Search:pe ́pe

"The grass is greener_ elsewhere_" Brain Damage told us with their debut album, released in 2002. Yet here, they've reached full maturity. Rarely has a "made in France" dub album strayed so far from the Jamaican model while still harboring, in every detail, so many references and tributes to the inventors of the style (King Tubby / Lee Perry), as well as to many of the key figures in its evolution (Tikiman / Rhythm & Sound, Dub Syndicate, etc.). The recording studio, 7/11 Laboratory, is used here as a true musical instrument. The optimal use of three-dimensional stereo effects will immerse the listener in soundscapes ranging from classic space echoes and Mont Blanc tunnel-style reverberations to crackles, electronic interference, exogenous samples, and other parasitic noises coming straight from Babylon. For this album, continuing in the vein of his previous collaborations with the international dub scene (Zion Train, Alpha & Omega, Disciples, Spectre, Lab°_), Brain Damage traveled to London to record two tracks at Conscious Sounds Studio with Jamaican-born singer Tena Stelin. With the melancholic "Spirit World," one is reminded of the fruitful collaborations between Massive Attack and Horace Andy, while on "Genetic Weapon," the tone becomes more overtly assertive. Two vocal tracks, then, woven into these ten compositions, where the emotional moods and atmospheres will shift with each listen. "Always Greener (On the Other Side)" emerges as the manifesto of music conceived as cinema for the ear...

Tropical East Asian folk fused with psychedelic electronic rock and noise driven by a winding and jagged Sanshin guitar, shape forming vocals, odd percussion and spacey sounds. A Sgt. Peppers tour through the folklore of Okinawa. Amamikyu is the creation Goddess of the colourful Island of sound visited by Phil MFU ( formerly Vanishing Twin ) on his journeys through expanding his scope of experimental electronic music effortlessly locking style in with master Sanshin player and vocalist Yuko Tsubame to create a psychedelic trippy island of sound, revisiting classic folk songs in a new far out funky light. Amamikyu are a London based band of Phil MFU ( ex Vanishing Twin ) and Okinawan electric Sanshin player and singer Yuko Tsubame, with an expanding group of live musicians.

Baltimore's End It is telling it like it is on their debut album, Wrong Side Of Heaven, set for release this summer. The hardcore band has built a reputation through being unapologetically outspoken, playing fast, ripping songs, and putting on an electrifying live show. Now they're ready to enter their next era. Formed in 2017, the band consists of vocalist Akil Godsey, drummer Chris Gonzalez, guitarist Ray Lee, and bassist Patrick Martin. Signed to Flatspot Records, End It came out strong with the release of their self-titled EP the same year they started, and followed it up with 2020's One Way Track EP. In the summer of 2022, the band took the hardcore world by storm with their Unpleasant Living EP, solidifying the Baltimore outfit as one of the most exciting acts in the genre. Following the release, End It embarked on a packed touring and festival schedule across North America and Europe, playing alongside No Warning, Terror, Cold World, Drain, Speed, Angel Du$t, Scowl, and many more. The band's reach goes even farther with breakout single "New Age Slavery" featured on the soundtrack for Tony Hawk's Pro Skater 3 + 4. No matter where they are and what they're doing, End It is true to keeping things authentically them and that shines through on the forthcoming Wrong Side Of Heaven. Entering Salad Days Studio with renowned producer Brian McTernan (Turnstile, Snapcase, Hot Water Music) the band came in with a few demos and wrote the majority of the album during the two month recording process in early 2025. Taking direction from classic hardcore, thrash, and soul music, End It has crafted a 15 song magnum opus centered on "Spreading awareness of the change that's coming to Americans, personal growth, and maintaining the ethics and integrity of hardcore."

2026 Repress

The newest SOUTHSIDE 004; straight from Brasil with big names from the acidtechno scene this time; pressed at 200 copies limited ! Southside Records is a member of the Flatlife Records Labelgroup.

Life Creates Itself is the new album by Bill Baird, releasing September 25th, 2026 on Royal Oakie Records. After years of restless wandering that took him from the Bay Area to India to Abbey Road and back again, Baird has returned home to San Antonio, Texas. Inspired by Lone Star legends Doug Sahm and Roky Erickson, the album inhabits a world where outsider country, avant-garde pop, and psychedelic folk dissolve into one.


Produced by longtime collaborator Jasper Leach (Tony Molina, Color Green) and mastered by indie-rock legend KRAMER (Galaxie 500, Daniel Johnston, Will Oldham), Life Creates Itself was recorded at Sear Sound in New York City in a single remarkable day — fitting for an album as indebted to Arthur Russell and Captain Beefheart as it is to Sir Douglas Quintet and Townes Van Zandt. The sessions brought together a constellation of collaborators around Baird and Leach, including Pedrum Siadatian (Allah-Las, PAINT), Phil Carluzzo, Austin Day, Oliver O'Haver, Jordan Johns, Michael Vattuone, Clara Kennedy, and Carluzzo’s dog Ernie.


Lead single "Yanaguana" — the original Payaya name for San Antonio, meaning either "land of many waters" or simply "where I am right now" — serves as a thesis statement for the album, a restless soul reckoning with what it means to finally come home. Meanwhile, "Karma Loan" is a fuzzy, sprawling psych track that spilled out of Baird during a deep immersion in Bach that features cello by Clara Kennedy and closes with a sound collage of spiritual gurus hawking easy paths to enlightenment. Then there's "Horse Moon" — built around pedal steel that shimmers like rays of moonlight, drifting through vignettes from a late night walk across New York City, with Pedrum Siadatian's lead guitar lending the whole thing an unhurried, dreaming quality. The night they tracked it, Baird climbed to the roof of Sear Sound and watched a full moon wash the city in a warm glow.


