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Polish sonic alchemist Martyna Basta returns with her third album Winged in Collapse, out on 7K, the exploratory imprint of acclaimed dance/electronic label !K7 Records. A haunting exploration of duality where lullaby meets lament. Blending ambient, electronic, chamber folk and electroacoustic textures with an indie pop sensibility. The classically trained guitarist crafts intimate sound worlds from self-recorded instrumental samples, field recordings, and shape-shifting vocals.

Seit der Veröffentlichung seines von Kritikern hochgelobten Debütalbums 'Come Around and Love Me' im Jahr 2023 hat Jalen Ngonda eine kometenhafte Karriere hingelegt. Der Song 'If You Don’t Want My Love' wurde zum viralen Hit und wurde bis heute 253 Millionen Mal gestreamt. Jalen war in einer Reihe von großen Fernsehsendungen zu Gast, darunter 'The Graham Norton Show', 'The Late Show with Stephen Colbert' und 'Later with Jools Holland'. Er war Support-Act für Thee Sacred Souls auf ihrer US-Tournee und hat als Headliner unzählige Clubkonzerte auf der ganzen Welt ausverkauft. Jetzt, im Jahr 2026, während die Glut seines Debüts noch hell lodert, bereitet sich Jalen Ngonda auf die Veröffentlichung seines mit Spannung erwarteten zweiten Albums 'Doctrine Of Love' vor.
Die harte Arbeit und die unermüdlichen Tourneen nach seinem Debüt haben sein Handwerk gestärkt. Seine Botschaft: 'Die Lehre der Liebe besagt, dass jeder Gedanke und jede Handlung in erster Linie von Mitgefühl für andere geleitet sein sollte, denn Liebe ist der höchste Maßstab für den Wert eines Menschen.' Die Titel des neuen Albums sind aus diesem Credo entstanden. Mit seinem tiefen Wissen und seiner Liebe zum klassischen Soul vermittelt Jalen Ngonda Authentizität in Hülle und Fülle. 'Doctrine Of Love' verbindet Pop-Sensibilität und soulige Melodien mit roher Kraft und Groove und erweitert die orchestralen Arrangements von 'Come Around And Love Me' um bläserreiche und gospelartige Backing Vocals, wodurch ein äußerst stilvolles Beispiel für moderne Soul-Kunst entsteht. Tipp!

"Carol Maia & Jeremy Gustin’s haunting collaborative album is the result of a long distance partnership during which tracks were traded back and forth across thousands of miles, Jeremy working from his home studio in Brooklyn and Carol from hers in Rio De Janeiro. Later they enlisted support from a number of key players in the Rio scene, Frederico Heliodoro, Paulo Emmery, Ricardo Dias Gomes, and from Brooklyn’s musical community, Will Graefe and Ryan Dugre, to shape this understated masterpiece of sophisticated global pop and quiet experimentalism.
"It's hard to describe what Carol, Jeremy and their guests have achieved on 'it's nice to see a lake in your eyes', a kind of pop music that stands outside of time and is neither Brazilian, American or of any other recognisable place. Maybe it's risen out of the lake they imagined into being? Maybe it's formed like rain in the thousands of miles of air between Rio and New York? Whatever happened was certainly alchemical as you will hear.
"Carol told me her writing on this record was greatly influenced by her reading of Marcelo Ariel's poetry book A água veio do sol, disse o breu so maybe the best thing to do to describe this music is to let you read one of his poems:

A luz do ser é como a água
também veio do Sol
onde todos os planetas querem entrar

Dentro do Sol
O ser é imóvel
como a gratuidade de um êxtase
parecido com a respiração

Fora do Sol
o ser é móvel
Tempo eternidade
e tempo cronológico

The light of being is like water
it also came from the Sun
where all the planets want to enter

Within the Sun
Being is immobile
like the gratuitousness of an ecstasy
similar to breathing

Outside the Sun
Being is mobile
Time eternal
and chronological time

"Jeremy Gustin is an unorthodox drummer, percussionist and songwriter who has toured and recorded with Joan as Policewoman, Iggy Pop, David Byrne, Marc Ribot, Delicate Steve, and Norah Jones. If you follow Hive Mind then you probably know him best from his amazing work on Ricardo Dias Gomes' Muito Sol. Jeremy is also in the experimental pop bands Star Rover and Blurry the Explorer.
"Carol Maia is one of Rio's new generation of singers and musicians currently lighting up the city's vibrant music scene. She also featured heavily on Wolfgang Pérez's album Só Ouço, which was released on Hive Mind in 2025."

