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"Throughout her life, my mother wrote ghost songs. Songs without melodies, without music, written on loose sheets of paper and stored away in folders. Why did my mother, who isn’t a musician, choose this form of expression? And why do I, her son, devote my life to producing music without words?

Le disque de ma mère, an album composed from these texts, the oldest dating back to 1984 and the most recent to 2018, seeks to translate the poetry of this situation."

With the collaboration of Blandine Rinkel, who gives voice to these texts, Superpoze creates a powerful album of songs that speaks to us about transmission, imagination, and secrecy.

In 2026, the sample alchemist returns to his first love with his 11th album, Endless Smile 2. A 16-track project conceived as a tribute to his landmark 2015 album Endless Smile, which featured his iconic tracks “Betty” and “Qu’attendez-vous de moi”.

Born from a desire to return to the essentials, Endless Smile 2 focuses on instrumental compositions enriched with samples and organic textures inspired by the 70s. The album develops a warm and sun-soaked atmosphere, crossed by the melancholic touch that defines Degiheugi’s musical universe.

Recorded between 2023 and 2025 in his studio Endless Smile Records and mixed by his longtime collaborator Mr. Gib, the album opens with the trip-hop anthem “The Last Opening”. Far from being a simple introduction, it acts as a true gateway into Degiheugi’s new sonic journey. Keyboards set the tone, the horn section led by N’Zeng invites listeners into the groove, while guitars and organic keyboards immerse us fully into his musical world. The scene is set: he’s back.

Among the standout tracks, “Ain’t Goin Down” delivers a reggae-influenced groove driven by a message of hope, while “Vem O Mar” (feat. Hugo Kant) explores funk and tropical soundscapes. “Ipanemax”, a nod to the classic “The Girl From Ipanema”, and “Ouh Baby” extend this Brazilian atmosphere, while “Savoir Danser” leans toward oriental textures and “Juanita Bonita” ventures into a bold fusion of cumbia and dub.

The album also reveals Degiheugi’s signature melancholic side. An addictive loop settles deep into the listener’s mind as “Sympathique et sympa” balances nostalgia with urban groove. The haunting strings of “Naked” and the soul ballad “She Worries” respectively reflect on mortality and the fragility of romantic relationships. Guest artist Miscellaneous addresses gender-based violence on “Love Is Blind”, telling the story of a woman trapped in a toxic relationship.

Endless Smile 2 closes with “Enivrez-vous”, an outro inspired by Charles Baudelaire’s poem, bringing the album to a contemplative conclusion. With this release, Degiheugi masterfully completes a musical journey that began ten years ago.

UGHH – Underground Hyper Hero is the moniker of Vítězslav Špalek — composer, multi-instrumentalist, and singular sonic architect hailing from Karviná, a gritty coal-mining town in industrial Silesia, now living out his days under the sundrenched skies of southern Corfu. He improvises across synthesizer, trumpet, and voice, weaving musical collages from poetic texts spanning genres and movements. His collages carry an unsettling depth and pull you somewhere you didn't plan to go. They are distant lands beyond the water — where the trumpet cuts through space and time lurches forward in a sudden rush, only to nearly freeze and turn inward, listening to the echo of a far-off voice calling out from nowhere. A flock of birds drifts over a vast landscape while a powerful, repetitive beat pulses through all matter — living and dead alike. EP 49.923827, 14.221380 takes its name from the coordinates of its creation, and marks the first released material from the artist's yet-to-be-unveiled catalog. Three original tracks are joined by an eclectic postpunk remix from Berlin-based Menqui, an ethereal minimalist take from fellow Berliner Nadia D'Aló aka DALO, and local scene staple Mike.H — a devoted digger of obscure trance.

“‘Round About Midnight At The Cafe Bohemia” von Kenny Dorham ist ein Blue-Note-Klassiker. Jetzt
erscheint der Konzertmitschnitt erstmals als Deluxe-LP in voller Länge auf Vinyl – in audiophiler Qualität!
Als Gründungsmitglied der Jazz Messengers war der Trompeter im November 1955 dabei, als Schlagzeuger
Art Blakey mit der Band im Café Bohemia bahnbrechende Live-Aufnahmen für Blue Note machte. Nur
sechs Monate später kehrte Dorham mit seinem eigenen Sextett in den berühmten New Yorker Jazzclub
zurück, um dort sein erstes eigenes Live-Album für das Label einzuspielen. Von dem über zweistündigen
Auftritt veröffentlichte Blue Note 1956 nur ein Album mit sechs Stücken. Elf weitere Titel erschienen erst
1984 auf zwei separaten LPs in Japan, die kompletten Aufnahmen gab es bislang nur auf einer im Jahr
2002 erschienenen vergriffenen Doppel-CD.
Jetzt erfüllt sich für Blue-Note-Fans ein Herzenswunsch: die Aufnahmen kommen erstmals komplett auf
Vinyl heraus - im Rahmen der audiophilen Blue Note Tone Poet Serie auf drei 180g-LPs im Deluxe-Tipon-Trifold-Sleeve, abgerundet durch ein großformatiges Booklet mit bisher unveröffentlichten Fotos von
Francis Wolff sowie einem ausführlichen Essay und einer Track-by-Track-Analyse von Syd Schwartz.
Parallel erscheint das komplette Konzert auch als remastertes 2-CD-Set in Jewelbox mit Booklet.