Baird has never sounded more at home, and Life Creates Itself may be his most cohesive record yet – a songwriter record through and through that stands apart from the rest of his discography. Royal Oakie Records is proud to release Life Creates Itself on September 25th, 2026, available on vinyl LP, CD, and digital download/streaming worldwide.

First up in the series - Heavy Salsa and Latin Soul from Puerto Rico-born pianist Eddie Lebron and Orquesta Suave, the album that kickstarted Ghetto Records. Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

Marking their second release for GULF COAST RECORDS, the collection favours raw performance over polish, capturing the chemistry, spontaneity, and fearless musicianship that have defined the group for more than three decades. Fronted by the unmistakable voice of JERRY LANGER and the soulful guitar work of RANDY JACOBS - formerly of Was (Not Was) - the EP embraces honest, acoustic arrangements where every note and breath remains beautifully exposed. Produced by Jacobs, Langer, and JOHN WOOLER, the project reveals a band confident enough to let the songs speak for themselves. Recorded primarily at Kaleidoscope Studios in Berlin, the sessions continued wherever the road allowed, with additional performances captured in U.S. studios and hotel rooms between shows. This wandering spirit gives the EP a sense of movement and lived experience. A remarkable ensemble of collaborators adds depth throughout, including Holly Montgomery, Arthur Thompson, Joe Sublett, Mark Pender, Jon Gilutin, and Oliver Leiber. Across six tracks - bold reinterpretations and originals - the band blends Detroit soul, New Orleans groove, blues, and rock & roll swagger. Pull Up the Roots celebrates authenticity, proving that great songs and genuine soul need no embellishment.

For acclaimed folk artist Martin Simpson, this release reflects not just a remarkable 50-year recording career, but over six decades shaped by song, tradition, and continual artistic growth. Yet this is not a retrospective, it's a forward-looking work, carrying the depth, skill, and passion of a lifetime into the present. Marking 50 years since his debut album Golden Vanity, Simpson describes Some Kind of Jubilee as "my best work to date." To realise this landmark project, he brings together an exceptional group of collaborators drawn from across his long and distinguished career. Among them are renowned pedal steel guitarist Greg Leisz, guitarist Zac Hobbs, cellist Liz Hanks, guitarist Louis Campbell, and double bassist Ben Nicholls. Together, they create a rich and textured soundscape that honours tradition while embracing fresh perspectives. Recorded at Groovemaster Studio in Santa Monica and completed in Yorkshire, the album blends newly written songs with reimagined traditional material and inspired reinterpretations from Simpson's own catalogue. The result is a deeply rooted yet vibrant collection that reflects both heritage and innovation. As Greg Leisz puts it, "This music has some profoundly deep roots - so dig in." With Some Kind of Jubilee, Martin Simpson honours his past while continuing to shape the future of folk music, reaffirming his place as one of the genre's most respected and enduring voices.

After a brief disappearance into solo records and restless touring, Wolter siblings Jack and Lily resurface with 3: a record drenched in salt and sun, with the tide pulling at its edges 3 is a record of firsts for the Brighton-based band. The first as a true three-piece, with close friend Joe Taylor (Anna B Savage, Iona Zajac) joining on drums, and the first they've ever recorded live. Jack and Lily trade shimmering guitars and sunlit harmonies like shared secrets, while Joe Taylor anchors it all: falsetto drifting wistfully above, drums crashing below.

Released on Tip Top Recordings, the album features 10 songs that that brim with melody, wit and understated charm. After years of singing downbeat songs of melancholy & loss, after waving goodbye to a long-term relationship, after working at a care home during the Covid pandemic, after seeing people off from the platform of life in his role as a Funeral Celebrant, Pete Fij has decided to have a reset. Slinging back on the electric guitar, ditching the job, upping the BPMs, and falling in love again has resulted in Pete embracing his fuzzed up dream- pop past but also throwing in elements of pop and electronica.

Burns with brothers Brian and Ewan Mcfie at Glasgow School of Art in the early 1980s. Drawing comparisons to Simple Minds, U2 and R.E.M, their post-punk sound attracted attention from John Peel who aired their single Too Late in 1984. The band signed to A&M and released Real Surprise in 1985 which became a BBC Radio 1 Single of the Week. However, like many bands of the time, their recording deal collapsed. For decades, all that remained were those two singles and a box of unreleased demos. During lockdown, the band revisited the tapes, finally bringing a remarkable lost chapter of Scottish post- punk back to life. In 2025 the band decamped to Beetroot Studios in Airdrie with producer Stuart MacLeod to work on new material. Rhythm of Lies is released by Last Night From Glasgow on blue vinyl and CD. This album is a must have for new and returning fans alike.

It pairs Virelles - who is known for his all-encompassing approach to creativity that is deeply-rooted in the Cuban influences of his upbringing - with two towering figures of creative music, whose individual work have helped shape the evolution of modern jazz for more than six decades. Together, they create music that is spacious, lyrical, and uncompromisingly inventive, grounded in profound listening and collective imagination. The group evolved out of Trio 3 , which featured saxophonist Oliver Lake alongside Cyrille and Workman. Following Lake's retirement, the remaining members invited David Virelles to help continue the group's legacy. Recorded at the legendary Van Gelder Studio , the album captures three master improvisers in an intimate, deeply expressive dialogue that unfolds through shared intuition, revealing an ensemble whose interplay is marked by subtlety, trust, and fearless exploration.

