Search:pi

Lukas Frank aka Storefront Church wiederholt sich ungern; er lässt die üppigen Orchestrierungen von "Ink & Oil" (2024) hinter sich und sucht auf seinem neuen Album "Blue Movie" nach einer intimeren, elektronischen Klangpalette: kantige Strukturen, wunderschöne Klangwellen und harte Wahrheiten. Dieses intensive Aufbäumen gegen das Verlöschen des Lichts hat Künstler wie Perfume Genius, Lauren Auder, Last Dinner Party, Diiv und The Horrors zu seinen jüngsten Konzerten gelockt. Florence Welch gestand, dass sie bei Lukas’ Musik Gänsehaut bekommt. Und sie sind nicht die Einzigen. Seine Songs sind auf den Soundtracks von "Department Q" und "Das Damengambit" zu hören, und er hat etwas Wildes für den neuen Film von Tony Gilroy mit Pedro Pascal komponiert – in dem er auch einen kleinen Auftritt hat. Zusätzlich hat Storefront Church gerade seinen mitreißenden Soundtrack zu P Staffs Installation "Canicula" auf der Kunstbiennale in Venedig vorgestellt (und eine weitere Zusammenarbeit für Paris im nächsten Jahr ist bereits in Planung).

Lukas Frank aka Storefront Church wiederholt sich ungern; er lässt die üppigen Orchestrierungen von "Ink & Oil" (2024) hinter sich und sucht auf seinem neuen Album "Blue Movie" nach einer intimeren, elektronischen Klangpalette: kantige Strukturen, wunderschöne Klangwellen und harte Wahrheiten. Dieses intensive Aufbäumen gegen das Verlöschen des Lichts hat Künstler wie Perfume Genius, Lauren Auder, Last Dinner Party, Diiv und The Horrors zu seinen jüngsten Konzerten gelockt. Florence Welch gestand, dass sie bei Lukas’ Musik Gänsehaut bekommt. Und sie sind nicht die Einzigen. Seine Songs sind auf den Soundtracks von "Department Q" und "Das Damengambit" zu hören, und er hat etwas Wildes für den neuen Film von Tony Gilroy mit Pedro Pascal komponiert – in dem er auch einen kleinen Auftritt hat. Zusätzlich hat Storefront Church gerade seinen mitreißenden Soundtrack zu P Staffs Installation "Canicula" auf der Kunstbiennale in Venedig vorgestellt (und eine weitere Zusammenarbeit für Paris im nächsten Jahr ist bereits in Planung).

Friday Fuzz are a collec#ve of professional musicians now presen#ng “Much Funk About Nothing,”
an excellent piece of work with a retro flavor. With years of high-profile collabora#ons under their belts, Marco Leo, Cesare Pizze:, Elvin Be:, and Niccolò Barozzi have worked with some of the
greatest Italian musicians—including Tullio De Piscopo, Fabrizio Bosso, Paolo Tommelleri, Alessio
Bertallot, Rocco Hunt, Casinò Royale, and Aereoplani Italiani, just to name a few.
The album features a primarily instrumental sound that evokes 1970s funk and soundtracks. The
band is defined by its ability to create sonic atmospheres ranging from more sparse, introspec#ve
moments to rock and psychedelic horizons, always with funk as the common thread. The result is
“Much Funk About Nothing,” an album that represents the perfect synthesis of their sonic
explora#on and crea#vity.

SYD001 | Casio the Calculator’s Elementary Calculations

After years of scrounging the dark corners of Discogs, contributing a small piece to this vast ocean of music is a huge milestone.

Casio the Calculator steps up for this double debut with 3 cuts in an attempt to reconcile the dusty sound of the past with today’s polished acoustics. Describing music with words can only say so much, so we’ll leave the rest for you to hear.

Bass and Guitar on A1 and B by Loarcangelo

HOT CASA RECORDS is very proud to present two fantastic songs from 2007 by the great singer DULCE NEVES for the first time on vinyl .


Born on January 28, 1960, in Mansoa, in the Oio region, in northern Guinea-Bissau, Dulce Neves is one of the greatest voices in Bissau-Guinean music. Coming from a family of musicians, she began her professional singing career at the age of 16. After the country gained independence on September 24, 1973, she became the pioneer among female vocalists to join the famous group Super Mama Djombo (whose name references the protective god of warriors), with whom she recorded several albums delivering sublime, politically engaged music blending Tina and gumbe styles.


After completing primary school in Bubaque (an island in the Bijagos archipelago), then secondary school at the Kwame Nkrumah national high school in Bissau, and secretarial courses in 1976, Dulce Neves spent ten years working at the National Bank of Guinea-Bissau, all while continuing to sing.