Cathartic avant-rock, literate DIY folk & experimental composition exploring displacement, love, climate change, belonging & the places we call home - RIYL Jim O’Rourke, Richard Youngs, This Heat, Richard Dawson, Flying Nun. ‘Real Home’ is the new album by the Manchester-born, London-based artist Kiran Leonard. His sixth album proper (not including innumerable tour-only CD-Rs and short-run cassettes), since his precocious debut in 2013, ‘Real Home’ finds Leonard invigorated by inspiration and experience, making passionate, literate, and mercurial music that explores displacement, love, memory, climate change, connections to home and more. Encompassing songs recorded after moving to South London, ‘Real Home’ reflects on ideas of belonging and domesticity through folkloric, stream-of-consciousness songwriting. Across nine tracks, Leonard traces lived impressions of the household and the city, expressing sentiments of dislocation, alienation and stasis, but contentment too. Infusing the avant-rock effervescence, terraced dynamics and visionary lyricism of his music with what he defines as a greater sense of openness, Leonard is as versatile, fervent and imaginative as ever on ‘Real Home’, yet his music is somehow more intimate, affecting, and acutely expressive. Shaped by dual considerations of simplicity and formalism, ‘Real Home’ is by turns beautiful, allusive, and ruminative, an album on which Leonard considers what his songs have resembled in the past and what they mean now. In recent years, Leonard has crafted eloquent chamber music inspired by the likes of James Joyce and Clarice Lispector (‘Derevaun Seraun’), responded to contemporary politics and communication breakdown in the digital age (‘Western Culture’), and compiled solo works and ensemble recordings for a longform ode to Jonas Mekas and to one of Leonard’s enduring themes; home (‘Trespass On Foot’). On ‘Real Home’, Leonard reiterates this abiding thematic focus yet ascends to new, different heights, in music of cathartic delicacy and dissonance where all the myriad dimensions of his work to date seem to crystallize. There are sinuous songs about struggle and defying the pace of city life through drift and diversion (‘Pass Between Houses’), stirring songs of intense feeling and crescendo, described as a form of speculative detective fiction (‘Theatre for Change’). There are touching solo piano ballads (the title track), symbolic contentions with carbon capture and climate change (‘Utopia of Bog’), modes of experimental minimalism (‘Void Attentive’), and other profuse feats of compositional range, embroidered with wild tendrils of narrative and lyrical depth. A record to pore over, and get lost in. Exemplifying the vast aesthetic scope of Leonard’s music, lead single ‘My Love, Let’s Take The Stage Tonight’ is inspired by country lodestar Hank Williams, Russian poetry and a late period love poem by William Carlos Williams. Yet for Leonard, the song signals a sense of accessible materiality, and is the product of a more linear approach to writing songs: “My imitation of the great Hank Williams, in spirit if not in substance…This is one of the best efforts on Real Home at a song-as-object. Looking at it now I realise I was trying to write a song that made itself known as a song to the listener, and I wonder whether that’s crucial if you want a song to transcend its context. And that this is either accomplished through a total openness – by being inviting, by laying the tricks of the song out plain to see, as Williams and his many ghostwriters did so well – or by adopting a knowing aloofness, positioning oneself against the listener but letting it be known that that’s what it’s doing. In this song I try both, but mostly the former: as in, I wanted to write a song where every line follows on from the next.” Imbuing the endlessly elaborate and inventive qualities of his music with a newfound streak of candid, clear-cut melodicism, Leonard has reached a special place in his artistry, on a record that feels familial, and expresses closeness. Assembled with affiliates including Lauren Auder, Otto Willberg, Jasper Llewellyn (caroline), Tom Hardwick-Allan (Shovel Dance Collective), Magda McLean (caroline, The Umlauts), Alex Mckenzie (caroline, Shovel Dance Collective), Isabelle Thorn (Dear Laika) & more, the recording process had a significant influence on the subject matter of ‘Real Home’, in sessions defined by close-knit camaraderie and artistic eccentricity: “The theme of the home obviously recurs throughout the record; the album was mostly recorded in domestic spaces with friends, and the name of the album is Real Home. I like the qualifier ‘real’, like you’re getting past the cloak of the word and towards the thing-itself…also nearly all the percussion in this record was recorded on items from my dad’s shed (jam jars, sandpaper, blocks of wood, etc). Real home record!” ‘Real Home’, like anything by Kiran Leonard, is a record of dazzling multiplicity. Yet it’s a companionable prospect with a central premise; a collection of songs where listeners old and new can find a home. An album led by a scene; of Leonard standing at the threshold, ready to welcome you inside. “Exceptional songs that linger” - The Guardian // “An autodidact of amazing talent & energy” – Pitchfork // “A ridiculous amount of talent…confrontational, celebratory, provocative or perverse – he manages all of these emotions & more” - The Quietus /

Death Is Not The End collaborate with Uzbek label Maqom Soul to deliver an LP counterpart to last year's mixtape of the same title, compiling specially picked & fully licensed individual belters from the ex-soviet studios of Central Asian republics between 1978 and 1989 - incl. Uzbek, Tajik, Kurdish & Uyghur artists pulling traditional folk motifs together with pop & rock and psych elements.

"These recordings do not form a smooth or coherent history. They feel more like a sequence of discoveries made at different moments and in different circumstances. Songs and instrumental pieces that once lived inside specific contexts radio broadcasts, philharmonic programs, touring routes now sit side by side, revealing hidden connections as well as clear fractures between them.

Nasiba Abdullaeva appears here as a voice from the end of an era. Trained within a conservatory system, she worked inside the format of the Soviet pop song while filling it with melodic logic that did not come from Moscow or Leningrad. Her voice is soft and sustained, shaped by Eastern melisma, and it never functions as decoration. Even in tightly structured songs there is a sense of resistance, an effort to preserve a musical language rooted in Uzbek tradition rather than fully adapted to an all Union standard.

The ensemble Sintez, later renamed Navo, represents a different path. Beginning as a student rock group, the band was gradually absorbed into the official VIA system with all its limitations and compromises. Yet it was precisely within those boundaries that Sintez and Navo developed a recognizable sound. Electric guitars and jazz rock harmonies do not overpower the folk material but remain in tension with it. Their recordings feel like negotiations between what the musicians wanted to play and what they were allowed to perform.

The Tajik ensemble Gulshan reflects an institutional approach carried to a high professional level. Formed under television and radio structures, the group treated folk material almost as a written score. Carefully constructed arrangements, close attention to orchestration, and restrained use of pop techniques define their sound. There is less spontaneity here, but a strong sense of discipline and structure, where national melody becomes part of a carefully controlled sonic framework.

Koma Wetan occupies a very different space. Formed in the 1970s, this Kurdish rock group approached poetry and folklore as tools of cultural assertion. Their psychedelic rock never feels like a stylistic borrowing. Instead it functions as a contemporary vessel for language and themes that might otherwise have remained unheard. Even today these recordings sound fragile and stubborn at the same time.

The Uyghur ensemble Yashlik, closely connected to a musical drama theatre, operated somewhere between stage performance and popular music. Their songs are built on folk melodies but shaped for wide audiences. What emerges is a constant attempt to preserve the recognizability of Uyghur musical identity without freezing it in a folkloric frame. Yashlik's music exists in a state of balance between representation and development.

Digging Central Asia does not attempt to establish hierarchies or offer a single wayof listening. Names and dates matter less than the sound itself. Tape noise, abrupt transitions, and unexpected timbres remain part of the material rather than flaws to be corrected. This music existed at the crossroads of multiple routes geographic, cultural, and ideological. Heard today in a new context, it no longer feels peripheral. Instead it stands as a reminder that the history of popular music is far more fragmented, layered, and polyphonic than it is usually allowed to be."

From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Saul Williams, Tunde Adebimpe, Mahogany L. Browne, Abiodun Oyewole, Anthony Joseph and Tara Middleton are the featured voices that turn rhyme into rhythm and revelation into resistance Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Saul Williams, Tunde Adebimpe, Mahogany L. Browne, Abiodun Oyewole, Anthony Joseph and Tara Middleton are the featured voices that turn rhyme into rhythm and revelation into resistance Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Saul Williams, Tunde Adebimpe, Mahogany L. Browne, Abiodun Oyewole, Anthony Joseph and Tara Middleton are the featured voices that turn rhyme into rhythm and revelation into resistance Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

Essential compilation from a cult classic singer/songwriter whose first three albums are highly collectible in Europe and Japan. After stopping touring, the industry walked away, but the artist kept writing and recording eight more albums, only available via his website. Crossroads features 14 tracks, including 9 previously unheard, with sociopolitical themes, and poetic visionary lyrics that still resonate today. Legendary jazz musicians such as John Scofield and Paul McCandless (Oregon) contribute.