Originally released in 1978. A Classic Reggae album re-released on 180 gram vinyl and produced by Linval Thompson with extensive sleeve notes.
Recorded at Channel One Recording Studio & Harry J's Recording Studio.
Cornell Campbell is one of an elite group of Jamaican reggae singers who has weathered the changes throughout the music's development - in his case, from the ska era to right up to date - whilst retaining their relevance. Witness his recent alliance with UK Afrobeat/reggae band The Soothsayers or Jazmine Sullivan's R & B hit Need U Bad, which sampled his classic 'Queen Of The Minstrel' -a song that still sounds fresh more than thirty years later.
Sweet Baby was pressed on bright red vinyl, which only added to the excitement when you saw the selector position it carefully on the deck.
On the LP cover was a painting of Cornell wearing an emerald green shirt and framed by a lurid sky, which might have left some people wondering if it was a soul album. It wasn't, although there is certainly soul in the grooves, and especially on R&B covers like Gonna Take A Miracle - first recorded by the Royalettes -and Darling You Send Me, which Sam Cooke had introduced to the US Billboard charts some twenty years earlier.
Both are among the highlights but then the whole album is good in truth, and a heartfelt I Need Somebody and My Sweet Baby, plus the two-step favourite Just Enough were regularly played on sound system. Blinded By Love, I Didn't Know and Can't Hide My Love are tinged with melancholy and like the seductive Whenever You Need Me, display all the hallmarks of a classic Cornell Campbell side -swooping vocals, a driving rhythm and seductive lyrics included.

Nearly forty years later, it is gratifying to know there is still no mistaking him when his records are played in a dance. That relaxed vocal style draws you in but it's his falsetto, quivering with understated emotion that hooks you and turns you into a lifelong fan.

Released 50 years on from the bands' formation, the forthcoming Psycho Tornado features 10 blistering new tracks recorded in 2025. Psycho Tornado will be unleashed on coloured vinyl and CD, and will rumble into your home in September 2026. The Rezillos are a new wave/ punk band formed in Edinburgh, Scotland in 1976. Known for their colourful, retro-futuristic style and playful attitude, they stood out from the darker punk acts of the time. Their music blended fast punk rhythms with pop melodies, sci- fi themes and a sense of humor. Their debut album, Can't Stand The Rezillos (1978) is considered a classic of the era. The band initially split in 1978 and with some members going on to form The Revillos, with a similar name and sound. But The Rezillos later reunited in 2001 and continue to perform live, maintaining a cult following for their energetic performances and distinctive style.

Released 50 years on from the bands' formation, the forthcoming Psycho Tornado features 10 blistering new tracks recorded in 2025. Psycho Tornado will be unleashed on coloured vinyl and CD, and will rumble into your home in September 2026. The Rezillos are a new wave/ punk band formed in Edinburgh, Scotland in 1976. Known for their colourful, retro-futuristic style and playful attitude, they stood out from the darker punk acts of the time. Their music blended fast punk rhythms with pop melodies, sci- fi themes and a sense of humor. Their debut album, Can't Stand The Rezillos (1978) is considered a classic of the era. The band initially split in 1978 and with some members going on to form The Revillos, with a similar name and sound. But The Rezillos later reunited in 2001 and continue to perform live, maintaining a cult following for their energetic performances and distinctive style.

,Dead Meat" ist das Debütalbum der Londoner Band The Tubs, gegründet von den ehemaligen Joanna Gruesome-Mitgliedern Owen Williams und George Nicholls. Musikalisch verbindet die Band Jangle Pop, Post-Punk und britischen Folk-Rock zu einem eigenständigen Sound, der ebenso von Fairport Convention, Richard Thompson und der Canterbury-Folk-Szene geprägt ist wie von modernen Indie-Bands wie The Goon Sax oder Twerps. Charakteristisch sind die hell klingenden, treibenden Gitarren, eingängige Pop-Hooks und die Verbindung von traditioneller britischer Folk-Melodik mit der Energie des Indie-Rock. Über diesen Klangteppich legt Owen Williams seine scharf beobachteten, oft melancholischen Texte, die zwischen Selbstironie, Enttäuschung und emotionaler Verletzlichkeit pendeln. Mit Songs wie ,Round The Bend", ,Duped" und ,I Don't Know How It Works" gelingt The Tubs eine faszinierende Mischung aus Folk-Rock, Jangle-Pop und Post-Punk, die gleichermaßen zeitlos und modern wirkt und ,Dead Meat" zu einem der bemerkenswertesten Gitarrenalben seines Jahrgangs macht.

*comes with Download Code.

Simplicity floods itself in textured imperfection and anointed noise on the debut oracular folk guitar album released under the UK’s 5 Gate Temple.

A roughly recorded stack of improvisations on a classical-style guitar, God Spill embodies the broken, all while un-doing the expectations around traditional guitar folk. Mingot's fingerpicked tones meld with unsteady pedal loops and hissed drones rotating through flawed circuitry. A slow to becoming repair that is translucent, cryptic and oblique.

Mingot's misty glitched landscape paints the polarity of both presence and disappearance, all cyclically mirroring the unseen. Honesty, discordance, impatience, and certainty all find home alongside blurred vocal drones.

Since 2022, the EU-based, Queens NY native has released music elusively as hardcore high priestess St Agnis and now swims waters of the acoustic - with soft rage and pursuit.