BABY BLUE COLOUR VINYL

The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or 'Cannonball.'

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland's rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. 'Fronting this kind of band was a new experience for me,' says Stokes. 'I never thought I had the right voice for it.'

From the irresistible title track to future singles 'Happy Unhappy' and 'You Wouldn't Like Me,' Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me's dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the '60s, while inverting the trope of the 'sad dude singer accompanied by a homogenous girl-sound.'

All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that's equal parts seasoned perfectionist and D.I.Y.

'There's a lot of sad sincerity in the lyrics,' she continues, 'that relies on the music having a light heart and sense of humor to keep it from being too earnest.' Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. 'That's another New Zealand thing,' Stokes concludes with a laugh. 'We're putting our hearts on our sleeves—and then apologizing for it.'

Chins For Lefty is the debut album and first recording by Gichard, a new duo chronicling the absurdities of end-stage capitalism and mouldering social rituals from their vantage point in Glasgow, Scotland. Recorded primarily in the band’s home studio straight to tape, Chins For Lefty combines gorgeous, ramshackle melody, DIY kosmische punk, drum machine + synth and, in vocalist/lyricist Lisa Jones, an absurdist commentator on the human condition as it navigates the anxieties of the modern world. Instrumentalist Chas Lalli’s swirling music accompaniment stitches an evocative mix of musical styles, the ragged wind beneath the lyrics’ wings.

Although the duo first collaborated in their previous group Dragged Up, their disparate musical and artistic backgrounds make for an alluring mix in Gichard. Lalli has spent the last 20 years in the Glasgow underground, most notably in the noise rock group VOM, while Lisa Jones’s practice was in poetry and spoken word. Beginning as co vocalist in her previous band, in Gichard her lyrics are centre stage; the vision concocted alongside Lalli amounts to a total world-build.

Chins For Lefty scans almost like a novel, with each track elucidating a skewed universe that bears only some resemblance to the one you and I partake in. Like all works of fiction Gichard’s songs are rooted in reality and the lived experiences of its authors, but here characters are exaggerated, social mores and habits are pulled apart to reveal their inherent alienness. Universal emotions are laid bare, the bright light of anxious examination searching out every hairline fracture in our relationships. Distorted and cracked, the mirror that Gichard hold up to our world is also pretty damn funny.

Opener Cholesterol Test launches an expansive, cosmic guitar and synth intro that belies the Tascam-tape recorder it was recorded onto, like a Chromatics cut substituting anxiety for overt sexuality. Here Jones intones an apology to a non-responsive recipient, in the medium of a long voice note forensically deconstructing an interaction from the night before. Over punk guitars and shuffling, lo-fi drum machine splutters, the narrator in Asking The Apes “prefers things to people” before being taken hostage in the city zoo to confess an obsession which consumes the protagonist, ending with the immortal two liner “I sleep in a cocoon of old newspapers at the end of your street / And I think I have been fired from my job,” On album standout Posthumous Hologram, the narrator is faced with a human simulacra, in this case an undead pop star; the face of the encroaching technological singularity. Yes, it does requests, it can do My Way in 200 different language options. But what are the implications? While you’re left pondering, the alternating deadpan verse delivery and undeniably catchy chorus keep you company.

By the time Break Up With Johnny Dogbirth rattles into view, the band are satirising a suburban inanity blown up to cartoon proportions, soundtracked with a drawled musicality that recalls Rowland S. Howard’s post-Birthday Party balladeering. This approach is furthered on Human Resources: over an angular guitar+bass track, Jones’s short story recalls Dry Cleaning’s erudite lyrical post punk. On Soft Face, Lalli’s guitar and drum machine are swathed in echo and delay, as Jones dissects dating rituals with a west of Scotland drollness. Hamming It Up brings a porcine perspective in a short story that begins with the line “I was breastfeeding discreetly in the service station. She didn’t mind.” What follows is a passage punctured with canned laughter and a narrative involving tribute acts, modern farming techniques.