Mit „Stabile Poesie“ liefert Bosse ein kraftvolles, emotionales Album, das seine unverkennbare Handschrift
zwischen Indie-Pop, Tiefgang und unmittelbarer Nahbarkeit einmal mehr unter Beweis stellt. 12 Songs voller
Haltung, Wärme und poetischer Direktheit, gemacht für große Bühnen und intime Momente gleichermaßen.
Zum Release stehen attraktive physische Konfigurationen für Fans und Sammler bereit:
Die Standard LP erscheint auf schwarzem Bio-Vinyl und vereint alle 12 Tracks in hochwertiger Ausstattung.
Ergänzt wird das Angebot durch die CD im Mintpack als kompakte Alternative.
Die Ltd. 2CD im Hardcoverbuch kombiniert das Album mit 10 Live-Tracks und punktet durch hochwertige
Verpackung.

One of the longest standing figures amidst the Discrepant wolfpack, the unstoppable alias of sound collector Laurent Jeanneau returns to the fold 2 years after 'Tanzania II' with this 2.0 update of the celebrated 'The Lisu' sort-of-mixtape released way back in 2014.

Based on recordings of music from the Lisu communities in China and Thailand captured on site, this mix shows Gong more like a selector or dj, restricting electronic processing to a bare minimum in order to convey different histories, places and timeframes within the same mesmerising continuum. A respectful and deeply vivid evocation of all the richness and diversity found among the different strands of lisu music, from ceremonial vocal incantations through a chibeu string instrument "processed" in loco through saturated street speakers to moments of pure poetic radiance, 'The Lisu' flows gracefully with the keen sense of wonder and knowledge of one of this century's most thoughtful and insightful sonic travellers.

Peter Karp gehört zu den unverwechselbaren Stimmen der amerikanischen Americana-, Blues- und Roots-Szene. Seine Musik verbindet kraftvolle Emotionen, feines Storytelling und eine tiefe Verwurzelung in den Klangtraditionen des amerikanischen Südens. Aufgewachsen zwischen New Jersey, New York City und Alabama, entwickelte er früh ein Gespür für die Energie urbaner Songkultur ebenso wie für die Ursprünglichkeit des Blues. Künstler wie Robert Johnson, Muddy Waters oder Howlin" Wolf prägten ihn ebenso wie die poetische Kraft von John Prine und die erdige Direktheit von Joe Ely. Karp schreibt Songs, die das Leben so zeigen, wie es ist: ehrlich, rau, humorvoll und voller beobachteter Details. Seine markante Stimme, sein expressives Gitarren- und Pianospiel und sein Gespür für melodische Hooks machen ihn zu einem der respektiertesten Songwriter seines Genres. Kritiker loben seine Fähigkeit, Blues, Folk, R&B und Americana zu einem eigenen, zeitlosen Stil zu verbinden. Peter Karp steht für authentische amerikanische Musik - tiefgründig, mitreißend und voller Charakter. Ein Künstler, der die große Tradition des Songwritings fortführt und gleichzeitig seine ganz eigene Handschrift setzt.

Wenn du es weißt, dann weißt du es. Die Shows von Dash Rip Rock sind ein ausgelassener Spaß - eine explosive Mischung aus Respektlosigkeit, Verzerrung und rohem Gitarrensound. Dieses legendäre Trio aus der Louisiana Music Hall of Fame und langjährige Indie-Größen verbinden Roots Rock, Garage Rock, Country-Punk und Southern Swagger und werden von der New York Times für ihre ,Flüssigkeit in der amerikanischen Roots-Musik mit einer kräftigen Dosis Punkrock-Spirit" und von SPIN als ,unbestreitbar die größte Rockband des Südens" gelobt. Mit über siebzehn Underground-Klassikern, einer treuen, genreübergreifenden Fangemeinde aus Rock, Americana und Punk und einem Radiohit aus den 1990er Jahren mit ihrer ironischen Hymne ,Let's Go Smoke Some Pot" liefert Dash Rip Rock weiterhin mitreißende Live-Shows. Gründer, Leadgitarrist, Sänger und Songwriter Bill Davis wird oft als Pionier des Country-Punk, Cowpunk und Alt-Country bezeichnet - Genres, die Rock, Outlaw Country und Punk-Attitüde miteinander verbinden. Die Austin Chronicle lobt Davis als ,das Gehirn hinter Dashs Muskeln, einen Bar-Poeten mit einem ausgeprägten Sinn für Humor und einem unverschämten Talent für gute Riffs". Mit ,A Song in Everyone" kehrt Dash Rip Rock mit einer brandneuen LP zurück, die in Mississippi mit Matt Patton von den Drive-By Truckers aufgenommen wurde.

Mit "Ach, die Menschen" legt Keimzeit ihr mittlerweile 14. Studioalbum vor - ein Werk, das die Band erneut als souveräne, eigenständige Größe innerhalb der deutschen Musiklandschaft bestätigt. Unbeeindruckt von Trends setzt Keimzeit auf Kontinuität, poetische Beobachtungen und musikalische Gelassenheit. Im Zentrum stehen die charakteristischen Texte von Norbert Leisegang, die Alltagsmomente, Menschlichkeit und feine Zwischentöne mit liebevoller Präzision einfangen. Zwischen Reggae-Anklängen ("Bummelzug"), chansonhaftem Erzählen ("Fasching im Februar"), folkrockigen Elementen ("Gute Fee") und rockig-psychedelischen Momenten ("Stern") zeigt das Album die stilistische Bandbreite der Band. Auch persönliche Themen wie in "Therapie" und humorvolle Miniaturen wie "Sultan tanzt Samba" fügen sich zu einem warmen, lebensnahen Gesamtbild. "Ach, die Menschen" ist ein durch und durch typisches Keimzeit-Album - poetisch, geerdet, musikalisch frei atmend und voller liebevoller Alltagsparabeln.