In 1980, she decided to return to her passions — singing and music — and launched a solo career. Four years later, she won the “Prix Calao,” followed in 1985 by the “President of Mali Prize.” It wasn’t until 1996 that Nha Destino arrived, her debut album with its afro-zouk-gumbe flavors, sung in Portuguese Creole. In 2000, Dulce Neves was appointed Ambassador of Modern Bissau-Guinean Music by President Kumba Yala.
In 2007, the album Mundo Rabiba was released, blending gumbe and afro-zouk — and it was a massive success, going gold that same year.

This collaborative album is characterized by the unique taste and qualities of Dutch producers Joop de Graaf (Y.O.P.E.) and Tommy van Leuken (AVVNT MM). Where Y.O.P.E. is known as a live project based on groove, improv and electronic music, AVVNT MM has mainly been known for his soothing ambient projects. With this album these two producers find eachother in perfect harmony. Scratch your brains with some perfectly balanced confusion.

Steve Bug and Pornbugs team up on Behind The Glass / On The Swing with remixes from Mihai Popoviciu and Markus Homm.

Unsung House hero, Steve Bug has been there and done it all. Arguably Germany’s most important pioneer, his label Poker Flat has been an epoch-defining imprint. Celebrating 20 years of Bondage Pornbugs are mixing in different circles with recent releases for Selador and Acker Dub, showcasing their crossover appeal with a new generation of DJs.

Opening with ‘On The Swing’ we are delighted by classic deep vibes with a modern twist. Grooevsome and warm, this will get the floor going anywhere in the world. On remix duties, Mihai Popoviciu drops his trademark style, smoothing out the bumps for a deeper ride.

Next up, ‘Behind The Glass’ takes a similar path. Soulful warmth exudes from the speakers as the bumpy bass and echoing keys mark time. Reaching a crescendo with muted acid undertones in the second half keeps attention high and the dancefloor full and happy. For his remix, Markus Homm takes it deeper with shades of Detroit. Liquid cool for the later floors.

SCOTTISH TRUMPETER MALCOLM STRACHAN RETURNS WITH HIS MOST UPLIFTING AND GROOVE-DRIVEN ALBUM YET – “LOOK ON THE BRIGHT SIDE” On Look On The Bright Side, Malcolm Strachan sounds more open than ever. His third solo album moves effortlessly between soul-jazz, Latin grooves and Afrobeat touches, anchored by the warm, cinematic feel of 1970s jazz but driven by a clear sense of forward motion. Released on 22 May 2026 via Haggis Records, the album sees Strachan stepping further into his role as a composer and bandleader, drawing together the threads of a career spanning more than two decades at the heart of the UK’s jazz, funk and soul scene. Where his debut About Time (2020) channelled the spirit of classic Blue Note recordings and Point Of No Return (2023) leaned into the groove-heavy CTI era, Look On The Bright Side feels broader in scope – still rooted in groove, but more open to outside influences and a more consciously uplifting tone. “I wanted the music to feel upbeat and positive,” says Strachan. “I start at the piano, working through chord ideas until I find something that feels right. Once the harmony is there, the melodies tend to come naturally.” That approach gives the album its fluidity, with tracks evolving from feel as much as structure and arrangements that leave room for interplay and movement.

Zeitgleich mit dem 40-jährigen Jubiläum der Band wurde Complete B Sides: 1988-97 von Pixies neu remastert und wird 25 Jahre nach seiner ursprünglichen CD-Veröffentlichung erneut herausgebracht. Das Album erscheint als Doppel-LP auf schwarzem Vinyl, als Doppel-LP auf klarem Vinyl sowie als Doppel-CD. Außerdem wird diese Veröffentlichung damit zum ersten Mal überhaupt auf Vinyl gepresst. Complete B Sides versammelt alle B-Seiten aus der klassischen 4AD-Ära der Band und enthält einige der besten "anderen" Songs der Pixies, darunter "Wave of Mutilation (UK Surf)", "Into The White" und "The Thing". Ursprünglich 2001 auf CD veröffentlicht, als sich die Band bereits seit fast einem Jahrzehnt in einer Pause befand, enthielt Complete B Sides: 1988-97 alle 19 Nicht-Single-Tracks aus der unglaublichen Reihe von Singles, die die Band zwischen 1988 und 1991 veröffentlichte. Zum Abschluss wurde die instrumentale Version von "Letter to Memphis" hinzugefügt, die zuvor nur auf der US-Version der Veröffentlichung der Alec Eiffel-Maxi-Single erschienen war. Da auf vier Vinylseiten Platz für mehr Musik vorhanden ist, enthält diese aktualisierte Version zusätzlich sechs Live-Tracks, die aus späteren Pixies-Veröffentlichungen stammen, darunter aus der 1997 erschienenen Neuauflage von Debaser. Für diese aktualisierte Edition wurden alle Titel von ihren ursprünglichen analogen Bändern von Kevin Vanbergen neu remastert. Das Ergebnis klingt erstaunlich frisch und vervollständigt zugleich seine umfangreiche Arbeit am gesamten Katalog der Band. Diese neue Vinyl-Edition fungiert außerdem als Begleitstück zur kürzlich erschienenen Compilation Live at the BBC. Designer Chris Bigg (v23) hat dafür ein eindrucksvolles neues Artwork geschaffen und dabei Fotos aus dem Archiv von Simon Larbalestier verwendet, die ursprünglich für die Pixies vorgesehen waren, später jedoch verworfen wurden. Beide arbeiteten seit vielen Jahren mit der Band zusammen und gestalteten beide Veröffentlichungen parallel, um an den verstorbenen visuellen Direktor der Band, Vaughan Oliver, zu erinnern und ihn zu ehren.

