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2xLP Black Vinyl. Jane Remover is something of an internet legend. They are credited with playing a key role in the creation of the digicore music microgenre, an overstimulated relative of hyperpop.
In fact, everything Jane Remover does has an overdose of stimuli: their songs are like the Tasmanian devil from Looney Tunes. A whirlwind of warped and excessive digital pop.

Brisk is the debut album by Polish-Hungarian flutist Juli Deák (*2000), based in Budapest. Comprised of seven solo flute pieces, the album offers a concentrated snapshot of Deák’s musical world—one shaped by classical training, experimentation, improvisation, and folk influences.

The project began taking shape in 2021, as Deák moved away from the polished ideals of classical performance toward a more personal and exploratory approach. Early fragments only revealed their meaning in front of an audience, whose responses encouraged her to continue developing the material. With over 15 years of musical experience, Deák combines technical precision with a willingness to embrace vulnerability and chance.

Breathing lies at the heart of Brisk. More than a functional necessity, it becomes an expressive and structural force. Through close listening, breath feels tactile and intimate, placing the performer almost within reach. Techniques such as circular breathing, overblowing, harmonics, singing while playing, and wind tones allow the flute to unfold into multiple voices, while percussive key clicks provide a steady rhythmic pulse.

Deák foregrounds sounds often excluded from classical music—breathy tones, unstable pitches, squeaks, and audible inhalations—treating them as essential expressive tools. This focus reflects her long-term exploration of the flute’s physical and expressive limits and connects directly to her ongoing solo practice, The Breathing Project, of which Brisk is a distilled release.

Active across classical, contemporary, jazz, and experimental scenes, Deák has collaborated with ensembles including Konstmusik-systrar and the VENI ensemble, and performed at festivals such as Norbergfestival and Ung Nordisk Musik.

Across its seven pieces, Brisk balances immediacy and rigor, inviting focused listening while remaining open and bodily. It documents a musician in motion, attentive to sound as sensation, gesture, and breath, and committed to honesty

Venturing into “a limbo world between medieval tropes and modern-day decay”, New Orleans musician Urq (half of art punk duo Spllit) returns with a new solo offering. Recorded over a single, intense month, This Dismal Village is a homespun document that sits somewhere between jittery punk, dreary psychedelia, and hooky bedroom pop. Recorded to 4-track, the record embraces limitation as a creative engine, resulting in a sound that is raw, unsettled, and deeply atmospheric.

The album is set not in a fixed point in time or geography, but a liminal environment where dystopic visions and archaic fixtures exist side by side. In the dismal village, kings and witches share space with televisions, skyscrapers, and modern enterprise; organ fanfares echo down streets populated by disgruntled townsfolk and whispered gossip. It is simultaneously the dark ages, 1950s suburbia, and a 21st-century metropolis. Embracing anachronism was central to the project’s identity, an attempt to collapse history into a single, uneasy present.

Sonically and philosophically, the album sits firmly in the tradition of rough and raw cassette rock. Guided By Voices’ Bee Thousand looms large as an influence, particularly its ability to build an entire world through unpolished, first-take recordings. Robert Pollard’s idea of the “four P’s” (psych, punk, prog, and pop) serves as a neat summary of the artist’s musical instincts and each element can be traced right through the heart of This Dismal Village. Further inspiration comes from post-punk’s so-called “Calgary Sound,” a loose movement blending psych pop, post-punk, and math/prog elements with a home-recorded, unpretentious ethos.

The result is an album that unrolls like a place wandered through, uneasy, occasionally familiar, and impossible to pin down in time. All captured on tape before it could disappear like an apparition, like a dream only half-remembered.

Dry Socket is a politically charged hardcore band from Portland, Oregon, known for blistering performances and emotionally uncompromising songwriting. Rooted in the raw aggression of classic hardcore, their sound channels the urgency of early Ceremony, G.L.O.S.S., and Negative Approach while carving out a distinctly modern, inclusive space within the genre, one where anger, grief, and survival are not just themes, but lived realities.

Their music confronts systems of violence, coercion, and control with unflinching honesty, creating room to be unapologetically furious, vulnerable, and alive at the same time. Every riff lands like a strike; every lyric feels torn from experience rather than abstraction.

Since forming, Dry Socket has toured extensively across the U.S., Europe, and Mexico, sharing stages with Gorilla Biscuits, The Hope Conspiracy, Torso, and more.

Their latest record, Self Defense Techniques, centers on survival under constant pressure. Inspired by the practice of dehorning rhinos to protect them from poachers, removing a vital part of the animal in order to keep it alive, the album examines the compromises people are forced to make to endure a hostile world. Horns are tools for protection, communication, care, and identity. To survive, so many of us are taught to remove our own.

Across the record, Dry Socket interrogates life inside systems that demand silence, obedience, and self-erasure. Songs wrestle with exhaustion, spiritual betrayal, and economic violence, oscillating between fury and grief. Self Defense Techniques isn’t about triumph, it’s about endurance, documenting the cost of staying alive while refusing the lie that softness is weakness or that silence is peace

We here at TSTD are longtime fans of UK producer/musician/Label maker MATT HUGHES. For a few years he is delivering tasteful, deep, dubbed reworks for Too Slow To Disco, some in Edit form, but also his 2 official remixes for Goodvibes Sound on The Sunset Manifesto 2.
Both new TSTD Edits on this 7 inch are slow disco masterworks, he is giving the originals his trademark deep, warm versions. Who is the guy….?
Matt Hughes is a music producer from the north of England. A purveyor of all things funk, soul, disco, jazz and house! Most recent releases have been with Outcross Records, Bubblegum Pop, Editorial and Too Slow To Disco. A large number of Matt's works have been released under the MAM project with Miguel Campbell remixing the likesof the Climbers, Deadmau5 and Flight Facilities, as well as putting out releases via Wolf+Lamb, Future Classic, Hot Creations, Outcross Records, BPitch Control and Editorial Records to name a few.
Among his most notable collaborations are works with Derrick McKenzie, drummer of Jamiroquai; Drop Out Orchestra, Art Of Tones, amongst others. Each of these collaborations has allowed him to explore new musical dimensions, enriching his characteristic sound with diverse and fresh influences.