Blaskapelle Chancentod macht Postpunk für Leute, die lieber stolpern als marschieren. Keine Bläser treffen auf Beton, Melancholie trifft auf Katerstimmung - und irgendwo dazwischen tanzt das Leben, wenn's keiner sieht. Wie rostige Liebesbriefe aus dem Nirgendwo. Wie dein kaputter Radiowecker. Es ist der Dreck unter den Fingernägeln der Poesie. Mit Mitgliedern von Oh Telephone! & The Outta Mind, aus Bern aus der Schweiz, physisch nur auf Kassette zu haben From Bern Switzerland! The dirt under the fingernails of poetry, Postpunk as fresh and new like your first hangover, with members of 'Oh Telephone!' and 'The Outta Mind'. - VRR 2026

Mit "Alles und Nichts" veröffentlichen Eckstein am 17. April ihre erste EP - eine Sammlung, die das bisherige Schaffen des Wiener Duos bündelt und zugleich neue Kapitel aufschlägt. Die EP vereint die vier bereits erschienenen Singles "Einbruch","Reigen", "Ein Ganzes Leben" und "Zinnober" sowie die bisher unveröffentlichten Songs "Tyrann" und"Kirchenglocken". Ergänzt wird das Werk durch eine intime Akustik-Live-Session des Stücks "Hund". "Alles und Nichts" zeigt Eckstein in ihrer ganzen Spannweite: existenzielle Dringlichkeit, zarte Melancholie, eruptive Emotionalität. Sänger Hagen Eckstein verbindet poetische Bildsprache mit einer Stimme, die zwischen Verletzlichkeit und Wucht changiert. Multiinstrumentalist Jannik Rieß erschafft detailreiche Klangräume, die organisch, atmosphärisch und zugleich präzise komponiert sind. Eckstein stehen für eine spezielle Form deutschsprachiger Musik, die Ambiguität nicht auflöst, sondern zelebriert. "Alles und Nichts" ist mehr als eine EP - es ist ein Manifest ihres künstlerischen Selbstverständnisses und ein eindrucksvoller Beweis dafür, dass dieses Duo zu den aufregendsten neuen Projekten im deutschsprachigen Raum zählt.

Hailing from North-west UK, singer and producer Joe Yorke is classed as one of the most promising UK reggae artists of his generation. His exceptional and unique falsetto voice paired with his profound and poetic lyrics have caught the attention of some of the best producers and labels and an ever-growing fanbase. Joe has entered the stage with support from reggae/dub legends such as David Rodigan, Don Letts, Dennis Bovell, Nick Manasseh and Stand High Patrol. His latest single comes via Steppas Records in collaboration with upcoming UK dub producer Yaksha, “Rocking Ship” is a poignant and compassionate commentary on the plight of refugees. Mixed by Alpha Steppa, featuring a heavyweight, stripped back dub mix for company. A crucial 7” for collectors, home listening and sound systems alike.

Ste Cy, the latest studio offering from the trio of Jac Berrocal, Vincent Epplay, and Timo van Luijk, ripens like a forbidden fruit—born of an improvised instrumental session captured in the secluded hush of Kulta Saha by Timo van Luijk. These raw recordings were later reshaped into 12 songs by Vincent Epplay at Studio Villejuif in Paris. And over it all drifts the poetry of Jac Berrocal— sensual and incendiary, seeping into the music like spice into flesh.

BCUC – Bantu Continua Uhuru Consciousness – have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. Today they command festival stages worldwide: Glastonbury West Holts, Roskilde, Afropunk Brooklyn, WOMAD, Fusion, Sziget, FMM Sines, Beaches Brew, Boomtown, Colours of Ostrava, Couleur Café – to name just a few. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances.

THE ROAD IS NEVER EASY

The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs – a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. Songs like Amakhandela (Breaking All the Chains) connect history to daily life: "How is this precious metal inflicting so much pain in us," sing BCUC, "this government has been telling us we are free, but we don't benefit from being free." The album also talks about all the hopes and dreams that remain: "I have too many wishes and dreams in my head," BCUC sing in Um duma khanda, "I think I am losing my mind". The album ends with the soothing Matla a rona ke Bophelo, "our strength is life", praising the spirits and thanking the elders for protection. The Road Is Never Easy is about the harsh reality of life in Soweto, where "people always carry heavy loads". BCUC are street poets trying to deal with that burden: sometimes revolutionary, sometimes soothing, but always hopeful and compassionate. "When you are from Soweto you can't retreat nor surrender." (Sebenzela)

RECORDING

The album was largely recorded in Munich, Germany during tour breaks over two sessions, each three days long. It took place in a small studio located in a German WW II bunker converted into rehearsal spaces. The songs were recorded in one take altogether in one room, with only a few overdubs added, mainly backing vocals, by BCUC at Fourways studio in Johannesburg. BCUC have created their own distinctive way of writing, or rather, finding and creating their songs. The recording process is like an improvised live performance. They bring their ideas into a zone where the music, the rhythm and the spirits take over until the song starts to form. In this Afro-psychedelic zone BCUC create their unique poetry that feeds on the dreams still dreamt, the hopes, the fears and the temptations lingering everywhere. BCUC's songs need to breathe and time to build. The right take was the one when the song took over, and just like their live performances, no one knew beforehand where the song would take them. During the recording, BCUC just let it all flow out: inner turmoil, cries of rebellion, but also resilience and a search for healing, love, unity and compassion. You don't have to be from Soweto to feel the deep meaning and impact of this music. In these times of so much hate and division, BCUC are like a campfire for people to gather around.

PRODUCTION & ARTWORK

"BCUC have a unique magic," says Outhere's Jay Rutledge, who produced the album. "It blew our minds. It's like punk and pure gospel at the same time. Their music can make you dance and it can make you cry, all at the same time. And when the song is over, you feel you're not alone in this world anymore. We felt compelled to do this." The album cover is based on a matchbox design, matches being a common household item in South Africa even today. "These were the matches people used to burn government buildings and cars," explain BCUC. Little messages, addresses, or phone numbers used to be scribbled on the back of these boxes; each one a reminder of the strength, resilience, and resistance that once drove the struggle for freedom in Soweto. BCUC keep this flame burning. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs. "We bring fun and Afro-psychedelic fire from the hood," says vocalist Kgomotso Mokone.

mixed by aloisius

mastered by Amir Shoat

tracklist poem written by Isaiah Hull

releasing on digital + physical (Vinyl, CD & Cassette) 9th April 2026. Physical editions will feature a secret unlisted bonus track.

aloisius is a prolific, artist and producer, who recently produced a full length album for Pretty V, which released via life is beautiful records (and sold out at Big Love & Rough Trade). aloisius has also collaborated with artists such as: James Massiah, CTM, Nova Varnrable, DJ Spanish Fly, Cities Aviv, zukovstheworld, Kenichi Iwasa & many others.

‘vernacular’ is the debut studio album by improvisation-based artist, and founder of life beautiful, aloisius.

Built entirely from layers of improvised instrumentation recorded via laptop microphone, using various instruments such as guitar, piano, cello, trumpet, saxophone, drums & voice. vernacular is inspired by the spirit of collective improvisation, and embodies aloisius' instinctual & organic approach to musical composition.

Crafted solely by aloisius (except for track 6, which features a layer of piano by life is beautiful member, friend & collaborator Bianca Scout).

To celebrate the release of the album, a semi-improvised interpretation of the project will be performed live by ‘orchestra379’ (a collective improvisation project curated by aloisius, consisting of a fluctuating lineup that differs on each occasion of performance). Initially in London, then at a select few cities across Europe.