Nachpressung! Sub Pop und die Noise-Rock-Größen Chat Pile aus Oklahoma City bringen eine limitierte 7"-Single raus, auf der zwei Studiotracks drauf sind: ein brandneuer Song und eine coole Neuinterpretation des frühen Nirvana-Songs ,Sifting". Die zweite Pressung der Single kommt auf "BLUE MARBLE" Vinyl, solange der Vorrat reicht. Sub Pop ist total begeistert, dass Chat Pile uns mit diesen beiden großartigen Songs beehrt hat, und wir könnten nicht glücklicher sein, sie in die Liste der Größen aufzunehmen, die eine Sub Pop 7"-Single veröffentlicht haben. Die Band hat uns freundlicherweise ihre Sichtweise zu dieser Veröffentlichung mitgeteilt, also lassen wir sie selbst weiter ausführen! ,Es ist ein wahr gewordener Traum, eine Single bei Sub Pop zu veröffentlichen, und unser neuer Song ,Masks" wird hoffentlich dem Geist der mythischen, manchmal mystischen Stadt Seattle gerecht. Zum Teil dank des Films Hype sind wir schon lange von Seattle, der amerikanischen Underground-Szene der späten 80er Jahre, Sub Pop und ihren Werkzeugen zur Weltherrschaft fasziniert. Alles, was wir über das Packaging von Chat Pile gelernt haben, haben wir von den Sub Pop-Gründern Jonathan Poneman und Bruce Pavitt gelernt. Wir wollten einen Song aus der frühen Sub-Pop-Ära covern, und etwas aus Bleach schien die naheliegende Wahl zu sein. Songs wie ,Paper Cuts", ,Negative Creep" und vor allem ,Sifting" sind ziemlich ähnlich zu dem Sound, den wir mit Chat Pile machen. (Vielleicht nehmen wir uns das nächste Mal einen Song von TAD vor!) P.S. - Fuck ICE."

Capturing the full scope of the Straw Hat Crew’s journey into the Grand Line, this collection brings together the massive, high energy score by award winning composers Sonya Belousova and Giona Ostinelli. From the shores of Loguetown to the snowy peaks of Drum Island, every moment of the voyage is brought to life through soaring orchestral arrangements and unforgettable pirate anthems.

2LP Audiophile Black Vinyl: Two 12 inch records pressed on high quality black vinyl for a classic look and superior sound fidelity, delivering every orchestral swell with crystal clear precision.

Double CD Set: Two discs featuring the complete original score and songs, presented in a premium compact format.

Premium Packaging: A double gatefold jacket for the vinyl edition and a three fold digipack for the CD, both showcasing vibrant cinematic artwork of Luffy and the Straw Hat Crew.

Complete Soundtrack: Over 40 tracks spanning the entire second season, including character themes, emotional moments and epic battle motifs.

Whether at home or on your own journey, this release is the perfect way to keep the spirit of adventure alive, immersing you fully in the world of One Piece.

Netflix’s epic high seas pirate adventure, ONE PIECE, returns for Season 2, unleashing fiercer adversaries and the most perilous quests yet. Luffy and the Straw Hats set sail for the extraordinary Grand Line, a legendary stretch of sea where danger and wonder await at every turn. As they journey through this unpredictable realm in search of the world’s greatest treasure, they will encounter bizarre islands and a host of formidable new enemies

Inklusive Shepard Fairey x Dead Pioneers Kollabo-Poster

"En tu recto" is the second live album La Polla Records publish and the second with the new shortend name La Polla. This album was recorded in four concerts held in the Chancellor-s Hall in 1997 and reviews the band-s trajectory from "Salve" to "Carne para la picadora". Powerful sound, for many the best live album of the band. It was originally published by GOR in 1998. Black double vinyl.