Brilliant first single Your Private Hell closes the album, the closest the group get to earnest perhaps, filtered through a surreal central Scottishness. While Your Private Hell might seem like a sardonic take down of romance, perhaps it’s the very distillation of love in all its awkwardness, selflessness and weirdness. Here there’s a distinctive Glasgow-ness to this doomed romance: the protagonist falls for an outsider, offers them cheap jarred hot dogs and carbolic soap (the infamous, excoriating soap dished out in schools and government buildings throughout Scotland), offers to cover up a murder, stalks them in the all-night Spar. It’s a short story of intrigue, murder and the irresistible pull of self-sacrifice to share in someone else’s suffering. If that’s not love, what is it? You can see this vision mapped out in black and white on their video for 'Your Private Hell'.

The epitome of a modern artist, Jana Bahrich does most things herself, no matter how painstaking - writing, producing, directing, often hand painting t-shirts the day of shows when the band have run out of merch. This has helped give her band Francis of Delirium a unique identity, with her rock confessionals breathing a new life in to the genre and her paintings creating a striking design aesthetic. Released as she was finishing high school, 2020’s single 'Quit Fucking Around’ was a great introduction and it remains one of her most enduring songs.

Shortly after it’s release, she signed to artist-first indie Dalliance Recordings (Gia Margaret, HighSchool, lilo) and three EPs - All Change (2020), Wading (2021), The Funhouse (2022) and a striking debut album - Lighthouse (2024) - on and Jana has Francis of Delirium flying. While the EP’s fizzed with promise, her debut album Lighthouse landed its punches. Seeking a more vulnerable and open sonic palette, she wove in pop elements to create anthems that celebrated heartbreak and love. Lead singles ‘Real Love’ and ‘First Touch’ were the first tracks she made with an outsider - working with GRAMMY winning producer Catherine Marks (boygenius, The Killers, Wolf Alice) - while the rest of the album was produced by Jana herself and day one collaborator Chris Hewett. The critics were impressed too - “Bahrich’s choruses, almost every one, are lumpin-your-throat gorgeous.” NME; “Jana Bahrich seems too young for this tremendous debut’s ambitious anthems.” Uncut; “A rewarding experience that captures a talented, young artist at the crossroads between adolescence and adulthood." Paste. Live, Francis of Delirium are Jana (guitar and vocals), Jeff Hennico (bass) and Denis Schumacher (drums). Together, their brilliant quiet-loud dynamic and tight interplay only elevate her songs and over the last 5 years, they’ve toured across Europe and North America, playing headline shows, festivals and tours with the likes of Blondshell, Briston Maroney, The Districts, Horsegirl and Soccer Mommy. They’ve also supported The 1975, Alanis Morissette, DIIV and Wolf Alice.

Last summer saw a memorable UK tour with Bôa, the 90s band resurrected by a huge TikTok moment for their track ‘Duvet’. There was a real sense of excitement for these shows with young crowds snaking outside every venue hours before doors and bringing the sort of energy Jana thrives on, she road tested new material to an overwhelmingly positive response, giving her the impetus to go and finish album two. An artist who seeks to connect with her listener on a deeper level, it’s no surprise then that she’s made hope and inner strength central themes on her new album, Run, Run Pure Beauty. Jana says the title track is “an imagining of the world after it has been destroyed by humans and technology. Thrashing against what humans have left behind, ultimately the pure beauty of nature wins out.”

Wanting to bring different perspectives into her songwriting with this record - informed by both her travels and the tumultuous times we find ourselves in - she’s also brought about a progression in her sound with these new songs somehow sounding larger, with undeniable harmonies and more orchestration. Featuring the singles ‘Little Black Dress’ and ‘It’s a Beautiful Life’, Run, Run Pure Beauty serves as an excavation of hope in bleak times. Produced by Jana and Chris, and mixed by Nicolas Vernhes (Deerhunter, Dirty Projectors, Silver Jews, Wild Nothing), its eleven songs of discovery, despair and perseverance ultimately serve as a mirror on its creator and is a brilliant next installment in the Francis of Delirium arc.