Nehmt Euch einen Moment und lässt Euch die Kataloge dieser Meister des amerikanischen Folk auf der Zunge zergehen: MAGNOLIA ELECTRIC CO., CENTRO-MATIC, SONGS: OHIA, SOUTH SAN GABRIEL. Und lasst uns ganz ehrlich sein: Eine Dosis des künstlerischen Egos und ein wenig Eitelkeit können einen höheren Dienst erfüllen. Auf dieser Kollaboration von Jason Molina und Will Johnson scheint der jeweils andere Künstler sein Gegenüber und dessen Talent zu befeuern und sowohl die Performance als auch die Kreativität auf neue Höhen zu befördern. Im brüderlichen Teilen von Ideen werden Molina und Johnson zwei Poeten unter Poeten, die sich in ihrer Werkstatt daran machen, eine einzige, übergeordnete Elegie zu erschaffen. Der einzigartige Stil und die typische Produktion jedes einzelnen Musikers fügen sich hier zu einer gemeinsamen Schnittmenge zusammen. Der dokumentarische Ansatz eines Jason Molina richtet sich ganz häuslich in den subtilen Störungen und Produktionstricks eine Will Johnson ein, während der kräftige Tenor von Molina einen perfekten Tanzpartner in der sanften Reibeisenstimme von Johnson findet. Während die individuellen Performances hier bereits atemberaubend sind, ist die Zusammenkunft beider das, was den Zauber von "Molina&Johnson" ausmacht.

Die Botschaft, das Wesentliche, das sich teilen lässt, ist Licht; es ist der Samen in der Erde, der zu einer Pflanze wird und dann zu einer Blume, die in voller Blüte steht und schließlich unvermeidlich verwelkt, damit der Zyklus von Neuem beginnen kann; es ist die Suche nach Schönheit im Chaos, aus dem Harmonie entsteht, um es zu überwinden. Auf Volume III kehren Mathieu David Gagnon und sein Projekt Flore Laurentienne zurück, um die Pracht des Flusses und seiner floralen und waldreichen Umgebung zu feiern.Volume III ist zudem eine tiefere Erkundung der Verbindung von akustischen und synthetischen Elementen, die den Charakter von Flore Laurentienne ausmachen. Anders als bei den ersten drei Alben wurden die meisten Stücke gemeinsam mit den Bandmitgliedern während Residenzen und Konzerten entwickelt, bevor sie aufgenommen wurden. Dies bereicherte die Kompositionen in einer Phase, in der sie sich noch im Wandel befanden. Die Band treibt das Projekt an und inspiriert Gagnons Schreibprozess, indem sie den Klang weiterentwickelt, nährt und ihm erlaubt, neue Wege zu gehen.Dieser neue Meilenstein markiert zugleich den Abschluss einer Trilogie, die 2019 mit Volume I begann - mit dem inhärenten und parallelen Bestreben, ein drittes Volume zu erreichen, um Volume 3 von L'Infonie (einem Kultkollektiv aus Québec, das Jazz, Prog, Kunstmusik und Poesie verband) zu würdigen. Letzteres beeinflusste die Musik von Flore Laurentienne nicht direkt, sondern vielmehr das Verständnis von Freiheit in der Komposition, die Klassik und Improvisation vereint.Die Entwicklung von Volume III folgt der Evolution des Projekts: Während der erste Track ,Fleurs" dem ähnelt, was Volume II bot, gibt uns der abschließende Titel ,(A travers les) Chablis" einen Vorgeschmack darauf, wie der nächste Schritt klingen könnte. Es ist ein Album, das man zusammen mit seinen beiden Vorgängern genießen sollte - und dabei gespannt auf das Kommende blickt. Flore Laurentienne entwickelt sich ständig weiter, doch die Vision ist seit Beginn dieselbe geblieben: Musik zu schaffen, die lebendig, wahrhaftig, menschlich und kompromisslos ist.

Die Botschaft, das Wesentliche, das sich teilen lässt, ist Licht; es ist der Samen in der Erde, der zu einer Pflanze wird und dann zu einer Blume, die in voller Blüte steht und schließlich unvermeidlich verwelkt, damit der Zyklus von Neuem beginnen kann; es ist die Suche nach Schönheit im Chaos, aus dem Harmonie entsteht, um es zu überwinden. Auf Volume III kehren Mathieu David Gagnon und sein Projekt Flore Laurentienne zurück, um die Pracht des Flusses und seiner floralen und waldreichen Umgebung zu feiern.Volume III ist zudem eine tiefere Erkundung der Verbindung von akustischen und synthetischen Elementen, die den Charakter von Flore Laurentienne ausmachen. Anders als bei den ersten drei Alben wurden die meisten Stücke gemeinsam mit den Bandmitgliedern während Residenzen und Konzerten entwickelt, bevor sie aufgenommen wurden. Dies bereicherte die Kompositionen in einer Phase, in der sie sich noch im Wandel befanden. Die Band treibt das Projekt an und inspiriert Gagnons Schreibprozess, indem sie den Klang weiterentwickelt, nährt und ihm erlaubt, neue Wege zu gehen.Dieser neue Meilenstein markiert zugleich den Abschluss einer Trilogie, die 2019 mit Volume I begann - mit dem inhärenten und parallelen Bestreben, ein drittes Volume zu erreichen, um Volume 3 von L'Infonie (einem Kultkollektiv aus Québec, das Jazz, Prog, Kunstmusik und Poesie verband) zu würdigen. Letzteres beeinflusste die Musik von Flore Laurentienne nicht direkt, sondern vielmehr das Verständnis von Freiheit in der Komposition, die Klassik und Improvisation vereint.Die Entwicklung von Volume III folgt der Evolution des Projekts: Während der erste Track ,Fleurs" dem ähnelt, was Volume II bot, gibt uns der abschließende Titel ,(A travers les) Chablis" einen Vorgeschmack darauf, wie der nächste Schritt klingen könnte. Es ist ein Album, das man zusammen mit seinen beiden Vorgängern genießen sollte - und dabei gespannt auf das Kommende blickt. Flore Laurentienne entwickelt sich ständig weiter, doch die Vision ist seit Beginn dieselbe geblieben: Musik zu schaffen, die lebendig, wahrhaftig, menschlich und kompromisslos ist.

L. Jacobs releases his second album, Behind the Great Curve, on the Belgian label Blickwinkel. Featuring contributions from Milan W., Sarah Yu Zeebroek, and Joachim Badenhorst, the follow-up to the surprising debut Enthusiasm was initially composed and recorded in Jacobs’ small attic room and later refined at Milan W.’s Van den Nest Studio, where W. also handled production and mixing.

A line or outline which gradually deviates from being straight for some or all of its length.

Behind the Great Curve explores and celebrates the beauty and universality of the abstract notion above and what we commonly refer to as the curve. Its presence, allegedly, is everywhere. It is a form that appears visually, mathematically, and symbolically — a line that suggests motion, time, expectation, and impermanence.