With a musical style deeply rooted in disco, funk and jazz, Monsieur Van Pratt combines classical elements with contemporary touches, creating a sound experience that is both nostalgic and innovative. His work not only stands out for its technical quality, but also for its ability to connect emotionally with the listener, making him a central figure in the evolution of modern dance sound.

Groovy power techno EP with a strong modern drive and clear classic influences.
Precision, depth and a pure focus for the dancefloor.

We’re thrilled to be working with Isaac Carter’s much-lauded Ochi imprint and delighted to kick things off with the debut vinyl release on the London-based label.

This 4-track EP from Isaac Carter & Biyi has been a long time coming. You will no doubt have heard the likes of Ben UFO, Seth Troxler, Floating Points & Moxie to name few, playing these over the past 18 months. By popular demand they are now available for the first time ever, on wax.

M83 ist seit über zwanzig Jahren eine wichtige Größe in der elektronischen Musik und hat sich durch seine einzigartige Fähigkeit, synthetische Emotionen und cineastische Größe zu verbinden, einen Namen gemacht. Von Hurry Up, We’re Dreaming bis zu seinen zahlreichen Werken für den Film hat Anthony Gonzalez eine starke Verbindung zwischen moderner Popmusik und Autorenfilmen geschaffen.
Mit RESURRECTION präsentiert er nach A Necessary Escape seinen zweiten Soundtrack des Jahres. Dieses neue Werk begleitet den Science-Fiction-Film von Bi Gan, der im offiziellen Wettbewerb von Cannes 2025 ausgewählt und mit dem Sonderpreis der Jury ausgezeichnet wurde.

Das von M83 komponierte, interpretierte und aufgenommene Album umfasst 10 Instrumentaltitel
+ 2 Bonustitel, die luftige elektronische Texturen und orchestrale Kompositionen miteinander verbinden.

Le Futur c’est la drogue, which should here be translated as The Future Is the Drug, is not to be read as a promise, but as a statement of fact. The present is no longer an experience, but pure consumption. Life itself has taken the form of a dependency.

With this sixth album, Christophe Clébard goes straight to the point, driven by a free and repetitive form of writing, stripped of any syntactic rigidity. Words strike like balls against a wall, revealing darker zones of his mind where guilt, fear, and existential anxiety coexist.

The sound composition, equally minimal, sustains a dense and obsessive mental space, a vortex in which trance appears as the only escape. Driving drum machines, relentlessly hammered electronic loops, and a battered synthesizer, his music unfolds within a physical, strangely hypnotic synth-punk aesthetic that hits viscerally.

The Future Is the Drug is his sixth album.

Stevie Cox and Ansboy: two powerhouses of the Glaswegian club scene join forces for their collaborative debut EP on Rhythm Section INTL- ‘Twice Like Rice’. It’s a weighty four-track EP designed for the dancefloor, taking in myriad influences from dub techno, breaks, trance and good old fashioned house music. The Ep is full of deep, pulsating rhythms, lush textures and emotive peaks - all road tested in Stevie’s Iconic home turf: Sub Club.

Stevie Cox has long been a name long ruminating on everyone's lips, as a resident DJ of the iconic ‘Sub Club’ with an ever-growing tour schedule and back catalogue of releases via the likes of Klasse Wrecks and Optimo. Whilst the name Ansboy may be new to some, it is a fresh alias for the grammy nominated producer and mixdown engineer Robert Etherson who has long been a staple in the Scottish scene with an international touring repertoire under his belt.

The two friends met in their hometown of Glasgow and began their musical journey together last year after Robert taught Stevie how to do mixdowns. The pair clicked effortlessly, quickly discovering they shared the same passion for emotive, deep and progressive dance music. Their first track together - which took shape in the form of ‘Drift’ - a high-energy synth led anthem, came out with a special selection of tracks curated by Bradley Zero for his exclusive SHOUTS Summer sampler in 2025.

For the Twice Like Rice EP, their work evokes all corners of the dancefloor, kicking things off with ‘GC’ - a peak time breaks-infused trancey-heater - a master class in building dancefloor tension which gives way into a searing crescendo. Things spin towards a darker percussive focus on the more intense ‘Twice Like Rice’.

On the b-side things return to blissful euphoria with ‘Virgil’ - a warm up dub-techno ballad, before the emotional release of ‘Subculture closure’ inspired ‘Carter21’.

Bright morning. To noon and into afternoon. To dusk and the inky night.

A major new exhibition of Mammo’s music spread across a triple disc, twelve track album. Call it a compendium or summary, a network of sparking neurons and painted landscapes in techno.

It folds in all the aspects of his other identities (self-)released over the last few years into an ultimate package ~ Heaven Smile, A∞x, CoA-A, E35, Puddlerunner; really any other project Fabiano has assumed an identity under. It all finds its way into the code and format of Lateral in some way or another.

Here the ground is given for the listener to hear just how much range and individual language there is in the music he’s been making. Fully immersive, inventive and detailed while also elegant and light of touch. It’s quite a package from one of the most talented techno producers right now, gesturing towards different genres and novel ideas in beautiful and intuitive fashion.

Break the pack down for your preferred disc of the day if you like. It’s designed with that modularity in mind. Disc one sparkles with vitality and a buoyancy. The middle disc has more drive and harder bites that you may want to amplify and split out to slot in a DJ bag. Sides five and six move into deeper, dreamier and more emotional techno in twilight. Each one is a little distinct and has its own orbit.

But give it your full attention on the turntable platter too. A listen from beginning to end. There’s lovely dynamics and interplays in the narrative, and its a remarkable new body of work to let your time dilate to.

Mastered and cut by Rashad Becker.

Art by Mammo.Works.

Music To Watch Seeds Grow By continues its second season with Seoul-based left of centre ambient duo Salamanda - Uman Therma (Sala) and Yetsuby (Manda) - and their meditation on the inner life of a basil plant. Seeds 008 is an ambient composition born from quiet domestic observation: a single basil on a windowsill, its days shaped by light, warmth, and the slow passage of time.

