Album wie folgt: "The Bestiary' ist ein konzeptionelles Buch der Bestien, das von mystischen Kreaturen aus einer vergessenen Welt erzählt. Die letzten verbliebenen Seelen jeder dieser Kreaturen wurden von `The Wizard' gesammelt und aufbewahrt. Die Geschichten der einzelnen Bestien und des Zauberers selbst werden mit der Kraft traditioneller Heavy-Metal-Songs und Hard Rock-Magie verwoben." Hervorgegangen aus New Yorks abscheulichem, kreaturenverseuchtem Untergrund, schlugen die Fantasy-Heavy-Metaller zunächst mit ihren Live-Auftritten und später mit ihrem Debütalbum "Into The Realm" im Jahr 2024 große Wellen. Seit ihrer Gründung im Jahr 2019 haben CASTLE RAT ein lebendiges Labyrinth aus Erzählungen und Mythen geschaffen, welches sie nun rund um die Welt führt. The Bestiary auf CD (aufklappbares Digipak), MC (mit gefaltetem Inlay) und auf LP (farbiges Vinyl, inklusive ausklappbarem Lyrics-Insert)!

Friend Of A Phantom is the third studio album by the Danish progressive metal band Vola, released under Mascot Label Group. This highly anticipated album showcases Vola's signature blend of intricate rhythms, soaring melodies, and thought-provoking lyrics.

With tracks like "Straight Lines" and "These Black Claws," Friend Of A Phantom takes listeners on a musical journey that seamlessly combines heavy riffs with electronic elements, creating a dynamic sound that is both captivating and innovative.

Vola's musicianship shines through in every song, from the complex drum patterns to the mesmerizing guitar solos. The band's ability to craft intricate arrangements while maintaining a strong sense of melody sets them apart in the progressive metal scene.

The production quality of Friend Of A Phantom is top-notch, allowing each instrument to shine through while still blending together to create a cohesive and immersive listening experience. The album's rich textures and layers reveal new details with each listen, making it a rewarding choice for fans of progressive music.

Overall, Friend Of A Phantom is a must-have for any music lover looking for an album that pushes boundaries and challenges traditional genre conventions. Vola's unique sound and innovative approach make this album a standout release in their discography.

Two titanic forces in reggae history — Roots Radics and The Mighty Revolutionaires — unite for a powerful dubwise journey on Outernational Riddim. This long-anticipated collaboration blends heavyweight rhythms, militant drum patterns, and deep, atmospheric dubs that channel the essence of Jamaican roots music with a forward-thinking production style.
The Roots Radics, known for backing icons like Gregory Isaacs, Barrington Levy, and Israel Vibration, bring their unmistakable heavyweight style to this session. Meanwhile, The Revolutionaires, studio legends behind countless Channel One classics, lace the tracks with their tight arrangements and classic rockers grooves.
Produced and mixed in true dubwise tradition, Outernational Riddim delivers:
Authentic Studio Vibes – Mixed on analog boards with vintage effects and tape echo for that raw, immersive sound.

The most inspiring bands are the ones that can create a world around themselves that is about far more than just the music. The artwork, lyrics, sounds and ethos all merge together perfectly to create its own universe, a secret club. The Lovely Eggs are one such band. And against all the odds, 2025 sees them celebrate their 20th anniversary as a band! Stubbornly and heroically independent, The Lovely Eggs have forged their own path and have achieved mainstream success without ever compromising their DIY ethics. Released on their own label Egg Records, with eye watering artwork by Casey Raymond and hand packed in a black plastic bin bag on neon toxic slime green vinyl, this is yet another collectible release from a band who care as much about the art and ideas in their records as they do about the sound. "We had all these spare songs after we released our last album Eggsistentialism and we didn't really know what to do with them," explained Holly. "They just didn't seem to fit in with the vibe of Eggsistentialism but we'd recorded them and wanted to get them out there." "They're kind of a sketchbook of songs," added David. "They're not polished or laboured over but we thought it would be interesting to release them. It's why we called the record Bin Juice. These were songs we had thrown away. But hopefully people like going through bins collecting trash."

ROADS VOL.3 is the third installment of Thylacine's iconic ROADS series, recorded in the heart of the stunning landscapes of Namibia, in his caravan studio. A true sonic journey, this album immerses the listener in a unique universe, where every note tells a story of landscape, emotion, and authentic experience.



Since the breakthrough success of Transsiberian, Thylacine has continued to push boundaries, venturing into new territories in search of stories to tell and challenges to take on. Much like mountaineers carving fresh paths across glaciers, he is constantly exploring new creative horizons. With millions of streams to his name and standout tracks like Anatolia, Piany Pianino, and Satie I, his momentum shows no sign of slowing.
Breaking away from the familiar, his upcoming album Roads Vol.3 draws on the raw beauty of his recent journey through Namibia, offering listeners a collection of previously unreleased tracks. Guided by his instinct for musical nomadism, Thylacine treats each project as a true adventure in its own right. Roads Vol.3 will be released on October 31.

ROADS VOL.3 is the third installment of Thylacine's iconic ROADS series, recorded in the heart of the stunning landscapes of Namibia, in his caravan studio. A true sonic journey, this album immerses the listener in a unique universe, where every note tells a story of landscape, emotion, and authentic experience.



Since the breakthrough success of Transsiberian, Thylacine has continued to push boundaries, venturing into new territories in search of stories to tell and challenges to take on. Much like mountaineers carving fresh paths across glaciers, he is constantly exploring new creative horizons. With millions of streams to his name and standout tracks like Anatolia, Piany Pianino, and Satie I, his momentum shows no sign of slowing.
Breaking away from the familiar, his upcoming album Roads Vol.3 draws on the raw beauty of his recent journey through Namibia, offering listeners a collection of previously unreleased tracks. Guided by his instinct for musical nomadism, Thylacine treats each project as a true adventure in its own right. Roads Vol.3 will be released on October 31.

The record "Sha in Africa" is the original soundtrack for the 1973 film of the same name, the
third chapter in the Sha saga. It wasn't composed by the famous Isaac Hayes (who scored the first
film), but by Johnny Pate, a highly talented arranger and composer.
This soundtrack is considered a classic of the blaxploita on genre and is s$ll highly sought a%er by
DJs and collectors today for its funky and jazzy sounds.