This album aims to listen to all of this — the poetry, the irony, and the faint background hum of modern life — with quiet curiosity. Within a gently meandering, synthesized landscape, a collection of dreamlike compositions unfolds: delicate melodies, sparse percussion, warm buzzing synths, and fragments of field recordings coexist in carefully measured imperfection. Colorful yet minimal in aesthetic, the album does not seek to explain the curve, but to follow it.

long content, you may need to expand row to see all... Zeitlose Meisterwerke - erstmals auf Vinyl
Dieses Album vereint die beiden Schumann-Konzerte in einer absoluten Starbesetzung: Es präsentiert den Dirigenten Nikolaus Harnoncourt und das Chamber Orchestra of Europe, die Pianistin Martha Argerich sowie den Geiger Gidon Kremer. Seit seiner Veröffentlichung vor über dreißig Jahren zählen diese Aufnahmen zu den Bestsellern im Teldec-Katalog und sie haben bis heute nichts von ihrer Brillanz verloren. Pünktlich zum 85. Geburtstag von Martha Argerich am 5. Juni erscheint diese legendäre Aufnahme nun zum allerersten Mal auf Vinyl. „In ihrer Live-Aufnahme liefert Martha Argerich eine lebendige, fesselnde und charakteristisch unbeständige Interpretation des Schumann-Konzerts ab; zugleich poetisch und fantasievoll, um nicht zu sagen kraftvoll und oft individuell. Die im Juli 1992 live aufgezeichnete Darbietung gipfelt in einem Finale, das so gewagt ist, dass man am Ende jubeln möchte.“ – Gramophone Magazine

Mit ,GO BOOMER GO!" liefert die Wiener Band POST ein kompromissloses Statement zwischen spätem 70er-Punk und kantigem New Wave. Roh, direkt und mit scharfem Schmäh zerlegt die Band Generationenmythen, Selbsttäuschungen und den ganz normalen Wahnsinn der Gegenwart. Gesungen wird auf Deutsch und im Wiener Dialekt - bissig, poetisch, ungeschönt. POST verorten sich musikalisch zwischen der schnörkellosen Energie von Wilko Johnson und der unbändigen Energie von The Clash, kombiniert mit der gesellschaftskritischen Haltung eines Sigi Maron. Harsche Gitarren, minimalistische Arrangements, stoischer Groove und eine rotzige Attitüde prägen den Sound - keine Retro-Show, sondern ein wütend-zeitgenössisches Update des späten Siebziger-Feelings, das - wie wir ja alle wissen - in Wirklichkeit zeitlos ist. ,GO BOOMER GO!" ist keine bloße Generationskritik, sondern eine Zustandsbeschreibung: Zwischen Wut und Witz, Zynismus und Selbstironie seziert POST gesellschaftliche Spannungen, Bequemlichkeit und kulturelle Stillstände - immer mit Wiener Unterton und einer klaren DIY-Haltung.

Das zweite Album des Duos aus Denver, Colorado! Shores of Scorpio fordert Sie nicht nur zum Zuhören auf - es fordert Sie dazu auf, sich mit dem auseinanderzusetzen, was Sie zu wissen glaubten. Das mit Spannung erwartete zweite Album des Duos Volores aus Colorado - Shelby und Nathen Maxwell (Bassist von Flogging Molly) - ist ein sehr persönliches Konzeptalbum, das Shelbys Entdeckung nachzeichnet, dass ihr leiblicher Vater nicht der Mann war, für den sie ihn gehalten hatte. Das Album wurde im legendären Sonic Ranch aufgenommen und markiert eine mutige emotionale und klangliche Weiterentwicklung der Band.

Zuukou Mayzie, rapper and member of the 667 collective, continues to push his "Wok Music" — a free universe where everything blends together without limits.



The most love-driven and experimental artist of 667, returns after three years of absence with “19h19”, his 4th album, made up of 20 bold tracks filled with risk-taking. By taking the time to live and feed his experiences, Zuukou delivers a personal and positive project designed to share a sincere energy.



Featurings: Baaba Maal Bleue Electrique Freeze Corleone Jolagreen23 Oxmo Puccino Roi Heenok So La Lune Surkin Wit. Yamê

THE RAPPER ANDPRODUCER"S NEW ALBUM
Palmier is producer and rapper Rocé"s new album. At the crossroads of Sade and Rakim, the album unfolds an impeccable flow over gentle melodies, the mellow sound of the saxophone softening the sharpness of the spoken truths. Rocé delivers a melody of hope, and appreciation of determination in the face of the impossible. "La Voie Lactée" features the captivating voice of Natacha Atlas and the sublime orchestrated violins of Samy Bishaï, the whole thing wrapped up in the style reminiscent of Isaac Hayes" soul and Portishead"s trip-hop. "Laisse les enfants courir" reveals a soulful hip-hop,between powerful groove and relentless flow, where Rocé blends political lucidity and poetic verse while Cisko"s subtle arrangements sculpt an organic, sensitive landscape, poised between tension and serenity. On "Lunaire", Rocé surprises us right away, with a sharp and melodic flow. Driven by powerful imagery and sharp lyrics, the track transforms anger into creative energy. It portrays an artist outsidethe mainstream, awareof the world"s failings but determined to create his own haven. Palmier embodies the melancholy of unfinished struggles, perseverance, and the promise of a brighter dawn.

Auf dem Kontrabass zu singen: für Marc André das höchste Ziel seiner Kunst. Mit seinem Album Mirage gibt der 23-jährige Kontrabassist aus Frankreich nun sein beeindruckendes Debüt bei Warner Classics. In einem abwechslungsreichen Programm – von bekannten klassischen Meisterwerken bis zur atmosphärischen Filmmusik – offenbart er das poetische Potenzial, aber auch die rebellischen Seiten seines Instruments. Dass Marc André andere Menschen für den schwergewichtigen Fünfsaiter begeistern kann, den er seit seiner Kindheit spielt, zeigt nicht zuletzt seine enorme Medienreichweite: Mehr als 327.000 Follower bei Instagram und 2,4 Millionen Likes bei TikTok sprechen eine eindeutige Sprache!

Australian indie and garage-rock firebrand, GIMMY unveils her new EP Labour of Love — a raw, emotionally charged collection that fuses gritty indie rock, post-punk bite and tender poetic expression, all powered by Gemma Owens’ unmistakable vibrato and fiercely honest songwriting.

Where her 2024 debut Things Look Different Now was a slow-burn, two-to-three–year voyage of change and introspection, Labour of Love hits with an entirely new force: intuitive, immediate and deeply connected to Owens’ emotional world. Written over six months and captured in an intense 4–5 day studio burst with producer Sam Joseph (King Gizzard), the EP moves with the urgency of something that needed to be felt and heard, right away.

Across seven compelling tracks, GIMMY dives into social anxiety, grief, falling in love and the chaotic beauty of everyday life, with each song arriving “on its own terms” — born from late-night home writing sessions, snippets of inspiration while travelling and moments of full-band electricity. Sonically, Labour of Love nods to Soft Play, Nick Cave, Fontaines D.C., The Preatures and The Smiths, yet remains unmistakably GIMMY: expressive, gritty, vulnerable, cheeky and alive in every moment.