The album moves through a full day in the plant's life opening with ‘introduce my atom which is my favorite one’, an act of quiet self-declaration in morning light, before settling into the unhurried rhythmic pulse of ‘to to ki toki tok’- the drip of water, the tick of a clock, the slow beat of photosynthesis. ‘allez, pousse!’ - one of the standouts in this journey - carries the basil's gentle will to grow, to push, to tilt toward the sun, while ‘hungry snail’ captures a moment of creaturely encounter on the glass: an uninvited visitor, moving slowly, wanting. As the afternoon deepens, 'Basil's Ritual' traces the daily ceremony of light and warmth, repeated with calm devotion from root to leaf. Night falls across 'Basil's Dream', and in the stillness something like sleep arrives - the plant resting, imagining tomorrow's sun. The album closes with ‘the blue wine’, a final mysterious reverie in which the basil seems to contemplate its own fate, somewhere between acceptance and wonder.

Powerful lyrics are voiced by Jah Rueben Mystic, with the inspirational Ital Horns brass section.

Jah Rueben Mystic vocal evokes the fighting spirit and hopefulness of a message sent out to defeat the arrogance and greed of the capitalistic leaders of the world.

Lock up riddim, composed by Kieko De Stefanis is an original Roots Dub tune.

The Dub -produced by Gaudi- is a musical journey through the sound of 70's roots, Gaudi here adds his own analogue trademark creativity and psychedelic-dub mastery effects to the track.

After 90 releases on Future Retro London, I feel like I need to take a bit of a break from the constant workload that's come from running the label on my own. I feel like 50 (the cat number for the main label releases) is a good number to pause on for now.

I've been doing some remixes of the back catalogue & thought that putting them all together on one release at some point would be an interesting concept, so here we are.

Thanks so much to all the supporters, artists, designers & everyone else that's been involved in keeping Future Retro London going for so long, couldn't have done this without each & every one of you.

'Matsuli Music is proud to announce the first vinyl reissue of Philip Tabane’s Sangoma ("Spiritual Healer") since its 1978 release. Remastered from the original tapes with lacquers cut by Frank Merrit and pressed on 180g heavyweight vinyl at Pallas in Germany, this definitive edition re-asserts the power of one of South Africa’s landmark recordings. Featuring new liner notes by cultural critic Kwanele Sosibo and artwork restoration by Siemon Allen, Sangoma returns in full force through an extended Malombo line-up, fronted by Tabane's spellbinding guitar - ancestral, timeless, and unbound.
'Philip Tabane (1934–2018), the mercurial guitar genius of South African music, forged a sound that was as rooted in the spirit world as it was in daily life. With the Malombo Jazzmen of the 1960s, Tabane disrupted Western notions of “jazz,” bringing the resonant rhythm of cowhide malombo drums into the foreground. While outsiders and the uninitiated often reached for labels like “primitive yet sophisticated,” Tabane and his collaborators named it more truthfully: “music of the spirit.”
'By the time of Sangoma, Tabane stood at a crossroads. Fresh from a period of three years’ touring in the United States where he graced the Newport Jazz Festival, and played alongside Miles Davis, Herbie Hancock, Pharoah Sanders and others, he brushed off comparisons with characteristic self-assurance: “No, I don’t play like Miles. Miles plays like me.” Back home in South Africa, and with a newly signed international distribution deal with WEA Records, he harnessed this momentum into a larger band setting, capturing a rare intensity.
'The result was Sangoma—an album that bridges contradictions: expansive yet intimate, celebratory yet haunted by exile and return. Tracks such as “Sangoma,” “Hi Congo,” and “Keya Bereka” are not simply performances but living testaments, songs that would remain in his repertoire for decades. Unlike the moody, immersive character of much of his work, here Tabane is on the move—urgent, restless, uncontainable. As he announces on the second track, “Maskanta wa tsamaya” (“something that kicks ass”).
More than four decades on, Sangoma is both an historical document and a timeless invocation. From his home in Mamelodi to the world and back again, Tabane’s spiritual healing endures—raw, electric, and unbowed.'

O-Wells long overdue MP debut - cuts from his live set at a label night

Burnski is back with another fine bit of A&R on his Constant Sound label, this time with Anil Anas stepping up. He is a producer who has made his mark on the likes of PIV and here kicks off with 'Had Enuff', which brings soulful jungle breakbeats to a house framework complete with police sirens, ragga vocals and 90s organs. It's a fresh blend with a big heart and 'Chrystal Glaze' then brings punchy drum funk and spaced out pads. 'House Fever' ups the energy with more textured drums and trippy synth sequences that help with dance floor take off and 'Trigger Path' closes with pure spaced-house drive. A tasty and tasteful EP packed with utility.

Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

With acute focus on dance floor hypnotism and percussive pressure, SIDEB003 offers German collaboration IGLO and Paul Hauck's debut vinyl release. A third project for this duo, 'Stable Fusion' plays to the producers strengths as biting sound design unfolds through reliable groove.

'Stable Fusion' - and, in turn, its title track - presents as an uncompromising dance floor record, complete with pressing arrangements and powerful tension shifts. The infectious nature of club music comes largely from the power and insistence of its minimal elements and IGLO & Paul Hauck put chisel to stone to showcase just that. To add soul to skill, 'Neustadt' claims the A2 with added color and a silver lining in the its mood. Festive chord stabs stutter along with percussion riding up and down the spectrum, maintaining energy without losing impact. Flipping sides, 'Initiator' returns to minimalism and spaced out sequences. Dub chords boom through a low lying swing, complete with unfolding ambient textures. The track is focused and its intentions aren't shy, the slow creep to the EP's conclusion 'Celestis' is met with intrigue. Warbly synth work warms up a pulsating core, creating a more tonal sound system experience than any of its predecessors. Here, ferocity hides behind humility, and 'Celestis' is a crowd pusher with deceptive arrangement to close out 'Stable Fusion' with confirmation of quality and effect.