Greg Mendez war schon immer ein sparsamer Songwriter - er nutzt Zurückhaltung und Einfachheit als Werkzeuge, um den Kern seiner Songs zu schärfen. Auf Beauty Land, seinem neuen Album und Debüt-LP für Dead Oceans, werden wir von einem ironischen, aber nachsichtigen Erzähler begleitet, einem Underdog, der gelernt hat, Zynismus und Glauben in Einklang zu bringen. Diese Songs sind zurückhaltend, ohne selbstmitleidig zu sein, sorgfältig konstruierte Altäre der Unvollkommenheit, vermittelt durch Pop-Melodien, schimmernde, aber eindringliche Gitarren und eine Stimme, die nach der Unschuld eines Chorknaben strebt. Der Großteil von ,Beauty Land" wurde direkt auf Band aufgenommen, fast ganz allein in Mendez' provisorischem Heimstudio in Philadelphia - einem kleinen Raum ohne Tageslicht. Es ist sein erstes Album in voller Länge seit seinem unerwarteten Durchbruch mit dem selbstbetitelten Album im Jahr 2023, das nach 15 Jahren des Schreibens und Aufnehmens von Musik in relativer Unbekanntheit zwischen Philly und New York ein langsamer Erfolg wurde. ,Beauty Land" knüpft dort an, wo wir vor drei Jahren aufgehört haben - es lotet die Tiefen von Trauer, Liebe und Sucht aus -, aber seine intensive, ruhige Klarheit zeigt Mendez von seiner besten Seite als Songwriter. Teile von ,Beauty Land" fühlen sich wie ein luzider Traum an, in dem angeschlagene Charaktere sich ihren Weg durch eine karikaturhafte und verzerrte Welt bahnen - der gebrochene Uhrentakt von ,I Wanna Feel Pretty", das klingende Spielzeugklavier in ,Gentle Love". ,Mary / Dreaming" beginnt als spärliche, fingergezupfte Klage, bevor es abrupt zu einer enttäuschten, Beach-Boys-artigen, aber verkorksten Auflösung übergeht, die sowohl Melancholie als auch Freude hervorruft; ein Gefühl, dass alle Dinge gleichzeitig wahr sein können. Keiner der 14 Tracks ist länger als drei Minuten, aber sie erzählen Geschichten, die ein ganzes Leben umfassen. Der Tod schwebt durch das Album, sei es als Erinnerung oder als Bedrohung. Alles fühlt sich prekär an. Die Art und Weise, wie diese Songs aufgebaut sind, hat etwas Zerbrechliches: die Art und Weise, wie die Begräbnisorgel neben dem Morphium in ,Looking Out Your Window" erklingt, die verheerende Einfachheit von ,Frog" mit seinem verlangsamten Keyboard und dem nackten Refrain: ,Bitte vergib mir meine Fehler." Beauty Land fühlt sich manchmal unmöglich einsam an. Umso mehr zählt es, wenn das nicht der Fall ist - wie zum Beispiel, wenn Mendez gegen Ende von ,So Mean" im Duett mit seiner Frau und Bandkollegin Veronica singt und es sich wie ein lang ersehntes Wiedersehen anfühlt, wie ein flüchtiger Moment der Erlösung, wie eine vorübergehende Teilung der Meere.