Ultimately, the EP is an unfiltered snapshot of emotional truth, celebrating life’s highs, lows and everything in between, and showcasing GIMMY at her most dynamic, powerful and compelling to date.

Australian indie and garage-rock firebrand, GIMMY unveils her new EP Labour of Love — a raw, emotionally charged collection that fuses gritty indie rock, post-punk bite and tender poetic expression, all powered by Gemma Owens’ unmistakable vibrato and fiercely honest songwriting.

Where her 2024 debut Things Look Different Now was a slow-burn, two-to-three–year voyage of change and introspection, Labour of Love hits with an entirely new force: intuitive, immediate and deeply connected to Owens’ emotional world. Written over six months and captured in an intense 4–5 day studio burst with producer Sam Joseph (King Gizzard), the EP moves with the urgency of something that needed to be felt and heard, right away.

Across seven compelling tracks, GIMMY dives into social anxiety, grief, falling in love and the chaotic beauty of everyday life, with each song arriving “on its own terms” — born from late-night home writing sessions, snippets of inspiration while travelling and moments of full-band electricity. Sonically, Labour of Love nods to Soft Play, Nick Cave, Fontaines D.C., The Preatures and The Smiths, yet remains unmistakably GIMMY: expressive, gritty, vulnerable, cheeky and alive in every moment.

Ultimately, the EP is an unfiltered snapshot of emotional truth, celebrating life’s highs, lows and everything in between, and showcasing GIMMY at her most dynamic, powerful and compelling to date.

Written in 1971 and read here by the author himself "Through the Billboard Promised Land Without Ever Stopping" is Derek Jarman's only known work of narrative fiction. Providing a prelude to some of the imagery Derek Jarman would use later in his career, particularly the alchemical dreamscapes in the film "Blue", it is a surreal, hallucinatory fairytale, signposted with elements of modernity, that has much of the mythic and archetypal about it. With tantalising autobiographical details and a panoply of chromatic landscapes and psychosexual symbols, this richly poetic story details a journey with no destination or purpose across a mythical America, undertaken by the young blind King Amethyst and his valet John. Previously only ever released on cassette (2022, Prototype Publishing, Ltd 80), this vinyl edition features facsimile images of the story's handwritten drafts from Jarman's archive and photos by the artist Michael Ginsborg, a close friend of Jarman's throughout the period of the story's writing. Licensed from House Sparrow Press / Prototype Publishing, and The Estate of Derek Jarman.
• Ltd x 500 copies on heavyweight 180gm black vinyl in gloss sleeve.

mixed by aloisius

mastered by Amir Shoat

tracklist poem written by Isaiah Hull

releasing on digital + physical (Vinyl, CD & Cassette) 9th April 2026. Physical editions will feature a secret unlisted bonus track.

aloisius is a prolific, artist and producer, who recently produced a full length album for Pretty V, which released via life is beautiful records (and sold out at Big Love & Rough Trade). aloisius has also collaborated with artists such as: James Massiah, CTM, Nova Varnrable, DJ Spanish Fly, Cities Aviv, zukovstheworld, Kenichi Iwasa & many others.

‘vernacular’ is the debut studio album by improvisation-based artist, and founder of life beautiful, aloisius.

Built entirely from layers of improvised instrumentation recorded via laptop microphone, using various instruments such as guitar, piano, cello, trumpet, saxophone, drums & voice. vernacular is inspired by the spirit of collective improvisation, and embodies aloisius' instinctual & organic approach to musical composition.

Crafted solely by aloisius (except for track 6, which features a layer of piano by life is beautiful member, friend & collaborator Bianca Scout).

To celebrate the release of the album, a semi-improvised interpretation of the project will be performed live by ‘orchestra379’ (a collective improvisation project curated by aloisius, consisting of a fluctuating lineup that differs on each occasion of performance). Initially in London, then at a select few cities across Europe.

The album opens with the ominous guitar-driven Hollow Sky, accompanied by its haunting music video's verdant vistas. The song, with Iceglass ghostly vocals, shimmers with that sounds like an Omnichord flittering like sonic firefly lights and brooding bass. This perfectly scores the less traveled wanderings through the dark wooden path of Dante's perdition, leading to the titular well that graces the album cover. The Crater opens with an unsettling riff and bass, with low, repetitive frequencies on the synth create a sense of unease. Here, Iceglass recounts a fatalistic requiem for the king of romance that is cataclysmic and leaves a scar upon the earth. With Fall Industrial Wall, once again, Iceglass channels a silky and Nico-like emotive deadpan; against a dirgelike melody backed by minimal synth, bass, and drum. Almost medieval and plaintive, with its folk droning horns, deep and shallow in their resonance. This song is anachronistic, setting the scene of ruins centuries-old with crumbling edifices strewn about like memories lost in time. With the poetic lyrics of The Chamber do we find the eponymous abyss. Here, dualities are laid bare; besides love, there is heartbreak, and without this sorrow, what meaning would there be to love if one knows not what it is to lose? This song encapsulates the idea that love is heartbreak, and love lost is reaching the deepest chamber of the heart. This is carried through a sombre horn, minimalist drum machine, and deliberate bassline overlaid with Iceglass german and english lyrics. The Well is led in with a softly distorted bassline overlaid with eerie banshee howls give way to Iceglass otherworld vocal refrain, echoing through time as if emanating from a hole in the ground, and encircling that hole is a garden of woe and despair. The sinfully seductive song The Moor features a captivating SAX SOLO courtesy of Perseas; a welcome shift in tone, juxtaposed well with the intensity of Iceglass tenebrous vocal purr. This hitherto unexplored foray into dark sensuality takes the song into sordid mid 80s territory, bringing to mind a dusky drive along a serpentine road, with equally haunting instrumentations straddling time with icy fire. Broken Characters is an acoustic folk interlude featuring Selofan's Dimitris Pavlidis on guitar. Here we find a more gentle approach with its earnest and romantic lyrics. The song's melodic hook is a soft caress along with the forlorn horn elements highlighting Iceglass at her most Nico-sounding vocal yet, singing the sorrowful truth that most artists are indeed broken characters. Chimerical opens with dirgelike synth organs. The chill of winter has befallen the lamentations sung by Iceglass carried by haunting chord progressions and minimal percussion, plaintively beseeching the song's subject to remain elusive, idealistic, and a dreamer. After an album highlighting more Jill than Jack, our male protagonist finally makes his ascent in the sonorous and breathtaking Dark Hill, a masterful march of sweeping synth horns, and trepidatious drum machine with William Maybelline's bellowing voice cracking like thunder, rattling the atmosphere like his heart against his ribs. Spirals swirls in a cautionary knell of cathedral-esque droning synth dirge, with Icarian lyrics shining like a sombre ray of hope; like the sun's rays creeping into the darkest of places. The song, minimalist in its tight percussion, echoes with the solace of Larissa Iceglass vocal litany; invoking elements of the supernatural, almost like a Casio preset sequenced to the beating of an angel's wings.