Words by Noah Hocker

Purple Haze started out in Linköping in 1981. When singer Christer Göransson joined them towards the end of the year, they soon changed their moniker to Genocide (after the Judas Priest song of the same name) and supported local metal heroes Axewitch. A final name change was to follow: In August 1983, the band, now called Mindless Sinner, recorded a four-track demo entitled »Master Of Evil«, consisting of the title track, “Broken Freedom”, “Key Of Fortune” and “Screaming For Mercy”. This attracted Swedish label Fingerprint Records, and they in turn released the NWOBHM-inspired material as a mini-album with an awful cover and getting the band’s name wrong (spelling it Mindless Sinners). By then, the line-up of the band was Anders Karlsson (bass), Magnus Danneblad (guitar), Jerker Edman (guitar), Tommy Johansson (drums) and vocalist Christer Göransson. »Master Of Evil« originally saw the light of day on Fingerprint in January 1984. This was followed by the second album »Turn On The Power« in 1986 as Christer Göransson explains: “Well, »Turn On The Power« was actually recorded in October 1984, the same year as »Master Of Evil« was released. But the record label was almost out of business by 1985, so as a result »Turn On The Power« didn’t come out until January 1986, and shortly after the label went bust.” Just like on the debut, the cover was once again pretty weird. “Same story,” says the singer. “Blame the label again. We wanted a band photo for the cover but once more Fingerprint didn’t listen. We didn’t know who this girl was at all. And once again we saw the cover for the first time when we visited our local record store.” “I guess »Turn On The Power« was more of a straight heavy metal album compared to »Master Of Evil«,” describes Christer Göransson the band’s follow-up record, “better playing and better songs on »Turn On The Power«. Even though we love »Master Of Evil«. I guess it didn’t sell that much as the label went bankrupt, but the reactions were great.” Mindless Sinner played as much as they could in Sweden at the time but didn’t venture outside their home country. Over the years, their music has often been compared to the Tygers Of Pan Tang from England but Christer Göransson doesn’t see too many similarities: “We really love Tygers Of Pan Tang but I don’t think they were a big influence. It was more Judas Priest, Iron Maiden, Saxon, Black Sabbath, Ozzy Osbourne and Dio.” Shortly after the release of »Turn On The Power«, the band cut their name short to Mindless. According to Christer Göransson, this is why: “It was the sign of the times really. We wanted a more melodic kinda style and we just thought it was better to change the name to Mindless. But looking back now we should have stuck to our guns.”

Acknowledge Kindness expands San Francisco based The Reds, Pinks And Purples' distinctive brand of emotional pop, music built for the quiet hours and the restless mind. Evolving naturally from the heavier, melancholic indie rock of previous releases, the mood here feels more exposed and reflective, blossoming into lush dreamscapes that recall the bittersweet sorrow of The Cure or the tenderly gloomy transcendence of California by American Music Club. Created from a new headspace, the album finds main man Glenn Donaldson observing both the present and the weight of what came before it. Songs lean into a deeper sense of nostalgia, allowing him to look back with intent and revisit moments that once carried a sting. Donaldson's vocals are captured in high fidelity, raw and immediate, with lyrical abstraction underpinned by chiming acoustic guitars and achingly beautiful piano. Across its 11 tracks, Acknowledge Kindness expands The Reds, Pinks And Purples' emotional and sonic panorama, with Donaldson's ongoing world-building remaining both warmly nostalgic and strikingly original. "Donaldson's best work hides allure within a bigger picture, like a jangle-pop egg hunt" Pitchfork FFO The Smiths, Guided By Voices, The Chills, Leonard Cohen, The Go-Betweens, Robert Wyatt, Twee-, Jangle- & Sophisticated Guitar Pop. Coloured vinyl LP versions and digisleeve CD available

For the last few years Acid Jazz has been the proud custodian of the Albarika Store legacy. Hailing from the small but culturally-significant state of Benin, the label was operational from the late-‘60s until the early ‘80s, and was home to some of the finest, deepest, rawest West African cuts ever. A font of local and regional music, infused with contemporary Western influences, the beating heart of the Albarika sound was the mighty T.P. Orchestre Poly-Rythmo, who in various guises released dozens of recordings for the label, under the leadership of Mêlomé Clément. The intoxicating originality of their sound stems from their combination of folkloric and sacred rhythms of the region, with the modernist sound of soukous, afrobeat, soul and funk. Recorded at EMI Studios in Lagos, these recordings have a unique high fidelity and have been a target for grail-hunting record collectors for decades. For this incredible 2LP collection, Dean Rudland and David Hill compile the Poly-Rythmo 45 releases; 7” single and EP sides lost to the seeds of time. Until now. Brought together for the first time, presented in a beautiful wide spine layout, the 2 LPs present a snapshot of some of the group’s finest work from the ‘70s, their distinctive beat already honed. The printed inner sleeves include images of the rare and collectable original labels and sleeves, along with sleeve notes by Francis Gooding

Hrishikesh Hirway, Musiker, Komponist und Podcast-Ersteller, bekannt für seinen preisgekrönten Podcast und die Netflix-Serie ,Song Exploder" sowie Kompositionen für Film und Fernsehen, darunter ,Companion", Save The Date, Our Nixon und Everything Sucks!, begann sein eigenes Musikprojekt unter dem Namen One AM Radio und änderte seinen Namen mit der Veröffentlichung von To Call My Own EP im Jahr 2022. Produziert vom Grammy-Gewinner Philip Weinrobe (Big Thief, Adrienne Lenker, Theo Katzman, Cass McCombs), In the Last Hour of Light ist eine Erinnerung daran, loszulassen - von Menschen, von Erinnerungen, vom Wunsch, die Zeit davon abzuhalten, zu schnell zu vergehen. Die Songs entstanden nach dem Tod von Hrishikeshs Mutter, als die Jahre sie immer weiter in die Vergangenheit drängten; in den Momenten, in denen er in seinem Krankenhauszimmer darauf wartete, dass sich sein Vater erholte; in dem Traum von einer Tochter, die er nie haben wird. Es gibt auch Liebeslieder - aber es ist die Art von Liebe, die die Patina eines langen gemeinsamen Lebens trägt, in dem man ebenso viel Zeit hinter sich hat wie vor sich. Die Band von Hrishikesh bestand aus Shahzad Ismaily (Feist, Arooj Aftab), Ken Pomeroy, Mike Haldeman (Moses Sumney, Dawn Richards) und Joshua Crumbly. Zur Besetzung von Hrishikeshs Band gehörten Shahzad Ismaily (Feist, Arooj Aftab), Ken Pomeroy, Mike Haldeman (Moses Sumney, Dawn Richards), Joshua Crumbly (Leon Bridges, Kamasi Washington), Oliver Hill (Kevin Morby, Broken Bells, Vagabon), Sean Mullins (Sam Evian) und Cole Kamen-Green (Beyoncé, Taylor Swift); mit Gastauftritten von Iron & Wine, Fenne Lily, Ken Pomeroy und Uwade Hart (St. Vincent), Zosha Warpeha (L'Rain) und Dustin O'Halloran.