Led by Sicilian musician, producer and visual artist Nicola Giunta (founder of Lay Llamas), The Thugs return with Mighty Tiger Dubs, a new nine-track album via Aagoo Records.

Written and produced by Giunta and performed with Andrea Davi, Mighty Tiger Dubs expands the psychedelic dub world introduced on 2023's Holy Cobra Dub. Blending roots dub, electro-dub, post-punk and psychedelia, the album follows a surreal narrative set on a mysterious pale green island, where Kali worship, a giant anaconda attack, underground fire rituals and anti-colonial struggle unfold through hypnotic rhythms and wordless vocals.

Unlike its predecessor, the album is built entirely around drum machines, creating a more direct rhythmic foundation for Giunta's distinctive fusion of Jamaican dub traditions with post-punk and experimental sounds. Inspired in part by Giunta's experience performing with Damo Suzuki of Can, the record features improvised, lyric-free vocals throughout.

Since emerging in 2021 as a studio-based project, The Thugs have earned praise from dub, psych and underground music circles, with support from figures including On-U Sound, Chris Reeder (Rocket Recordings) and Populous.

Blue Vinyl Repress

Die gefeierte schottische Band The Twilight Sad kehrt mit IT’S THE LONG GOODBYE zurück, ihrem lang erwarteten sechsten Studioalbum, das über Rock Action Records erscheinen wird.
Das Album ist eine Erzählung von Verlust und persönlicher Krise, verwurzelt in konkreten Erfahrungen. Mit dringlichen, gitarrenreichen Arrangements von Andy MacFarlane und dem unverwechselbar rohen, leidenschaftlichen Gesang von James Graham markiert IT’S THE LONG GOODBYE einen weiteren Höhepunkt im Werk der Band und unterstreicht ihre Fähigkeit, gelebte Erfahrungen in tief empfundene Musik zu verwandeln.

Mit der furiosen Single „WAITING FOR THE PHONE CALL“ und einem Gastauftritt der legendären Robert Smith von The Cure wurde IT’S THE LONG GOODBYE in den Battery Studios in London mit Andy Savours (My Bloody Valentine) aufgenommen und von Chris Coady (Yeah Yeah Yeahs, Slowdive) gemischt.


Beloved Scottish band The Twilight Sad make their long-awaited return with IT’S THE LONG GOODBYE, their sixth studio album released via Rock Action Records. IT’S THE LONG GOODBYE is a cogent story of loss and personal crisis, rooted in specific experience. Set to urgent and guitar-rich arrangements from Andy MacFarlane, with James Graham’s distinct, raw and impassioned vocals, the result is a pinnacle for THE TWILIGHT SAD in a career of tremendous integrity and artistry, and a record that honours the band’s ability to turn lived experience into fully felt music.

Including the blistering single WAITING FOR THE PHONE CALL and featuring the legendary Robert Smith of The Cure, IT’S THE LONG GOODBYE was recorded in London’s Battery Studios with Andy Savours (My Bloody Valentine) and mixed by Chris Coady (Yeah Yeah Yeahs, Slowdive).

Nach der Breakout-EP „Discount Fireworks“ haben Roman Candle ihren Sound konsequent weiterentwickelt. Die jüngsten Singles zeigen eine Band, die emotionale Direktheit mit kontrolliertem Chaos verbindet; „Can We Watch Something Happy?“ basiert auf persönlichen Erfahrungen von Piper und unterstreicht den ungefilterten erzählerischen Ansatz der Band.

L’Eclisse is the third studio album by Garden City Movement. Drawing from psychedelia, alternative R&B, leftfield electronic music and lo-fi indie songcraft, the album weaves together guitars, synthesizers, layered vocal arrangements and groove driven rhythms into a richly detailed collection of songs. Bringing together different facets of the band's sound into a cohesive body of work, the album reflects a decade of musical exploration while further developing Garden City Movement's distinctive musical language.

Garden City Movement are the duo of Roy Avital and Johnny Sharoni. Over the past decade, they have built an international audience through a distinctive blend of dream pop, electronic music and immersive production. Their releases have received support from Pitchfork, The FADER, Clash, Stereogum and KCRW, while their music has appeared in FIFA 22 and major television productions. Alongside extensive international touring, the band has performed at festivals including Glastonbury, Primavera Sound, Pukkelpop and Lollapalooza India, and shared stages with artists such as Alt J, RÜFÜS DU SOL, SOHN and Cults.

UK Dub - Post Punk legend Ghetto Priest releases Nat King Cole's Lovers from his latest album Big People Music ('22) on 7" in a delusional jacket! Mixed down by UK dub pioneer Adrian Sharwood.

The method is instability.

— Violeta Garcia & Hora Lunga

Violeta García & Hora Lunga return with 4ever, their second album and the follow-up to I’ll Wait For You In The Car Park. Released in 2025 on -ous, their debut received airplay on BBC and NTS and was selected for Bandcamp’s Best Experimental Music year-end list. 4ever picks up where that record left off: in ordinary moments, small scenes and the strange emotional weight of being somewhere between places. But here, these moments are stretched across a much larger, darker screen. A night flight, a terminal, a bad connection. When too many feelings are carried from one place to another, everyday situations begin to feel epic, empty, or apocalyptic.