Twice Grammy-nominated, Mercury Prize and BRIT Award-winning artist Arlo Parks announces her new album, Ambiguous Desire, due April 3rd via Transgressive Records.



Ambiguous Desire is Parks at her most confident and experimental, supplanting live band sessions for modular synths, ableton plugins and samplers that channel the frenetic, vibrant spaces she was immersed in, all while spotlighting the acclaimed poetry and lyricism she’s beloved for.



Reflecting on the making of the record, Parks shares, "I danced more than ever as I made this record, I made more friends than ever too, found myself in the weird underbelly of New York juke nights, unleashed, laughed and laughed and laughed. This record has desire at its centre. Desire is a life force, it’s a wanting, a yearning, a momentum - we are all alive because there is something or someone we want - desire is an engine. But it is also mysterious, tangled, random, enlightening and HUMAN."



Parks crafted the album with producer Baird (Brockhampton, Kevin Abstract). Their process unfolded between NYC’s vibrant, community-rooted nightlife and long, introspective days spent in Baird’s downtown loft. The result is Parks’ most vulnerable, self-affirming, and euphoric work to date.

Die zweifach Grammy-nominierte, mit dem Mercury Prize und BRIT Award ausgezeichnete Künstlerin Arlo Parks kündigt ihr neues Album „Ambiguous Desire“ an, das am 3. April über Transgressive Records erscheinen wird.



„Ambiguous Desire“ zeigt Parks von ihrer selbstbewusstesten und experimentellsten Seite. Live-Band-Sessions wurden durch modulare Synthesizer, Ableton-Plugins und Sampler ersetzt, die die frenetischen, pulsierenden Räume widerspiegeln, in denen sie sich bewegte, während gleichzeitig ihre gefeierte Poesie und Lyrik, für die sie so geliebt wird, im Vordergrund stehen.



Über die Entstehung des Albums sagt Parks: „Ich habe während der Arbeit an diesem Album mehr getanzt als je zuvor, ich habe mehr Freunde gefunden als je zuvor, ich habe mich in den seltsamen Untergrund der New Yorker Juke-Nächte begeben, mich gehen lassen, gelacht und gelacht und gelacht. Dieses Album dreht sich um das Thema Begehren. Sehnsucht ist eine Lebenskraft, sie ist ein Verlangen, eine Dynamik – wir alle leben, weil es etwas oder jemanden gibt, den wir wollen – Sehnsucht ist ein Motor. Aber sie ist auch geheimnisvoll, verworren, zufällig, erleuchtend und MENSCHLICH.“



Parks hat das Album zusammen mit dem Produzenten Baird (Brockhampton, Kevin Abstract) produziert. Der Entstehungsprozess fand zwischen dem pulsierenden, gemeinschaftsorientierten Nachtleben von NYC und langen, introspektiven Tagen in Bairds Loft in der Innenstadt statt. Das Ergebnis ist Parks' bisher verletzlichstes, selbstbewusstestes und euphorischstes Werk.

Market East teilt endlich seine wichtigste Botschaft mit der Welt in Form seines Debütalbums ,French Street". Die Band, bestehend aus Kurt Cain (Gesang), Vincent John (Gesang, Bass, Gitarre und Keyboard) und Maxwell Perla (Gesang, Schlagzeug und Percussion), liefert ihre charakteristischen himmlischen dreistimmigen Harmonien über Arrangements, die noch nie so reichhaltig und fesselnd geklungen haben. ,French Street" ist extrem gefühlvoll und die Vocals sind üppig, als hätten die Zombies in Muscle Shoals aufgenommen. Die Texte sind poetisch und nostalgisch, da die Band Songs über ihre vergangenen ,goldenen" Jahre geschrieben hat. Damals hatten die Jungs nicht viel außer einander und ihrer gemeinsamen Liebe zur Musik. Sänger Kurt Cain lebte in einem kleinen Reihenhaus in North Philadelphia in einer fast verlassenen Gasse namens French Street. Hier trafen sich Cain, John und Perla jede Woche, um der Realität zu entfliehen und sich gemeinsam an der Musik zu berauschen. Sie entwickelten eine tiefe Wertschätzung für alles aus den 60er- und 70er-Jahren, von Simon & Garfunkel bis The Moments und allem, was dazwischen liegt. All diese Jahre später hat Market East ein eigenes klassisches Album geschaffen. Vom Barock-Pop des Titelsongs und dem mitreißenden Soul von ,Roses" bis hin zu den lateinamerikanischen Klängen von ,Echoes of My Heart" und den orchestralen Klängen von ,Everyday, Springtime" zeigt Market East ihre beeindruckende Bandbreite. Die Platte wurde in Philadelphia auf Analogband aufgenommen und von Market East und Eraserhood Sound produziert. Hol dir noch heute dein Exemplar dieses zeitlosen Klassikers.

Market East teilt endlich seine wichtigste Botschaft mit der Welt in Form seines Debütalbums ,French Street". Die Band, bestehend aus Kurt Cain (Gesang), Vincent John (Gesang, Bass, Gitarre und Keyboard) und Maxwell Perla (Gesang, Schlagzeug und Percussion), liefert ihre charakteristischen himmlischen dreistimmigen Harmonien über Arrangements, die noch nie so reichhaltig und fesselnd geklungen haben. ,French Street" ist extrem gefühlvoll und die Vocals sind üppig, als hätten die Zombies in Muscle Shoals aufgenommen. Die Texte sind poetisch und nostalgisch, da die Band Songs über ihre vergangenen ,goldenen" Jahre geschrieben hat. Damals hatten die Jungs nicht viel außer einander und ihrer gemeinsamen Liebe zur Musik. Sänger Kurt Cain lebte in einem kleinen Reihenhaus in North Philadelphia in einer fast verlassenen Gasse namens French Street. Hier trafen sich Cain, John und Perla jede Woche, um der Realität zu entfliehen und sich gemeinsam an der Musik zu berauschen. Sie entwickelten eine tiefe Wertschätzung für alles aus den 60er- und 70er-Jahren, von Simon & Garfunkel bis The Moments und allem, was dazwischen liegt. All diese Jahre später hat Market East ein eigenes klassisches Album geschaffen. Vom Barock-Pop des Titelsongs und dem mitreißenden Soul von ,Roses" bis hin zu den lateinamerikanischen Klängen von ,Echoes of My Heart" und den orchestralen Klängen von ,Everyday, Springtime" zeigt Market East ihre beeindruckende Bandbreite. Die Platte wurde in Philadelphia auf Analogband aufgenommen und von Market East und Eraserhood Sound produziert. Hol dir noch heute dein Exemplar dieses zeitlosen Klassikers.