Manchmal hörst du eine Band, die sich gleichzeitig neu und vertraut anfühlt, und das lässt dich innehalten. TV Star ist so eine Band. In den letzten Jahren hat die fünfköpfige Band aus Seattle-Tacoma, Washington, still und leise an ihrer Stärke gearbeitet - EP für EP, Show für Show -, bis ihr lang erwartetes Debütalbum ,Music For Heads" rauskam und klar machte: Sie haben sich zu etwas Besonderem entwickelt. Eine Mischung aus jangly-psych, Garage-Grit und Soft-Focus-Tiefe; diese Songs leuchten von innen heraus mit einer beeindruckenden Originalität. In einer Zeit, in der so viel Musik in algorithmischer Gleichförmigkeit verschwindet, klingt TV Star trotzig menschlich. Auf den zehn Tracks der LP schärft die Band ihre Instinkte, die sie über die Jahre verfeinert hat - sie kombiniert zeitlose Pop-Sensibilität, psychedelisch angehauchten Jangle in der Tradition von The Brian Jonestown Massacre, punkige Rhythmussektionen und Vocals, die mit der Wärme von Mojave 3 dahinschweben, um etwas ganz Eigenes zu schaffen. Mit Music For Heads greifen sie nicht nur auf die Musik der Vergangenheit zurück, sondern treiben eine neue Welle voran. Die Band wurde 2020 aus der gemeinsamen Bewunderung für den Psych-Rock der 90er Jahre, klassischen Shoegaze und Alt-Country-Underdogs gegründet. Der Startschuss fiel, als jemand die Kassette ,Electriclarryland" der Butthole Surfers aus dem Jahr 1996 von der Wand nahm und auf den Track ,TV Star" zeigte. Was folgte, war weniger die Gründung einer Band als vielmehr die Entstehung eines kleinen Ökosystems. Ashlyn Nagel (Gesang, Keyboard), Bryan Coats (Gitarre), Che Hise-Gattone (Gitarre), Mark Palm (Bass) und Tucker Devault (Schlagzeug) brachten ihre eigenen Instinkte, Eigenheiten und musikalischen Hintergründe mit ein, bis die Songs schließlich nach allen gleichzeitig klangen. Aufgenommen in einer Reihe gemütlicher Studios im Nordwesten - The Unknown in Anacortes und ein paar Verstecken in Seattle - ist ihr Debütalbum ,Music For Heads" eine Mischung aus klirrender Gitarrenmusik, psychedelischem Pop und authentischem Indie-Rock, ohne sich ganz auf einen Stil festzulegen.

Erleben Sie das pulsierende Lebensgefühl der 80er Jahre mit der farbigen 2LP-Compilation „ZYX Italo Disco History 1984“. Diese exklusive Vinyl-Ausgabe entführt Sie direkt in das goldene Zeitalter der Italo Disco und vereint die größten Dancefloor-Hits eines unvergesslichen Jahres.

Freuen Sie sich auf ikonische Tracks von Künstlern wie P. Lion, Scotch und Valerie Dore – Namen, die für eingängige Melodien, treibende Beats und den unverwechselbaren Sound der Italo Disco stehen. Jeder Song dieser Sammlung spiegelt die Energie und den Glamour der internationalen Clubszene von 1984 wider. Ein besonderes Highlight ist der enthaltene 15-minütige Megamix der Italo-Disco-Legende Flemming Dalum. Mit seinem einzigartigen Gespür für Rhythmus und Atmosphäre verbindet er die größten Hits zu einem mitreißenden Mix, der nahtlos durch die Klangwelt der 80er führt. Die farbige Doppel-LP macht diese Compilation nicht nur musikalisch, sondern auch optisch zu einem echten Sammlerstück – perfekt für Vinyl-Liebhaber und Fans elektronischer Klassiker

Made in Hell is Hell Boulevard's new studio album, due for release in 2026. The band remains true to its distinctive style, combining dark gothic rock with cinematic orchestral arrangements and electronic elements to create a powerful, atmospheric sound. For the first time in the band's history, a Hell Boulevard album was mixed by Bengt Jaeschke at Chameleon Studios in Hamburg. The final mastering was done by Stefan Brown at the legendary Abbey Road Studios in London. This high-quality production chain marks an important step in the band's sonic evolution and gives the album a particularly striking and powerful sound aesthetic.

The Swallows were one of Singapore’s standout bands of the 1960s, rising from the explosive Pop Yeh-Yeh movement, the regional response to the global beat-band wave, with strong garage-rock roots. Fusing surf rock, early Beatles-inspired pop, and gritty, fuzz-laden guitars with a distinctly local sensibility, they became youth icons of the era. Defined by sharp suits, infectious melodies, and a rebellious spark, The Swallows captured the restless energy of post-independence Singapore, securing their place in the island’s golden age of bands and in the wider story of Southeast Asian rock.

A century-old grand piano, a secluded house surrounded by the greenery of Brittany, no internet connection, and a reel-to-reel recorder.L'Écho de Bretagne, the new EP by Niklas Paschburg, set for release from fall 2025 via Nettwerk Music Group, is a solo piano record as essential as it is intense. An album made of silences, space, slowness. A music that doesn't chase impact, but truth.

the album release is march 26th - 2026.

If his previous work, Mexican Alps (2025), marked the first time the German composer and producer created an ambient-electronic album without his instrument of choice, the piano, L'Écho de Bretagne emerges as a direct response to that absence. "It was exactly the lack of piano that brought about the need for this new record, which instead puts that instrument, so vital to me, at the very center, stripping everything else away," Niklas explains.

Born in 1994, Paschburg has shaped over the years a musical path deeply connected to travel, nature, and introspection. From his debutTuur Mang Welten(2016) toOceanic(2018),Svalbard(2020),Panta Rhei(2023), and the aforementionedMexican Alps— alongside soundtracks, remixes, and collaborations with artists like RY X, Hania Rani, Ásgeir, and Bryan Senti — his sound bridges neoclassical, electronic, ambient, and pop-driven composition.