The best stories always end with the bad guy getting what he deserves. And on Willow Avalon’s
new album Pink Pocket Pistol, a few cruel men end up on the wrong side of a woman’s
Revenge.

The Penguin Guide to Jazz called 'Mingus Ah Um', "an extended tribute to ancestors" and awarded it with one of their rare Crown review ratings. It is, in fact, one of Charles Mingus' most personal albums, and produced a series of songs that have become standards. "Better Git It in Your Soul" is inspired by gospel singing and preaching of the sort that Mingus would have heard as a child growing up in Watts, Los Angeles, California, while "Goodbye Pork Pie Hat" is a reference (by way of his favoured headgear) to saxophonist Lester Young who died shortly before the album was recorded. "First let's put your minds at ease about that weird title: it's a corruption of an imaginary Latin declension (mingusminga- mingum). Don't ask why. It seems to me that Mingus has now completely found himself, found a personal and vital direction. This is a consistently exciting and stimulating set." - ***** Leonard Feather, DownBeat

The Diamonds return with Moran, Absentia, Pianopoli and DJ Fresh & Packim aka Freshim!

With "Una Lama D'Argento", TENEBRO take their most extreme and visionary step yet: an entire album conceived as a tribute to Dario Argento, the undisputed master of horror, giallo, and thriller cinema. Eleven tracks that are not just songs, but episodes of a single nightmare, a journey through the dark and obsessive atmospheres of the films that shaped cinema history: Deep Red (1975), Suspiria (1977), Inferno (1980), Tenebre (1982), Phenomena (1985), and Opera (1987). TENEBRO translate Argento's universe into sound: riffs sharp as blades, guttural vocals emerging from the darkness, relentless drumming, and atmospheres shifting between pure violence and suffocating tension. Iconic scenes such as the mirror revealing the killer in Deep Red, the brutal mutilation in Tenebre, or the larva-filled bathtub finale in Phenomena are transformed into brutal, immersive sonic attacks, capturing the full horror and tension of the films. As with every album, TENEBRO continue to evolve, introducing new symphonies, styles, and melodies, while remaining distinctly separate from the wider underground scene. Their music explores new horizons without ever betraying the pulsating heart that has always defined their sound: extreme, theatrical, and viscerally horror-driven.

2026's Brightest Hope Confirmed: “Kabutomushi”!
In their 7th year since debut, an unprecedented best album is released on CD, Cassette Tape, and LP!
Formed in 2019 as a music production team or conceptual four-piece rock band comprising a pianist, avant-garde composer, painter, and percussionist.
J-POP, hip-hop, new wave, prog rock, techno, house, free jazz, contemporary classical, folk music－all sublimated into an elusive avant-pop.
It could be called the 2020s reimagined version of Yura Yura Teikoku.

His fresh, delicate playing has captivated countless listeners, and his debut album Scenery has come to be highly acclaimed around the world. Fukui, who began playing the piano at the age of 22, recorded this album when he was just 28. The earnest passion of his youth resonates throughout the music, gently stirring the emotions of those who listen. The spacious, confident swing of “It Could Happen To You”, the refreshing joy radiating from “Early Summer”, the late autumn coolness imbued in the title track “Scenery” each embodies the uniquely expansive yet nuanced “Hokkaido sensibility” that flowed naturally from Fukui’s artistry.
Within this album, the beautiful landscapes that Ryo Fukui crafted his Scenery continue to breathe eternally.
text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

This is joy beyond expectation the arrival of a new Ryo Fukui recording. Captured on June 26, 2004, this live session documents the ninth anniversary concert of Slowboat, the jazz club Fukui founded and considered his musical home. The trio features Ryo Fukui on piano, Benisuke Sakai on bass, and Yoshihito Eto on drums. Fukui was 56 years old at the time, and his playing is powerful and expansive, yet still marked by delicacy and razor sharp precision. In terms of energy, stamina, and technique, he was entering a true period of artistic maturity. He delivers the music of his beloved Phineas Newborn Jr. and Tommy Flanagan with depth and elegance, and approaches the works of Wayne Shorter—an early-life influence—with thrilling intensity. The performance captures Fukui at a moment of profound fulfillment, offering a truly compelling glimpse into his late career brilliance.

Ryo Fukui, the renowned pianist from Hokkaido who sadly passed away in 2016, has earned global recognition among jazz listeners through his highly praised early works Scenery and Mellow Dream. A Letter From Slowboat, recorded in 2015, marked his first leader album in sixteen years. The sessions took place at Slowboat his musical home together with two young musicians whose talent Fukui himself deeply trusted. The lyricism that seeps through “Sonora”, the poetic warmth enveloping “Stella By Starlight,” the vibrant energy coursing through “Speak Low” each performance is filled with life. His touch grew more forceful, his emotions more profound, his musical fragrance even more luxuriant.