Greg Mendez war schon immer ein sparsamer Songwriter - er nutzt Zurückhaltung und Einfachheit als Werkzeuge, um den Kern seiner Songs zu schärfen. Auf Beauty Land, seinem neuen Album und Debüt-LP für Dead Oceans, werden wir von einem ironischen, aber nachsichtigen Erzähler begleitet, einem Underdog, der gelernt hat, Zynismus und Glauben in Einklang zu bringen. Diese Songs sind zurückhaltend, ohne selbstmitleidig zu sein, sorgfältig konstruierte Altäre der Unvollkommenheit, vermittelt durch Pop-Melodien, schimmernde, aber eindringliche Gitarren und eine Stimme, die nach der Unschuld eines Chorknaben strebt. Der Großteil von ,Beauty Land" wurde direkt auf Band aufgenommen, fast ganz allein in Mendez' provisorischem Heimstudio in Philadelphia - einem kleinen Raum ohne Tageslicht. Es ist sein erstes Album in voller Länge seit seinem unerwarteten Durchbruch mit dem selbstbetitelten Album im Jahr 2023, das nach 15 Jahren des Schreibens und Aufnehmens von Musik in relativer Unbekanntheit zwischen Philly und New York ein langsamer Erfolg wurde. ,Beauty Land" knüpft dort an, wo wir vor drei Jahren aufgehört haben - es lotet die Tiefen von Trauer, Liebe und Sucht aus -, aber seine intensive, ruhige Klarheit zeigt Mendez von seiner besten Seite als Songwriter. Teile von ,Beauty Land" fühlen sich wie ein luzider Traum an, in dem angeschlagene Charaktere sich ihren Weg durch eine karikaturhafte und verzerrte Welt bahnen - der gebrochene Uhrentakt von ,I Wanna Feel Pretty", das klingende Spielzeugklavier in ,Gentle Love". ,Mary / Dreaming" beginnt als spärliche, fingergezupfte Klage, bevor es abrupt zu einer enttäuschten, Beach-Boys-artigen, aber verkorksten Auflösung übergeht, die sowohl Melancholie als auch Freude hervorruft; ein Gefühl, dass alle Dinge gleichzeitig wahr sein können. Keiner der 14 Tracks ist länger als drei Minuten, aber sie erzählen Geschichten, die ein ganzes Leben umfassen. Der Tod schwebt durch das Album, sei es als Erinnerung oder als Bedrohung. Alles fühlt sich prekär an. Die Art und Weise, wie diese Songs aufgebaut sind, hat etwas Zerbrechliches: die Art und Weise, wie die Begräbnisorgel neben dem Morphium in ,Looking Out Your Window" erklingt, die verheerende Einfachheit von ,Frog" mit seinem verlangsamten Keyboard und dem nackten Refrain: ,Bitte vergib mir meine Fehler." Beauty Land fühlt sich manchmal unmöglich einsam an. Umso mehr zählt es, wenn das nicht der Fall ist - wie zum Beispiel, wenn Mendez gegen Ende von ,So Mean" im Duett mit seiner Frau und Bandkollegin Veronica singt und es sich wie ein lang ersehntes Wiedersehen anfühlt, wie ein flüchtiger Moment der Erlösung, wie eine vorübergehende Teilung der Meere.

Greg Mendez war schon immer ein sparsamer Songwriter - er nutzt Zurückhaltung und Einfachheit als Werkzeuge, um den Kern seiner Songs zu schärfen. Auf Beauty Land, seinem neuen Album und Debüt-LP für Dead Oceans, werden wir von einem ironischen, aber nachsichtigen Erzähler begleitet, einem Underdog, der gelernt hat, Zynismus und Glauben in Einklang zu bringen. Diese Songs sind zurückhaltend, ohne selbstmitleidig zu sein, sorgfältig konstruierte Altäre der Unvollkommenheit, vermittelt durch Pop-Melodien, schimmernde, aber eindringliche Gitarren und eine Stimme, die nach der Unschuld eines Chorknaben strebt. Der Großteil von ,Beauty Land" wurde direkt auf Band aufgenommen, fast ganz allein in Mendez' provisorischem Heimstudio in Philadelphia - einem kleinen Raum ohne Tageslicht. Es ist sein erstes Album in voller Länge seit seinem unerwarteten Durchbruch mit dem selbstbetitelten Album im Jahr 2023, das nach 15 Jahren des Schreibens und Aufnehmens von Musik in relativer Unbekanntheit zwischen Philly und New York ein langsamer Erfolg wurde. ,Beauty Land" knüpft dort an, wo wir vor drei Jahren aufgehört haben - es lotet die Tiefen von Trauer, Liebe und Sucht aus -, aber seine intensive, ruhige Klarheit zeigt Mendez von seiner besten Seite als Songwriter. Teile von ,Beauty Land" fühlen sich wie ein luzider Traum an, in dem angeschlagene Charaktere sich ihren Weg durch eine karikaturhafte und verzerrte Welt bahnen - der gebrochene Uhrentakt von ,I Wanna Feel Pretty", das klingende Spielzeugklavier in ,Gentle Love". ,Mary / Dreaming" beginnt als spärliche, fingergezupfte Klage, bevor es abrupt zu einer enttäuschten, Beach-Boys-artigen, aber verkorksten Auflösung übergeht, die sowohl Melancholie als auch Freude hervorruft; ein Gefühl, dass alle Dinge gleichzeitig wahr sein können. Keiner der 14 Tracks ist länger als drei Minuten, aber sie erzählen Geschichten, die ein ganzes Leben umfassen. Der Tod schwebt durch das Album, sei es als Erinnerung oder als Bedrohung. Alles fühlt sich prekär an. Die Art und Weise, wie diese Songs aufgebaut sind, hat etwas Zerbrechliches: die Art und Weise, wie die Begräbnisorgel neben dem Morphium in ,Looking Out Your Window" erklingt, die verheerende Einfachheit von ,Frog" mit seinem verlangsamten Keyboard und dem nackten Refrain: ,Bitte vergib mir meine Fehler." Beauty Land fühlt sich manchmal unmöglich einsam an. Umso mehr zählt es, wenn das nicht der Fall ist - wie zum Beispiel, wenn Mendez gegen Ende von ,So Mean" im Duett mit seiner Frau und Bandkollegin Veronica singt und es sich wie ein lang ersehntes Wiedersehen anfühlt, wie ein flüchtiger Moment der Erlösung, wie eine vorübergehende Teilung der Meere.