Built from García’s cello and Hora Lunga’s synths, samples and field recordings, the album pushes further into emotion, letting fragile melodies, orchestral cello gestures, heavy low-end and compressed noise melt into something both dystopian and strangely familiar. Its warmth is not meant to be an escape from this world, but something that appears within it. Acoustically, the album lives through the closeness of the materials, the way sounds stay with each other, and in the feeling that even the most unstable moments are being carried together. The album presents itself in scenes that fade into each other: quiet melodic fragments that are interrupted and restarted, unpredictable changes of direction, held together by an inevitable melody, a bright synth harmony unfolding into an almost orchestral cello arrangement. Later, a broken organ-like sample turning in circles, cello melodies appearing as if they were trying to remember a song that never belonged to one voice alone. An endless loop that is placed under changing lights, briefly opening into emotional chords, then slipping back into emptiness.

It is this instability that Violeta García and Hora Lunga place at the center of their collaboration. They do not decorate the cello with production, or place electronics around an acoustic centre. They explain: “On 4ever, we become part of the same unstable surface. What holds the record together is not resolution, but the trust in staying together as things distort, overload, disappear and return.”

Violeta García, an Argentinian cellist known for her solo work and for her role in the punk band Blanco Teta, brings the instrument close to the body, as melody, pressure, texture, noise and sudden emotional weight. García has brought her distinct musical voice to KEXP, Rewire, Le Guess Who?, Bad Bonn Kilbi, Silent Green, TransMusicales, Roskilde and more.

Hora Lunga, a Zurich-based producer and composer working across unstable song forms, treats electronics less as a frame than as a weather system: something that can hold a scene together, distort it or make it disappear. In recent years, his compositions have ranged from experimental song forms, sound performances, ensemble compositions and film music. His ensemble WIRREN consists of up to fifteen performers.

eee gees Debütalbum „Winning“ erhielt mehrere 5-Sterne-Rezensionen und Album-of-the-Year-Auszeichnungen und etablierte sie als Alt-Pop-Act in ihrer dänischen Heimat. Inhaltlich dreht sich das Album um Herzschmerz, Depression und den Moment, in dem man vergangene Niederlagen akzeptiert – melancholisch, hoffnungsvoll und selbstironisch zugleich.

»Pipe Dreams II & III« presents two new, side-long organ works by Mary Jane Leach, extending the sonic investigations of her 1989 landmark »Pipe Dreams«. Recorded in Ghent and Cologne, the two side-long pieces use shifting stops, resonance and beating tones to turn the pipe organ into a vivid, physical field of sound.

When »Pipe Dreams« was issued on vinyl for the first time by Blume in 2017, it was effectively the first time many of us encountered Mary Jane Leach’s music, finally placing her work in its proper historical context amid the searching Downtown milieu of Julius Eastman, Arthur Russell, Arnold Dreyblatt, Ellen Fullman, Philip Corner, Daniel Goode, and Peter Zummo. Leach collaborated with most of these artists at one point or another, either in Downtown Ensemble or as a guest on their records.

Now »Pipe Dreams II« and »Pipe Dreams III« arrive, recorded in 2023 and 2024 at Miry Concertzaal in Ghent, Belgium, and Kunst-Station Sankt Peter in Cologne, respectively.

»When I was a young child, my family lived next door to a church, where my mother was the organist. I spent many hours lying on the floor of the sanctuary listening to the music, letting the sound of the organ envelop me. I also liked to play the piano loudly with the pedal down, producing clouds of sound, much to my family’s annoyance. These two organ pieces explore some of my earliest musical interests and aesthetics.

In 1989, I lived in a tower attached to St Peter’s Church in Cologne, where I had access to its organ. It had two sets of pipes, front and back, which could create antiphonal effects. I spent countless hours exploring the possibilities of all the permutations of notes, space, and the resulting sound phenomena. I wrote »Pipe Dreams« for that organ. Fast forward to 2023, when I was asked to create a piece for organ for a concert at the Miry Concertzaal in Ghent, Belgium: »Pipe Dreams II«. I had a few days to familiarise myself with the organ, its available stops, and the layout of the console. I choreographed stop changes for a volunteer, as I couldn’t reach them myself. Some amazing sounds began to happen, and at one point the sound was so visceral that I felt as though I were taming a wild beast.

»Pipe Dreams III« was performed in 2024 on the organ that I had spent so much time playing in 1989–90. One big difference, though, was that the console was totally new and computerised. Having access to the organ for only a few hours before the concert, I decided that I did not have enough time to feel comfortable with the console and should not attempt to recreate the piece I had written in 1989. I would instead use the same sequence of stops and perform an improvised piece. I loved the sounds that were being created, and I was having so much fun that at one point I even started to laugh quietly. I began to visualise the beating notes as if they were atoms, opening them up to expose their innards, with the beating, higher-pitched notes — neutrons and protons — shimmering at the top, and the lower notes — the electrons — throbbing away at the bottom. I was playing notes not so much for their pitch value, but for how they affected the notes and sound phenomena already being played. Instead of a time signature, I timed the entries by listening to the beating patterns, waiting for the right moment to enter. And no, I wasn’t hallucinating.«

Mary Jane Leach, 2026

Diffuse Reality presents Hashashin - BASTION. A 12inch vinyl and digital release built on solid, robust Techno. Four tracks driven by a constant groove that keeps the energy flowing from the very first beat. Dynamic, enveloping drums create a powerful and playful sonic experience. Without a doubt, this is a record that will earn a permanent place in your bag, shaking foundations wherever it lands. Closing the EP is Achtervolging, a powerful breaks cut designed as a moment to catch your breath, recharge, and prepare for what comes next.