WithL'Écho de Bretagne, the Hamburg-born, Berlin-based musician continues his exploration by seeking solitude in nature, much like he did onSvalbard, but this time with an even more radical choice: disconnecting completely from the internet, and switching off both computer and smartphone for a while, in order to fully immerse himself in his new music. "I rented an old cottage in Paimpol, Brittany, where I knew there was a grand piano," he recounts. "When I got there, I discovered that not only was the piano more than a hundred years old, but it was also of an unknown brand, never restored, and quite difficult to play. But that gave it a unique character, and I didn't give up. Sure, it was an instrument left to its own fate, I couldn't play anything too fast. But how fascinating was that? I'm convinced that setting limits, instead of giving yourself total freedom when composing, can become an extraordinary source of inspiration."

As for the decision to temporarily detach from a life that demands we stay constantly connected, Niklas describes it as both a creative and human experiment. "I had my laptop and phone with me, just in case, but I kept them turned off. That choice made me wantL'Écho de Bretagneto be a fully analog work, even in how it was recorded." A way of clearing the mind. "I don't think I've ever been as calm as I was during those days in Paimpol. Even though I was working on a very specific project and didn't have much time, that period was more relaxing than any vacation."

Not that it was free of hiccups. "I'd borrowed a reel-to-reel recorder small enough to travel with me, but after recording a session on the piano, I realized it wasn't working properly, the sound was distorted, full of crackles. I got worried, because I wasn't near any big city where I could find a technician. Luckily, I figured out the problem was the old tape reels I had brought along. That was the only time I had to go online, to order new ones. But it was just for a moment. I shut everything off again right after." At that point, Niklas was waiting for the new tapes to arrive. He found out, completely by chance, from a local UPS courier that they had been delivered to a nearby village. "Since my phone was off, I couldn't track the shipment. So one day I asked this delivery guy, who didn't know anything about it. But from that point on, we'd see each other daily and talk… That's what being disconnected also means: reconnecting with people around you, even strangers. It was thanks to that courier that I found out where the tapes had ended up. And he even helped me get them back, writing directions for me on a scrap of paper."

But there's another element that makes this new EP unique.L'Écho de Bretagnewas recorded entirely live; its tracks are all improvised, complete with their imperfections. This approach leads to a sound that is pure, profoundly organic, and deeply authentic, intentionally preserved to give the listener the feeling of a live performance happening in their own living room. The touch of fingers on the keys, the breath of the wood, the tension of the vibrating string, all become part of the music. There is no construction, only expression. "Even now, when I listen back to it, I feel that moment I gave myself to step away from everything: from reality, from words, from noise." The result is a collection of suspended melodies and atmospheres, reflecting a state of the soul. A refuge from the rush of time. A pause from the world.

Mystic Force was a progressive power metal band from Baltimore, Maryland. After releasing several demo tapes, they signed a contract with the German label Rising Sun Productions. This resulted in two albums, “The Eternal Quest” (1993) and “A Step Beyond” (1995). Their third album, “Man Vs. Machine,” followed in 2001 on Siegen Records. After Mystic Force broke up, drummer Chris Lembach and guitarist Rich Davis formed the group Shift and recorded two albums with them. Rich then started his own solo project (for which he played all the instruments and sang), before looking for suitable fellow musicians again and releasing the CD “Inside The Upside Down” in 2024. Mystic Force was originally formed in 1984 by guitarists Rich Davis and Marc Rouchard together with bassist Keith Menser. After numerous line-up changes in the early days, they finally found suitable bandmates in Chris Lembach (drums) and Bobby Hicks (vocals). In 1987, Mystic Force released their first 4-song demo, followed by “Blind Vision” a year later. After selling large quantities of self-produced cassettes (the first 4-track demo is said to have sold over 5,000 copies), it was time for their first vinyl release. In 1990, the album “Take Command” was released on the English label C.M.F.T. Records, which included the first demo and four brand new tracks: “Take Command,” “Awakened By The Dawn,” “Immortal Souls,” and “Silent But Deadly.” Later that year, the 12“ single ”Shipwrecked With The Wicked“/”Eternal Quest" was released in a limited and numbered edition by the band's own company, Pro-duction. The widespread distribution of Mystic Force's material (also via underground distributors such as Oliver Jung's “Demolition”) led to an increasing number of labels taking an interest in the band. Ultimately, the choice fell on Rising Sun Productions, who released the debut album “The Eternal Quest” in 1993, featuring tracks such as “Shipwrecked With The Wicked,” “Another World,” and “Answers Of The Mystery”—a forgotten gem of progressive power metal somewhere between Fates Warning and Hades.

Fifteen years after their first album "Time for a Change", and drawing on the experience of two others ("Elephanz" 2017, and "Rien de personnel" 2023), ELEPHANZ now returns with a fourth album that carries the scent of first loves, the kind you sing from the heart with your hands gripping a guitar.

"Love. Hurt. Repeat." tells, across ten songs, the story of a return to oneself, like coming home after years spent roaming the world, only to realize that everything you needed to understand yourself was already there at the starting line.

To help you understand what this new album makes me feel, I'd like to tell you about my first meeting with Jon and Max in 2009, when I became the band's bassist. Sixteen years ago, I discovered these two young men and set off in their family Kangoo van on my very first tour.

Through our early rehearsals around the piano of their childhood, I discovered their love for pop music in all its breadth, always in search of harmonies and melodies that touch the heart in the simplest way and gently ease your sorrows along the way. With them, I learned to appreciate the mainstream hits I had previously dismissed on principle, and I discovered the demanding art of melody as I listened to them sing about love and friendship through unforgettable catchphrases.

Listening today to some of the songs from their new album, I think back to those two young men with a big-city rock look, shut away in the living room of their family home, talking only about leaving that dull countryside behind to live the big life in the capital (Streets of Rage). What I once took for a kind of revenge against the hostile environment of their adolescence was in fact an almost vital need to find their place among others, to feel understood in order to feel at ease in their own skin.

Today, I find them again with the same guitar and the same inexpensive Juno as back then, but with the confidence shaped by years of concerts, writing, studio encounters, and all kinds of experimentation. The music of this fourth album has never been so close to that of their earliest days, but their voices have been set free. They no longer sing about who they dreamed of becoming, but about who they have always been, their most distant concerns, sometimes even their darkest ones, yet always in search of the light.

It is as if ELEPHANZ had to travel all the way around the world to come face to face with themselves again. There is no longer any shame in being who you are, and it is even the best way to understand yourself, to exist and to heal. To heal from grief and heartbreak, to understand the child you once were and the one who carried them (Mother), to forgive yourself and finally learn to love yourself.