This third album by Ryo Fukui arrived a full 17 years after Mellow Dream, marking his first and only solo piano recording. Alongside signature pieces like “Scenery” and “Mellow Dream”, the album includes “Voyage” and “Nord”, both written during a trip toward the northern regions, as well as “Nobody’s”, a piece imbued with Fukui’s deep respect for his mentor Barry Harris. The selection is nothing short of a delight for fans.

Here, the depth and weight Fukui cultivated as a bebop pianist blend seamlessly with the profound “Hokkaido sensibility” that had always resided within him. It is a masterpiece that truly deserves to be passed down through time.

Ryo Fukui, who passed away in 2016 after releasing only five albums, recorded this fourth work in 1999. Featuring bassist Lyle Atkinson and drummer Leroy Williams—the longtime rhythm section of Barry Harris this New York-recorded album captures the full appeal of Fukui as a bebop pianist. Centered around standards, the track selection, structure, and of course the performances all radiate intent and vitality. His assured and weighty touch, the firm yet elastic swing, and the emotion and lyricism that permeate his dynamic phrasing everything here conveys Fukui’s breath, will, and presence in vivid form. The re-performance of his signature piece “Mellow Dream” is also a welcome highlight.

Post-Hardcore nach Philly-Art. Unzufrieden mit dem metallischen Youth-Crew-Format, verfolgte Frail die wilde, lärmende Wut der Generation X gegen alles und jeden im rasanten Tempo von San Diego. ,No Indus Try" - die erste und einzige Vinyl-Compilation des Quintetts - enthält wichtige Singles für die Labels Yuletide, Bloodlink und Kidney Room sowie seltene Compilation-Tracks aus ihrer Zeit von 1993 bis 1995. Kommt mit 24-seitigen Zine, das die Band in Notizen, Zitaten, Fotos, Flyern und revolutionärer Literatur dokumentiert. Make Your Own Noise.

On October 16, 2025, Synapson took over the Olympia for a sold-out anniversary concert, celebrating 15 years of their career. A symbolic night in an iconic venue, in front of a crowd that came to relive the tracks that shaped their journey.

Today, the duo unveils “15 ans à l’Olympia”, a live album recorded during this unique show, a vibrant testament to their stage energy and the evolution of their project.

Mark Jenkin, the BAFTA Award winning director, editor, screenwriter, cinematographer and musician, presents the score to his new film, Rose of Nevada on Invada Records. Unique among British feature filmmakers for the analogue way in which he crafts his films - all three feature films have been shot on 16mm using a Bolex clockwork camera – as well as his multifaceted roles as the writer, director, director of photography and editor of the film, once more he is responsible for handling the sound design and composing the original score.

The new score mirrors the techniques employed in the film, with analogue synthesisers drawing the listener into nebulous hypnotic tones and delicate movements.
Composed, produced, engineered and performed by Mark Jenkin using synthesiser, guitar, percussion and loops & effects, the environmental recordings remind us of the context in which the music was originally borne, but as the score ebbs and flows between ambient tranquil seas and crashing storms, it affirms its presence as a powerful stand-alone piece of work.
The score’s physical release follows the Cornish director’s third feature film: the time-travelling Rose of Nevada cinematic release in UK and Irish cinemas on 24 April, with a BFI Blu-ray and BFI Player release in the summer.

Rizomagic weave Colombian tropical traditions with soundscape textures and electronic processes, drawing on cosmic tuning principles and the pitched down groove of Monterrey"s Cumbia Rebajada. Cumbión Planetario is a journey into Psychotropicolombian Futurism from Bogota"s rich musical underground, recorded at La Becque Artist Residency in the Swiss Alps. Rizomagic are Edgar Marún and Diego Manrique - an electronic music duo from Bogotá, Colombia. Formed while the pair were at University in 2020, the group is influenced as much by contemporary electronic music as by traditional Colombian Rhythms, and have developed a style they call "Psychotropicolombian Futurism", following the path laid by fellow Colombian experimentalists Frente Cumbiero, the Meridian Brothers and las Piranhas but in an altogether more electronic realm. "we weave Colombian tropical traditions with soundscape textures and electronic processes, creating a Pangean-futurist sound where diverse knowledge and cultures coexist without hierarchy"

Die einflussreiche experimentelle Indie-Rock-Band aus Olympia, Washington ist bekannt für ihre minimalistische "Love-Rock"-Ästhetik, die Lo-Fi, Noise-Pop und Punk miteinander verbindet. Critters Encore ist die erste Platte seit Jahren der DIY-Pioniere. Tiere in den Vororten: die Kaninchen, die Krähe, der Regenwurm und das Eichhörnchen. Die ,hämmernde Pop-Maschine mit unerbittlicher Unbefangenheit" ist zurück. Cool Media, Fuzzy Media, Marshall McLuhan fährt auf Roy Orbisons Motorrad mit. Hektische, ängstliche Katharsis Gitarren, die am Rande des Vergessens balancieren und eine Stimme, die dich auch nach dem Aufwachen noch verfolgt während sie die Erde berührt. Die ,Love-Rock"-Revolution trifft auf die Verbindung zwischen den Arten in unserer modernen Spielwelt.