Sciahri and Sublunar are proud to introduce the German duo Disguised and their new EP, Carcosa. Founders of INHERIT and fresh from the success of their recent release on Mutual Rytm, Disguised make their Sublunar debut with a seven-track journey that effortlessly bridges modern and classic techno, combining powerful club energy with a refined and deeply personal approach to sound. While producing the EP and shaping its titles, Disguised drew strong inspiration from the legendary and unforgettable first season of True Detective. The record opens with “Rust Never Sleeps”, a memorable and powerful cut built around an instantly recognizable melody, before moving into “Carcosa”, a tense and explosive track designed around constant anticipation and release. On the B-side, “Time Is A Flat Circle” delivers a highly infectious groove through captivating textures and subtle details, followed by “The Taxman”, where raw energy meets a sophisticated and carefully crafted production. Closing the vinyl is “Looking For Dora”, a deeply emotional and atmospheric piece that reveals a softer and more introspective side of the duo. With "Carcosa", Disguised demonstrate an impressive ability to move between different shades of techno without ever losing their identity, establishing themselves as one of the most exciting and distinctive duos emerging from the current scene.

Noisy intervention in early French teknivals... The birth of a school : Exploiting raves to make noise.

Founded in 2019 by Nick Whaley and Luca Tantari, Piss Drunk Records was born in Northern California from a shared passion for underground electronic music and the DIY ethos that has always driven independent scenes.

Rather than waiting for opportunities, the label was created with a simple philosophy: if nobody releases the music you believe in, do it yourself. Every release represents that independent spirit, putting artistic freedom before commercial expectations.

Nick Whaley has been an active figure in the Northern California underground electronic scene for many years, continuously releasing music, cutting lathe records, and performing live sets while keeping the local DIY spirit alive. Luca Tantari, originally from Italy, lived in California where the idea for Piss Drunk Records was born. After returning to Italy, he continued developing the label, expanding its international reach while preserving its original vision and underground identity.

Although founded in California, Piss Drunk Records has always maintained strong roots in both the United States and Italy, creating a bridge between two underground communities.

The label embraces a broad spectrum of electronic music, from raw industrial techno, experimental electronics and noise to old-school hardcore, gabber and more dancefloor-oriented productions. Style is never the priority—authenticity is.

The first five releases were issued as hand-cut lathe records and a limited cassette, reflecting the label's commitment to small-run, handcrafted formats. PDR006 marks Piss Drunk Records' first professionally pressed vinyl release, representing a new milestone while remaining true to the DIY philosophy that inspired the project from day one.

Piss Drunk Records exists for one reason only: to release music that deserves to exist—without compromise, without trends, and without waiting for permission.

A side is "Drumfetish" a ZMK 01 hit combo... The music is exactly at the inbetween Hardtek and Hardcore... And also it's a super cut-off/bring-it-in crossfader tune for actives deejays ! Eenjoy the different ways to spin it... Or with Drum & Bass or with Hardcore !

The flip is "Refuse To Believe", it brings a very mystical or nostalgic, or new wave feeling, using flangers and Transcore tricks... I always felt it was an node to the IST productions.

At a time Stefan ZMK was making lots of music for our scene, and ZMK was one of my favorite crew on vinyl. I am really proud he accepted to make a vinyl with us. Nowadays he is one of my favorite mastering studio...
So I asked him if he could re-master his own music ?

Here's the result : one track per side, playing 45 RPM (wich is cool because at 33 it's a bloody weapon too).

We all definitely hope you'll enjoy this new mastering & cut as we do !

Mastering : Stefan ZMK
Cut by : Simon Davey
Visuel : Vstee FDB
Pressing : Record Industry
Distro : Toolbox Records

Release description Chesster lands on Rutilance Recordings with a four-track EP rooted in classic deep house. Blending old-school influences with a modern touch, the project captures the essence of his sound: groove-led, warm, and true to its foundations. Originally from Italy and now based in Los Angeles, Chesster has been building strong momentum across the global house scene, with a run of standout releases and defining moments over the past year. This EP marks an important step in that journey - not only as his first on the label, but also as a more personal statement. After a run of highenergy, peak-time records, the project sees him step into a deeper, more refined lane. The EP also features a special contribution from Rutilance boss DJ Steaw, adding an extra layer of character and tying it closely to the label’s identity.

Although Shoot Your Shot sits slightly under the radar compared to Divine’s signature anthems such as You Think You’re A Man, I’m So Beautiful, Walk Like A Man and Native Love, this remix stands proudly alongside them. Liebrand injects the track with a driving Hi-NRG pulse, unmistakable Italo-disco flourishes and a powerful club groove, while Divine’s larger-than-life vocal performance and the unforgettable spoken-word alphabet breakdown remain front and centre.

On the flip, Liebrand delivers an inspired bonus, seamlessly blending the music from Divine’s worldwide club classic Native Love with the vocals from Shoot Your Shot, one of the artist’s biggest European hits. The result is a brilliantly executed hybrid that captures the excitement and creativity of the late-’80s remix scene while celebrating two of Divine’s most enduring recordings.

A rare glimpse into a golden era of European dance music and a testament to Ben Liebrand’s reputation as one of the most innovative remixers of his generation.