That is what makes this record as sensitive as it is powerful and strikingly truthful. It was written and recorded like a cry, live, in just a few weeks, using the instruments of their beginnings: sharp bass and drums, powerful guitars, and synthesizers that are at times soaring, at times carriers of liberating melodies. The art of ballads remains, as does that of universal pop songs.

There is a beautiful urgency here, the urgency of finding oneself again in order to understand oneself through both pain and beauty, and "Love. Hurt. Repeat." is its most perfect expression.

WRWTFWW Records releases THE GENTLE PEOPLE - The Peel Sessions, available on vinyl for the first time ever, in conjunction with the worldwide expanded reissue of the group's Soundtracks for Living. Lounge/Chill Out music reborn !

This is an exclusive 4-song EP recorded in 1997 on BBC's Peel Sessions, as The Gentle People were doing the rounds for the release of their legendary debut album. These live versions have never seen the light of day before - a must have for all the gentle fans !
When The Gentle People first glided into the mid-90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of 50s/60s easy listening and exotica and gently smuggled them into 1990s club culture.

Imagine KLF's Chill Out or Space growing up on French 60/70s pop, bossa nova, soundtracks, vocal harmony groups, library music and easy listening then slipping out for a late-night date with dub, ambient techno and bubble-bath pop. That's The Gentle People : music that can score cocktail hour, 4am taxi rides, and daydreams in headphones with the same effortless grace.

The Gentle People weren't just a curiosity on a weird label; they became unlikely icons of a whole loungecore moment, gracing TV, compilations and magazine spreads, and proving that tenderness could be as futuristic as any drum machine.

Ian Pooley brings back his timeless classic "Higgledy Piggledy!" with a fresh reissue on his own label, PooledMusic. Following this year's re-release of his landmark 2000 album "Since Then.", it marks the beginning of a dedicated series revisiting key moments from his catalogue. A true collector's item and dancefloor weapon, freshly pressed for a new generation of house lovers.

Following the success of the first vinyl release from the Moroccan label Sotor Records, featuring Zadig, Perc & Oscar Mulero, Sotor writes a new chapter in its discography with its second vinyl release. Meaning "lines" in Arabic, Sotor reflects its commitment to championing the diversity of the techno genre.
The label's ninth release, "Processing Range," is a musical ode to the lines of space-time. With four original tracks from the Portuguese producer, Sotor invites you on a techno journey between mental tension and physical release.
The album opens with DJ Dextro's "Controle," which delivers a massive, sharp rhythm, dystopian synths, and a true immersion into a techno black hole.
The journey continues with the second track on side A. This time, DJ Dextro unleashes an uncompromising version of "Blue Dot," achieving a precarious balance while showcasing his signature percussive style. The Portuguese artist delivers the perfect track to unleash a crowd.
On the B-side, DJ Dextro offers us the eponymous track, "Processing Range." We're quickly drawn into an allegory of this decadent modern world where humanity is rushing towards its own destruction. Expect dusty techno rhythms and that sumptuous synth that sounds like the end of times. Probably a future classic!
And you'll finish on a gentler but no less dynamic note from DJ Dextro. He concludes the EP with "31 Atlas," which will leave you weightless with its galloping bassline and abyssal synth.

Getreu seinem Namen ,Extraordinary" erweitert Gareth Donkins zweites Album die Bandbreite seines virtuosen Soul-Pop-Songwritings nicht nur auf akustischer Ebene, sondern auch auf einer zutiefst persönlichen Ebene. Ein Schritt weiser und selbstbewusster, frisch aus einem Feature auf dem neuen Album von De La Soul, lässt der in London lebende Singer-Songwriter und Produzent vergangene Konstrukte hinter sich, um die Gegenwart mit seinem bisher ausgereiftesten, umfangreichsten und beeindruckendsten Werk zu feiern, das mit verspieltem Charisma und modernem Glanz an Disco-, R&B- und Funk-Größen anknüpft. Er sagt: ,Bei ,Extraordinary` geht es darum, sein Leben selbst in die Hand zu nehmen, neue Erfahrungen und Abenteuer anzunehmen." Donkins bahnbrechendes Debütalbum ,Welcome Home" aus dem Jahr 2023 fand von BBC Radio bis Billboard (,ein Soul-Genie") großen Anklang und brachte ihn zum ersten Mal zum SXSW. Dennoch war die Saison von Rückschlägen und Herzschmerz geprägt. Zunächst streckte er seine Hände nach der Fantasie aus mit der kathartischen Suite Escape EP. Dann, mit klarem Kopf, engagierte er ein Traumensemble, um seine nächste Vision zu verwirklichen, darunter ESME, Kiefer, UHMEER, Shaan Ramaprasad und Howard Lawrence von Disclosure . Donkin hat sich einen Namen als Old Soul gemacht, als Ein-Mann-Band in der Tradition von Prince und Stevie Wonder, der oft in den sozialen Medien zu sehen ist, wie er mit verblüffender Leichtigkeit Songs zusammenstellt. Wie seine früheren Werke fängt auch ,Extraordinary" dieses unbestreitbare Talent und seinen Charme ein. Was das Album auszeichnet, ist die Weite, in der diese Tugenden zum Tragen kommen. ,Es klingt einfach größer, aktueller", fügt er hinzu. Von vereinenden Hymnen bis hin zu dramatischen Erklärungen entfaltet Donkin eine Art von Optimismus, der nur durch harte Arbeit an sich selbst entstehen kann.

Black w/ Orange Splatter Vinyl. VALVE Videospiele und IPECAC RECORDINGS pflegen eine Partnerschaft, die fast 15 Jahre zurückreicht, als wir die PORTAL 2-Soundtracks veröffentlichten. Seitdem wurden einige der bedeutendsten Videospiel-Soundtracks veröffentlicht, darunter TEAM FORTRESS 2, DOTA 2 und die gesamte HALF-LIFE-Reihe. Diese gehören zu den meistverkauften physischen und digitalen Veröffentlichungen des Labels Ipecac. HALF-LIFE: ALYX wurde ursprünglich digital als Serie von 11 Kapiteln von 2020 bis 2022 veröffentlicht, und die physische Veröffentlichung vereint diese in zwei verschiedenen Formaten: 4CD-Falt-Digipak mit allen 72 Songs der Serie 2LP Gatefold 180gr Vinyl mit 21 vom Komponisten ausgewählten Songs sowie einer Download-Karte mit allen 72 Songs. Es gibt ein anderes Cover als bei der CD sowie ein 24x36-Faltposter. Die Standardvariante ist schwarz mit orangefarbenen Sprenkeln und die Indie Store-Variante ist orange mit schwarzen Sprenkeln.