BLUE & WHITE COLOUR IN COLOUR VINYL

In the culinary arts, it’s easy to overcomplicate the final product. Theme, presentation, texture…they’re important but should work to complement the raison d'etre of any food. At the end of cooking a dish, it should taste good and feed people. Some dishes, like barbeque or provoleta, resist the tendency towards hollow showmanship. One of their expressions can be more or less aesthetic, but the first purpose is to be simple and tasteful. Argentinian provoleta goes so far as to blur the line between ingredient and dish. It relies on the inherent flavor of provolone being heated at the right speed for the perfect amount of time. You can add garlic or chives or red pepper to the slice, but ultimately they serve to bring out an essence that’s already there.

Los Angeles’ Cousin Feo has developed his rapping acumen in the five years since releasing Provoleta, but returning to the project today shows that he always had the penmanship, grit and delivery that christens an emcee worthy of remembrance. Like the bubbles rising up in the appetizer that is the album’s namesake, Feo showed that true profundity is found in the simple gestures.

Since dropping the project in 2019, Cousin Feo has expanded his vision of a world where hip-hop and football, two proletarian art forms, mingle in creative and compelling ways. He has collaborated across multiple continents, chronicled football histories, aided in canonizing legends, kept the flames high in age-old rivalries and constantly forced his audience to search for the last time they heard bars this hard. In anyone else’s hands it would be too great a task.

The maturity he showed on Provoleta wasn’t nascent, it was an inherent quality forcing itself to the surface. The songs refract his experience as a working class Angeleno through the archetypes of Argentinian football legends. The kernel that unites the two worlds is hustle. When Feo was coming up, missteps had greater consequences than crashing out in the group stage and street deals had the weight of a Boca-River Plate match.

Each track uses slightly different ingredients to let Feo’s underlying talent shine. “Maradona” feels salvific, fitting for a football legend canonized from the Andes to the Alps and a Los Angeles rapper looking to inspire similar hope in the neighborhoods that raised him. On “Di Stefano” Feo massages the instrumental with the same composure of the late forward, until he pierces through the headphones like one of Di Stefano’s arrows. It’s also refreshing to hear a song celebrating Messi before his meme-ification, focusing on the universal truths contained in his footballing talent instead of using number 10 as a stand-in to make a point in a fruitless argument. And he still finds space to show deference to Batistuta, Kempes and other members of the Argentinian pantheon who’ve been erased from the popular imagination by the national team's contemporary success.

Real ones know that true players, true rappers, and true artists will always stand the attacks of time and consensus. In Provoleta’s first verse, Cousin Feo says he moves with the hand of God. Maybe one day he’ll tell the whole truth and let us know how he was able to wrestle the pen away too. Limited edition of 300 hand-numbered copies.

Writing of Blues and Yellows is the highly acclaimed debut studio album by the British folk singer-songwriter Billie Marten, who wrote the album at the age of 16. At the end of 2015, the prodigy was nominated for BBC’s Sound of 2016 award. Marten’s thoughtfully crafted debut is a collection of tales, retrospect, and self-examination. It spawned four singles, “Milk & Honey”, “La Lune”, “Lionhearted”, and “Live”, which remain some of her most popular tracks to date.