'La Proyección' is the debut LP by Jose María Lluch, featuring 11 compositions developed between 2015 and 2024. Recorded and assembled in his home studio, the album combines fingerpicked guitar, field recordings, tape manipulation, and ethereal soundscapes into a deeply personal listening experience. A reflection on memory, imperfection, and the freedom to create without external expectations. 'La Proyección', the debut LP by Jose María Lluch, an architect and musician from San Sebastián, emerges as a transition-a gradual shift that unfolded over time. Intimate and innocent, disconnected and erratic at times, the 11 compositions presented here are drawn from recordings spanning nine years, between 2015 and 2024. Humbly assembled in his home studio, the music invites listeners to let their minds drift as the processes of composition, recording, and editing intertwine. Field recordings from everyday life, fingerpicked guitar, soothing harmonics, tape manipulation, and ethereal soundscapes are combined with a naïve openness. The album reveals the joy found in imperfection. Rarely do we have the chance to glimpse someone's work in its most unguarded form, without a specific context, after years spent making music simply as a way to break away-not for anyone else, but for oneself. The songs on 'La Proyección' reveal that very essence, shaped by a shared memory.

"Solaris", das zwölfte Studioalbum von The Ocean, würdigt die bisherige Entwicklung der Band und verleiht ihr eine neue, intensive Note. Mit Mitgliedern aus sechs verschiedenen Ländern im Kern-Line-up kehrt The Ocean zu einer kollektiven Besetzung zurück und schöpft aus dem Erfahrungsschatz und Talent eines Pools außergewöhnlicher Musiker. Nachdem man mit dem Vorgängeralbum "Holocene" einen anderen Weg eingeschlagen hatte, zeichnet für den weitläufigen, organischen Klang von "Solaris" erneut der schwedische Produzent Jens Bogren verantwortlich, der bereits die beliebtesten Alben der Band - "Pelagial" sowie "Phanerozoic I" & "II" - gemischt hat. Das neue Album stellt die Sänger*innen Lane Shi und Enrico Tiberi sowie die Gitarristen Emmanuel Jessua und Marco Gennaro vor. Sie ergänzen den Gründungs-Gitarristen Robin Staps, den langjährigen Bassisten Mattias Hägerstrand und Schlagzeuger Jordi Farré. Jeder von ihnen bringt seine ganz eigene Note ein, um dieses fast 70-minütige Opus zum Leben zu erwecken. Für die Aufnahmen wurde der Kreis der Mitwirkenden noch weiter gefasst: Thorsten Quaeschning (Tangerine Dream) steuerte modulare Synthesizer bei, der griechische Komponist Orestis Zafiriou (Playgrounded) lieferte ebenfalls Elektronik- und Synthie-Elemente, und Simen Eifring von der norwegischen Post-Rock-Band Spurv übernahm den Posaunenpart. Aufgenommen wurde das Album in den legendären Berliner Hansa Studios, wo bereits Klassiker wie David Bowies Low und Heroes, Iggy Pops Lust For Life und Depeche Modes Construction Time Again entstanden. Innerhalb dieser Studiowände entwickelte sich "Solaris" zu einem lebendigen Zeugnis für die Kraft von Entdeckergeist und Teamarbeit. Da der neue Sänger Tiberi zudem ein versierter Pianist und Multiinstrumentalist ist, wurden Klänge von Celesta, Flügel, Rhodes-Piano und Hammond-Orgel zu einem integralen und unverwechselbaren Bestandteil des Solaris-Sounds. Der für The Ocean typische, atmosphärische Post-Metal wird durch den experimentierfreudigen Geist der neuen Mitglieder sowie die Beiträge der exzellenten Gastmusiker bereichert. Ein Werk, das für The Ocean hinsichtlich Ambition und erzählerischer Tiefe einen neuen Höhepunkt darstellt. Das CD- und 2LP Gatefold-Sleeve ist jeweils aus 360g Spezial-Karton gefertigt und auf Vorder- wie Rückseite mit roter Metallic-Heißfolien-Prägung veredelt. CD mit 6seitigem Fold-Out-Booklet, die 2LP in bedruckten Innenhüllen kommt zusätzlich mit A2-Poster.

Colorize presents 22, the debut album from California-based producer, DJ and yoga teacher mölly, a deeply personal body of work shaped by connection, surrender and healing.

Zum 30-jährigen Bestehen gönnt sich das Hamburger Dub-Label Echo Beach ein multidimensionales Porträt seiner Heimat- und Hansestadt Hamburg. Musikalisch hat das Label bereits die ganze Welt bereist und Dub-Sets aus UK, Südafrika, Neuseeland, New York, Jamaika und Germany veröffentlicht. King Size Dub - Hamburg ist die erste Album-Compilation, die sich exklusiv der Dub-Musik aus Hamburg widmet. Schon als das Label mit einer Compilation mit UK Dub die Bühne betrat, gab es mit Soundhaudegen wie Silly Walks und Dub Me Ruff, Projekten um den Producer Matthias Arfmann sowie Bands wie Dub Division und Di Iries eine vitale Dub-Szene in Hamburg, die im Lauf der Jahrzehnte ebenso wilde Blüten trieb wie outernational das Echo Beach Label, wobei es durchaus zu Überschneidungen und Kreuzungen kam. Nun ist die Zeit der Ernte gekommen: Für die Vinyl-Version hat sich das erste Dub-Label am Platz mit dem nicht nur für Dub-Heads besten Plattenladen der Stadt zusammengetan und jeweils eine Rille voller Versions, Specials und Exclusives aus den Hamburger Studios gepresst.