Orange w/ Black Splatter Indie Exclusive. VALVE Videospiele und IPECAC RECORDINGS pflegen eine Partnerschaft, die fast 15 Jahre zurückreicht, als wir die PORTAL 2-Soundtracks veröffentlichten. Seitdem wurden einige der bedeutendsten Videospiel-Soundtracks veröffentlicht, darunter TEAM FORTRESS 2, DOTA 2 und die gesamte HALF-LIFE-Reihe. Diese gehören zu den meistverkauften physischen und digitalen Veröffentlichungen des Labels Ipecac. HALF-LIFE: ALYX wurde ursprünglich digital als Serie von 11 Kapiteln von 2020 bis 2022 veröffentlicht, und die physische Veröffentlichung vereint diese in zwei verschiedenen Formaten: 4CD-Falt-Digipak mit allen 72 Songs der Serie 2LP Gatefold 180gr Vinyl mit 21 vom Komponisten ausgewählten Songs sowie einer Download-Karte mit allen 72 Songs. Es gibt ein anderes Cover als bei der CD sowie ein 24x36-Faltposter. Die Standardvariante ist schwarz mit orangefarbenen Sprenkeln und die Indie Store-Variante ist orange mit schwarzen Sprenkeln.

Mit ihrem nun schon siebten Studioalbum im Gepäck zerlegen die beiden selbsternannten Weltverbesserer quer durch die Republik eine Venue nach der anderen - begleitet vom stetig wachsenden Schmierlappen Kommando: Liedfett sind längst kein Geheimtipp mehr, sondern ein kollektiver Zustand aus Euphorie, Haltung und Lebensfreude. Mit ihrem neuen, selbstbetitelten Album "liedfett" klingen Liedfett so nah, so direkt und so ungeschönt wie selten zuvor. Zwischen Aufbruch und Überforderung, zwischen breitem Grinsen und ehrlicher Selbstbefragung bündeln sie Songs wie "Alles wird gut", "Zu kurz", "Einsamkeitsgefahr", "Das war ich" und "Partybrille" mit sechs neuen Tracks zu einem Album, das mitten ins Jetzt und vor allem jedes Herz trifft: Es geht ums Stolpern durchs Leben, ums Weitermachen trotz Zweifel, ums Lautsein, wenn es nötig ist - und ums Verletzlichsein, wenn es sein muss. Haltung zeigen, ohne den Zeigefinger zu heben. Egal ob auf der Bühne oder am Lagerfeuer. Überall. Musikalisch bleiben Liedfett ihrem druckvollen Mix aus deutschem Pop, Punk-Energie und kompromisslosem Live-Charakter treu. "liedfett" ist kein Rückblick und kein Konzeptalbum, sondern eine Momentaufnahme: ehrlich, verbindend, voller Wucht und Wärme. Wer versucht, das Phänomen Liedfett nur über Zahlen oder Worte zu begreifen, wird scheitern. Erst live entfaltet sich das ganze Bild - und erst dann versteht man wirklich, warum so viele einstimmen, wenn es heißt: Kommt ihr mit?

Tony Njoku returns with All Our Knives Are Always Sharp, a sonically expansive and emotionally charged second album that brings together a remarkable cast of black British voices. Featuring powerful collaborations with Tricky, GAIKA, Ghostpoet, Coby Sey, James Massiah Space Afrika and Labi Junior, the record serves as a landmark moment for Njoku, a culmination of both the singular musical style and nuanced, socially-engaged storytelling he’s been crafting throughout his career.

Rooted in themes of spiritual preparedness, cultural resistance and emotional clarity, the album unfolds through Njoku’s signature blend of electronic abstraction, falsetto-led songwriting and cinematic composition. It’s a work that cuts deep. Philosophical, political and personal, each guest brings a vital new layer to the conversation.





“ALL OUR KNIVES….” will be the first release on Tony’s new imprint ‘Studio Njoku’, which Tony says will serve as a space to facilitate his collaborations with his wider creative community. In addition the album will be pressed on heavyweight 180g vinyl limited-edition, with 300 copies worldwide. It will be the first run of physical production for Studio Njoku

Auf ihrem neuen Album ,Delusion" begibt sich Tempers - das musikalische Pseudonym der in New York lebenden Künstlerin Jasmine Golestaneh - auf eine nichtlineare Reise der Heilung und des Werdens. In zehn Tracks navigiert sie durch stürmische emotionale Gezeiten und tastet sich durch einen Fiebertraum aus Gewitterwolken und Sonnenstrahlen hin zu seelischer Klarheit, wobei sie einen Soundtrack für "diejenigen, die zu sehr lieben, zu tief fallen und zu lebhaft träumen" kreiert. "Delusion" bewegt sich fließend zwischen verschiedenen Genres, von Art-Pop bis Techno, Grunge bis Metal, mit epischen balladischen Momenten, die überall verstreut sind. Das Album wurde von Golestaneh und Jorge Elbrecht (Sky Ferreira, Crushed, Wild Nothing) co-produziert und enthält Kollaborationen mit Camille Henrot, Estelle Hoy und Sandra Mujinga. Das mit Spannung erwartete neue Album von Tempers folgt auf das Debütalbum "Services" aus dem Jahr 2015, das den Underground-Dance-Hit ,Strange Harvest" enthielt. Im Jahr 2019 veröffentlichten Tempers das Album "Private Life", das einen eher introspektiven Sound präsentierte, gefolgt von "New Meaning" im Jahr 2022, das von einem Buch mit Golestanehs originellen Collagen begleitet wurde, die von dem Album inspiriert waren. Die Neigung von Tempers zur Kunstwelt hat zu einzigartigen Kooperationen geführt, darunter Auftritte in Museen, Galerien und O-Spaces, eine EP (Fundamental Fantasy aus dem Jahr 2017), die aus einer Künstlerresidenz bei The Vinyl Factory hervorgegangen ist, und die Veröffentlichung von Junkspace feat. Rem Koolhaas im Jahr 2018.