The deluxe album of Writing of Yellows and Blues is now again available on vinyl. It includes a bonus D side which features demos, the bonus track “Out of the Black”, and an alternative version of her hit “Milk & Honey”.

The Deluxe 10th Anniversary Edition of Writing of Blues and Yellows is released as a limited edition of 1000 individually numbered copies on transparent vinyl, and includes a 4-page booklet

Born out of a shared pop-up studio on the 5th floor of an Omotesandō shopping mall, “Paradox” is the rousing result of a compelling musical collaboration between two British-born, Tokyo-based producers: The Magus Project (Rhythm King / The White Label, Silk Road Sounds, WhatSonic?) and Submerse (Hooversound, Future Retro, Straight Up Breakbeat, Breaker Breaker).

It also marks a collaborative first between The Magus Project’s own WhatSonic? label and Yeti Out’s imprint, Silk Road Sounds.

The archetypal DIY split-single approach — two individual artists offering a track each across a single release — is magnificently elevated in this case by a powerful connective force, in the guise of a shared rhythm spanning Paradox’s non-identical-twin tracks; a relentless pulse that, uniquely, allows either track to be mixed effortlessly into the other, bridging the transition between 126 and 168 bpm or vice versa.

Different speeds, different tracks, identical pulse: making the bpm matter and, well, not matter all at once: a kind of Schrödinger’s tempo, a thought-experiment in sonic form, an either/or/both of genre-spanning stylistic enquiry.

Full colour sleeve with rare use of the Italian only movie artwork.

A few years ago I issued the soundtrack to Virgin Witch, the score to an underground 1971
kinky British London / posh stately home horror that seemed more like an excuse to show as
many racy cars and devilish nude scenes as possible. This fleapit film was written by Hazel
Adair - the writer of legendary long-running TV series Crossroads, and her business partner at
the time Ken Walton (yes, the wrestling commentator). Virgin Witch was cheap and successful
enough to allow the whole team another go at the sexploitation game through their newly
formed production company Pyramid Films. Sex Clinic was the quick follow up; I say Sex Clinic,
the initial cinematic title was Clinic Xclusive, which was also called With These Hands, which
was also called La Masseuse Perverse. This film also came out in 1971 and they used the
musical services of Ted Dicks once again. Dicks had originally met Adair in 1960 through a cast
member performing in his first musical, Look Who’s Here.

If you are not aware of the great Ted Dicks, his quick bio reads as follows: born London 1928,
was educated through both grammar and art school and after National Service flirted with both
art and music. He worked with a series of very talented song writers - including Barry Cryer -
finally sparking properly with writer Myles Rudge. Together “Dicks and Rudge” had a hit with
their musical And Another Thing which starred Lionel Blair and Bernard Cribbins. Their talents
were spotted by producer George Martin and they followed this show success up with a series
of truly classic novelty pop chart hits, again with Cribbins - “Hole In The Ground” and “Right Said
Fred”. If you are not aware of the classic A Combination Of Cribbins LP they wrote, go and find
it. It includes “Gossip Calypso”, a triumph of novelty song writing that somehow manages to
squeeze in the lyric “Oxy-aceteline welder”, and is possibly the only song ever to do so. They
wrote further hits (winning an Ivor Novello for “A Windmill In Old Amsterdam”) and were in
constant demand throughout the 1960s and 1970s, working with artists such as Petula Clark,
Matt Munro, Bruce Forsyth, Topol and Kenneth Williams.

By the late 1960s Ted had also penned a handful of instrumental library cues including the
classic “Busy Boy” for the Standard Library company that got picked up as the theme for the
brilliant TV kids fantasy show Catweazle in 1970. It’s a light, kooky, hummable tune that lodged
its way deep in the mind of any child under 12 over the following decade.