Named after a now-shuttered nightspot that overlooked the beach on Italy's picturesque Tuscan coast, Maxime Denuc's 'Club Imperiale' is a work of speculative historical fiction, a record that imagines a point of creative symbiosis between the Catholic church and the ecstatic dancefloors of the early '90s.
Using a MIDI-controlled pipe organ, Denuc creates dense clouds of impossible-to-play notes that ricochet backwards and forwards through history, from Rome's reverberant cathedrals to the white, sandy beaches of the Balearic Islands.
Two years ago, the Brussels-based French composer was forwarded a surprising video by a Belgian fan. It was shot during a Wedding at a church in Menorca, where the organist was playing 'Infinite End', the lead track from 2022's 'Nachthorn'. Immediately, Denuc knew that this was the thematic backdrop he'd been waiting for; he imagined the aftermath of the event, wandering through small villages and teetering on a cliff's edge, finding a provincial nightclub and retracing his steps back to the beach to witness the
sunrise.

Space Afrika, das in Manchester und Berlin ansässige Duo aus Joshua Tarelle Reid und Joshua Inyang, schafft rohe, detailreiche und eindringliche Musik mit Anklängen an Ambient, Trip-Hop, Techno und moderne Klassik, wobei es aus den Konturen seiner Stadt weitläufige urbane Dub-Landschaften entwirft. ,Quiet Storm" erweitert ihren Klang und ihre Bandbreite zu einer weitläufigen, kollaborativen Vision, die mit tiefer Geduld und Absicht geformt wurde und ihre eigene Coming-of-Age-Geschichte in eine bewegende Suite kathartischer Abstraktion einbettet. Die Songs spielen auf Spiritualität und die conditio humana an, auf die Spannung zwischen Kühnheit und Sanftheit, Ehrgeiz und hartnäckigen inneren Dämonen. ,Quiet Storm" ist eine Antwort auf den Werdegang des Duos seit der Veröffentlichung von ,Honest Labour" im Jahr 2021. ,Wir haben uns selbst und unsere eigenen Vorstellungen von Identität herausgefordert, insbesondere in Bezug auf Klasse und Diaspora, und wie dies in verschiedenen Musikgenres dargestellt wird. Wir wollten die Charakteristika unseres Projekts durch die Menschen zeigen, mit denen wir zusammenarbeiten wollten", sagt Reid. Inyang merkt an: ,Bei der Entstehung dieses Albums haben wir keine Kompromisse gemacht. Die Idee begann als eine Hommage an die Kunst der Schwarzen. Unsere Kooperationen waren sehr bewusst gewählt, als wir die Grundpfeiler der Geschichte entdeckten." Von der multidisziplinären Natur des Projekts zeugt die Beteiligung des gefeierten Künstlers Glenn Ligon, dessen Werk sich mit schwarzer Identität und Queerness befasst. Ligon, der zu Beginn der Aufnahmen eine zentrale Inspirationsquelle darstellte, stellte sein Werk ,Figure #30" (2009) für das Cover-Artwork zur Verfügung und erklärte sich nach Abschluss der Aufnahmen bereit, dem Projekt seinen Namen zu geben - eine beispiellose Geste dieses wegweisenden Künstlers. Beim Anhören der endgültigen Fassung dachte Ligon an ,Quiet Storm", das Radioformat der 1970er Jahre, das für seine sanfte Late-Night-Programmgestaltung mit Themen rund um Leben und Liebe bekannt war. ,Quiet Storm" führt den Hörer durch verschiedene Szenen, Zwischenspiele und Handlungsbögen, geprägt von dem Gefühl, dass seine Bewegung fließend und seine Figuren flüchtig sind. Monologe vor dem Spiegel setzen sich mit dem Existentiellen und dem Unmittelbaren auseinander: Überleben, Autonomie, Sinn. Das Album beginnt mit dem explosiven, von Streichern begleiteten ,Vanity", bei dem die Grammy-Preisträgerin Axelle Fanyo zu hören ist. Zunächst auf die Spalten eines stillen Raumes fixiert, entfaltet sich ,Vanity" unter Fanyos ausdrucksstarkem Sopran und durchläuft ein breites emotionales Spektrum von erhabener Kontemplation bis hin zu ergreifendem, herzzerreißendem Schmerz. Auf dem gesamten Album werden gesprochene und gesungene Worte sparsam eingesetzt, um eine kraftvolle Wirkung zu erzielen. Die Schönheit und Katharsis von ,MLN" ist ein kollektiver, langsamer Marsch, bei dem der britisch-nigerianische Künstler Tony Njoku mitwirkt, begleitet von Gabriel Evans an Gitarre und Lead-Bass, PIKE aus London am Schlagzeug und GB aus Kopenhagen an Keyboards und Streichern. Der letzte Satz verleiht ,Quiet Storm" seinen krönenden Höhepunkt. ,If This Is Hell" ist in einem einzigen Take als Bewusstseinsstrom des New Yorkers Deuén aufgenommen, dessen nachvollziehbare Spirale geistiger Aktivität von jazzigen, frenetischen Percussion-Klängen begleitet wird. Das Druckventil öffnet sich, als die phasenverschobenen Drums und die scharf beobachtenden, dialogartigen Phrasen abrupt nach der Zeile ,I wonder if that's what heaven's like?" abbrechen. Wir bleiben in der Behaglichkeit des Album-Closers ,Regards" zurück. Regentropfen treffen auf Orgel, Drone, Streicher und Keyboards, während das Nachladen von Waffen dem ruhigen Summen gegenübergestellt wird. Schwer und doch hoffnungsvoll erinnern Joshua Tarelle Reid und Joshua Inyang an ihre bisherige Reise. Als passend geheimnisvolles und mitreißendes Outro für ihr offenes Opus ist ,Quiet Storm" ein Meilenstein: selbst produziert, selbst finanziert und aus purer Tatkraft und Überzeugung entstanden. Durch verzerrte Zeit und schummrigen Dunst ist Space Afrika zweifellos angekommen