Limited Silver Vinyl. The Rapture wurde im Frühjahr 1998 von Vito Roccoforte und Luke Jenner gegründet. Mit einem scharfen Ohr für Visionäre wie PIL, Television und Chrome erlangte die Band unter ,Kennern" im ganzen Land schnell einen Ruf für ihre energiegeladenen, oft chaotischen Live-Auftritte; wobei Jenner wie ein auf Steroiden stehender Trottel herumhüpfte, während die Rhythmusgruppe ihren patentierten ,sonic deathfuck groove" zum Besten gab. Im Herbst desselben Jahres wurden zwei Alben aufgenommen: eine LP mit acht Titeln, die auf dem wegweisenden Art-Punk-Label Gravity Records aus San Diego erschien, sowie eine Single, die bei Sonny Kayes Gold Standard Laboratories veröffentlicht wurde. Nach diesen beiden Veröffentlichungen nahm die Band ihre ,Make-it-fucked-up"-Philosophie mit auf Tour und tourte mit Sunny Day Real Estate, Gogogo Airheart und Nuzzle. Im Mai 1999 zog die Band nach New York City um. Matt Safer, der kurz zuvor aus Washington DC zugezogen war, übernahm den Bass. Mit einer solideren Besetzung als je zuvor stürzte sich die Band in die Erforschung von Dance- und Popmusik und erweiterte ihre bisherigen Einflüsse um Chic, The Byrds, The Happy Mondays und Timbaland. Auf der darauf folgenden EP - Out Of the Races and Onto the Tracks aus dem Jahr 2001 - festigte The Rapture ihren ikonoklastischen Stil wild-energetischen Rocks, der sich ebenso sehr an Dance-Musik wie am Post-Punk orientierte.

Mind-bending, face-melting desert rock & heavy psych vibes from London - Okay You Win (ft. members of Empty Friend and Cavalli) are ready to unleash a double deployment of heavy riffs and soaring vocals on their debut LP End of Days! Deploying a double hit of heavy riffs and soaring vocals, OKAY YOU WIN have quickly built a solid reputation in the UK underground, bringing their blend of driving rock with stoned psychedelics and doomy breakdowns to a string of shows and festivals across England and further afield. Drawing heavily on Seattle Grunge, California Desert Rock, 90s alt-rock and classic British metal, the four-piece caught the attention of fellow UK rockers Psychlona, who offered enthusiastic support and guided their new friends toward producer Andy Hawkins and The Nave studio in Leeds for their debut album. Following a year that saw performances in London, Edinburgh, Norwich, Birmingham, and a short tour around Spain, Okay You Win are ready to unleash End of Days in June 2026 on the heels of a DesertFest London slot, with lots more live appearances to follow this year. The band's debut album of driving, soaring fuzz-fueled heavy rock power is pressed on limited blue vinyl with black splatter, digipak CD available too!

Strut Records proudly presents a new reissue of the original Afrobeat classic Low Profile (Not For The Blacks), recorded and composed by Afrika 70 saxophonist and bandleader Lekan Animashaun and produced by Fela Kuti. After years touring the world as Fela’s baritone saxophonist, Animashaun stepped forward to lead the legendary Egypt 80 band following Tony Allen’s departure, remaining the group’s musical director until Fela’s death in 1997. He continued on subsequent tours with Seun Kuti until 2016. Lekan began recording his only solo project, Low Profile, in 1977. The album was composed and recorded across sessions at home in Nigeria and on tour with Fela, who both produced the recordings and added keyboards to the album’s title track. ‘Low Profile (Not For The Blacks)’ referenced a government campaign during the country’s 1970s oil boom: “It was inspired by a speech by Olusegun Obasanjo, Nigeria’s military Head of State, when he urged black people to keep a low profile about their wealth and not to behave in a vulgar, arrogant way,” explains Lekan. “I argued that low profile is not just for the blacks, as everyone is human, regardless of race.” On the flip side, the simmering Afrobeat anthem ‘Se Rere’ (which translates as ‘Do Right’) delivers Animashaun’s message of living with integrity: do right, and you will reap what you sow.

The song later became the band’s opening number during Fela’s live performances both in Nigeria and internationally throughout the 1980s and ’90s. Despite recording beginning almost two decades earlier, Low Profile did not receive an official release until 1995, when it finally surfaced on Fela’s Kalakuta label. One of only a handful of albums led by core members of Kuti’s band, Low Profile captures a pivotal moment in Afrobeat history. Over time, the original has become a rare and highly sought-after record, and this new reissue places the spotlight back on a modest but influential Nigerian legend. Strut’s reissue features the complete original artwork, is fully remastered by The Carvery, and includes brand new liner notes by Lekan Animashaun himself.

From the edges of a hallucinatory torpor, Rue des Garderies continue their explorations in psychedelia - Femacosmé presents here a new piece recorded live at the Pe:rsona festival, at Domaine des Éveils in the summer of 2025.



An adventure guided by blur, the intangible, the impermanent, where layers, voices, sounds, and organic and synthetic echoes resonate, emerge, then fade away, as if to deceive reality, or at least our perception of it.



More than two semi-improvised hours in which Rue des Garderies (Sweetzak, Désiré Bonaventure & Vasco Cesaretti) summon us to an astral yet motionless journey, somewhere between ambient, IDM, and post-pop.

180gm marble vinyl.
Baratro was born when Fede (Council of Rats) and Dave (Unsane) met at a show in legendary Milan squat Cox18 and started to trade riffs and song ideas. After a while they decided to shape these experiments into a proper band and got Luca (Marnero) behind the drumkit to complete the line up.
After a few months of practice and a couple of shows in Italy, the band recorded their very first six songs in the empty concert hall of Cox18, which were later released as the “Terms and conditions” EP via Sangue Dischi records (July 2021).
Given the worldwide shutdown of live performances through 2020/2021 the band focused on writing new music, and in August 2021 they started tracking down their first full length effort, “The Sweet Smell of Unrest”, which was released February 2024 via Improved Sequence.
In 2024 Baratro joined forces with cellist Matteo Bennici to experiment as a quartet, both for composition and live. With this new formation and new found chemistry, the band simply let the dynamics and trust in each other shape the outcome of the music.This new creative process led, about a year later, to the recording sessions of their second full-length “No comply”, to be released by Supernatural Cat.

BARATRO are:
Dave Curran – bass, vocals Federico Hartridge – guitar, vocals Luca Antonozzi – drums Matteo Bennici – cello

feeble little horse is naturally delighted to present their third full-length LP, bitknot. The album was written, arranged, produced, and recorded by Sebastian Kinsler, Lydia Slocum, and Jake Kelley across their respective homes in Pittsburgh, Pennsylvania. A spirited investigation into the unnatural space created between human nature and a culture of convenience, a synthesis of dirt and digital, bitknot by feeble little horse creates a language wherein one can re-imbue a sanctity of interdependence away from consumptive “self-suciency” and materialism. Slocum’s meandering introspection playfully harmonizes against Kinsler’s hooks, walls of noise, a supercharged car battery’s worth of synths and samples dropped in the ocean of their guitar-driven songwriting framework.

feeble little horse is naturally delighted to present their third full-length LP, bitknot. The album was written, arranged, produced, and recorded by Sebastian Kinsler, Lydia Slocum, and Jake Kelley across their respective homes in Pittsburgh, Pennsylvania. A spirited investigation into the unnatural space created between human nature and a culture of convenience, a synthesis of dirt and digital, bitknot by feeble little horse creates a language wherein one can re-imbue a sanctity of interdependence away from consumptive “self-suciency” and materialism. Slocum’s meandering introspection playfully harmonizes against Kinsler’s hooks, walls of noise, a supercharged car battery’s worth of synths and samples dropped in the ocean of their guitar-driven songwriting framework.

Like their name suggests, Model/Actriz seek to channel raw emotions into striking new forms. The band’s surface glamor is supported by nerves of steels, leveraging their focus into moments of wild abandon. Since their songs roar to life off the back of blistering guitar, relentless drums, and pummeling bass thereʼs an expectation that Model/Actriz aim first and foremost to be shit-starters. But their instrumental muscle couches a searching heart and the Brooklyn quartet have long made a mission to reconcile undefinable feelings by charting a ferocious new path through sound, one that brings jagged emotions back into full, sweaty alignment with the listenersʼ bodies.

Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Her’s) EP two: ‘Marionette’ has been produced by Daniel Fox (Sprints, Melts, Psychotic Monks, Naked Lungs, Nerves, Ronan Group) and it’s set to be seminal. A set text for future musicians with aspirations of innovation. “The theme of the marionette is present throughout each song, involving some aspect of a power struggle and a lack of control within oneself.” Opener ‘Chocolate’ bounces in on a synth line as slippery and hyperactive as anything Aphex Twin ever cooked up. Crispy offbeat electronic cymbals play counterpoint to atonal guitars and pugilistic drumming before the track dry-wretches its way into a nauseating cacophony of euphoria. It’s a tale of crippling social anxiety and a preference for an unflattering, lonely reality. The muted guitar pluck in the intro to ‘Crows’ is the sonic equivalent of biting one’s nails. An anxious, involuntary tic that speaks to the theme of guilt, especially surrounding digital culture: “children can watch what they please, just with viewer discretion.” The track lurches between textures, weaving themselves in and out of focus. Guitars blare like sirens, interrupting paranoid urban centres at 2am, while the bass sounds like the inside of an insomniac’s head on day four of a REM drought.

The metallic intent of ‘Discipline’ squats on the chest as though Steve Albini is your sleep paralysis demon. The pain of accountability spews from the industrial regularity of the beat, apt to the narrative of a soldier coming to terms with the lies that made him commit atrocious, violent acts. EP closer ‘Servant’ starts like a Spectrum loading screen. Dial-up modem-coded, it pauses for moments of white-noise-vomit and existential bloops. Fitting for a more abstract take on the idea of the power struggle filtered through religious imagery and self-awareness of one’s own actions, coupled with an inability to exert control over them. The band pile on the textures with sadistic glee until the evil is exorcized and the modem melts. Connection severed. Across the EP, vocalist Joseph has a tendency to hyper-fixate on themes of control and unhappiness. Creating rooms in which doom and isolation ricochet. Not that it’s all bad news “we like to think that by shedding light on the negative, it commands a sense of hope.” Influenced as much by the liminal-space horror and uncanny dread of Silent Hill as the existentialist theatre of The Twilight Zone or the absurdity of Twin Peaks, they occupy a space between unease and impulse. Makeshift Art Bar are not a band interested in being liked. They’re a band interested in being necessary. There’s so much eating and drinking in their work that multiple listens simply don’t satisfy; something new reveals itself on each return visit. Audacious. Idiosyncratic. Vital. A young band carrying identity, defiance and an uncompromising vision as if it isn’t a rare cargo.

Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Her’s) EP two: ‘Marionette’ has been produced by Daniel Fox (Sprints, Melts, Psychotic Monks, Naked Lungs, Nerves, Ronan Group) and it’s set to be seminal. A set text for future musicians with aspirations of innovation. “The theme of the marionette is present throughout each song, involving some aspect of a power struggle and a lack of control within oneself.” Opener ‘Chocolate’ bounces in on a synth line as slippery and hyperactive as anything Aphex Twin ever cooked up. Crispy offbeat electronic cymbals play counterpoint to atonal guitars and pugilistic drumming before the track dry-wretches its way into a nauseating cacophony of euphoria. It’s a tale of crippling social anxiety and a preference for an unflattering, lonely reality. The muted guitar pluck in the intro to ‘Crows’ is the sonic equivalent of biting one’s nails. An anxious, involuntary tic that speaks to the theme of guilt, especially surrounding digital culture: “children can watch what they please, just with viewer discretion.” The track lurches between textures, weaving themselves in and out of focus. Guitars blare like sirens, interrupting paranoid urban centres at 2am, while the bass sounds like the inside of an insomniac’s head on day four of a REM drought.

The metallic intent of ‘Discipline’ squats on the chest as though Steve Albini is your sleep paralysis demon. The pain of accountability spews from the industrial regularity of the beat, apt to the narrative of a soldier coming to terms with the lies that made him commit atrocious, violent acts. EP closer ‘Servant’ starts like a Spectrum loading screen. Dial-up modem-coded, it pauses for moments of white-noise-vomit and existential bloops. Fitting for a more abstract take on the idea of the power struggle filtered through religious imagery and self-awareness of one’s own actions, coupled with an inability to exert control over them. The band pile on the textures with sadistic glee until the evil is exorcized and the modem melts. Connection severed. Across the EP, vocalist Joseph has a tendency to hyper-fixate on themes of control and unhappiness. Creating rooms in which doom and isolation ricochet. Not that it’s all bad news “we like to think that by shedding light on the negative, it commands a sense of hope.” Influenced as much by the liminal-space horror and uncanny dread of Silent Hill as the existentialist theatre of The Twilight Zone or the absurdity of Twin Peaks, they occupy a space between unease and impulse. Makeshift Art Bar are not a band interested in being liked. They’re a band interested in being necessary. There’s so much eating and drinking in their work that multiple listens simply don’t satisfy; something new reveals itself on each return visit. Audacious. Idiosyncratic. Vital. A young band carrying identity, defiance and an uncompromising vision as if it isn’t a rare cargo.