When I first got the reels for Sex Clinic I’m not sure what I was sonically expecting - much of
Dicks’ music blends musical hall with jazz and some brilliant novelty - and maybe I was also
imagining a different kind of film to the one that was actually made. Turns out Sex Clinic is more
like a sleazy drama than an erotic adventure - I’ve read reviews that call it “nothing more than a
naked Crossroads”. Even knowing this I had no idea what the music was going to sound like. So
I was thrilled when it was almost the musical opposite of what I imagined. We have here a great,
easy jazz score. Not a proggy, wild or free jazz score, this is lightish, vibes-led, bluesy and really
charming, which gets slightly more lively when the naked pool party sequence kicks off, and
drifts effortlessly into more seductive midnight moods as and when required. And having now
seen the film, musically it’s unusually at odds with the on screen nudity, blackmail and revenge.

But like most of Ted’s work, the music sticks in your mind. Unlike the film. Which I suggest you
try and avoid unless you like watching plump randy middle aged men with terrible hair pursue
women half their age.

TRACKLISTING: There were no notes or titles to any of the cues on the reels. So I have just simply labeled the sides as per the reels that came in:

■ The latest installment in the popular ocean themed compilation series “SALT... meets ISLAND CAFE”, curated by the beach life magazine/media SALT...,
is DEEP BLUE the series’ first ever ambient music compilation. Centered around the title concept inspired by the deep, tranquil blue of the ocean, the album
presents soothing music tailored to modern lifestyles, spanning chillout, Balearic, meditation, and healing sounds.

■ Ten artists each highly trusted by discerning listeners across the ambient, chillout, Balearic, and surf‑music scenes have created brand‑new, original ambient
tracks inspired by the theme. From pioneers active since the ’90s to cutting‑edge trackmakers, this compilation brings together a stunning collection of
ocean‑themed ambient music.

■ Mastering is handled by ambient/Balearic maestro Calm, who is also featured as one of the contributing artists, delivering an exceptional sonic experience.
Enjoy all ten tracks, each expressing its own unique interpretation of DEEP BLUE.

■ The artwork features an artistic photograph by Pedro Gomes, a Brazil born, Japan based surf photographer, with design by Masato Maekawa (tAnkers inc.),
known for his work across apparel and outdoor brands. Under the supervision of SALT..., the visuals perfectly capture the compilation’s immersive world.


[b] a2. [.que] / deeply

Zum 60-jährigen Jubiläum von Raumpatrouille - Die phantastischen Abenteuer des Raumschiffs Orion erscheint die siebte Veröffentlichung unserer Peter-Thomas-Reihe als erweitertes, klanglich überarbeitetes Reissue auf CD und LP. Der ikonische Soundtrack gilt bis heute als einer der prägendsten der deutschen TV-Geschichte - futuristisch, rhythmisch, wagemutig. Peter Thomas verlieh der Serie eine einzigartige Klangsignatur, deren Strahlkraft weit über das Bildschirmformat hinausreicht. Der legendäre Vocoder-Countdown und Titelthema wurden zahllos gesampelt, gecovert und neu interpretiert - u. a. von Pulp, Pizzicato Five, Die Fantastischen Vier und Mousse T. In Zusammenarbeit mit Philip Thomas konnten vier bislang unveröffentlichte Stücke aus dem Nachlass des Komponisten ergänzt werden. Die LP basiert auf der Philips-Originalausgabe von 1966, erweitert um die neuen Titel - und enthält ausschließlich Musik, die in der Serie zu hören war, mit einer Ausnahme: "Bolero on the Moon Rocks", dessen Sample Pulp 1998 zu This Is Hardcore inspirierte. Die CD bietet über 60 Minuten Originalmusik, inklusive rarer Outtakes, ohne später hinzugefügtes Füllmaterial.

Zum 60-jährigen Jubiläum von Raumpatrouille - Die phantastischen Abenteuer des Raumschiffs Orion erscheint die siebte Veröffentlichung unserer Peter-Thomas-Reihe als erweitertes, klanglich überarbeitetes Reissue auf CD und LP. Der ikonische Soundtrack gilt bis heute als einer der prägendsten der deutschen TV-Geschichte - futuristisch, rhythmisch, wagemutig. Peter Thomas verlieh der Serie eine einzigartige Klangsignatur, deren Strahlkraft weit über das Bildschirmformat hinausreicht. Der legendäre Vocoder-Countdown und Titelthema wurden zahllos gesampelt, gecovert und neu interpretiert - u. a. von Pulp, Pizzicato Five, Die Fantastischen Vier und Mousse T. In Zusammenarbeit mit Philip Thomas konnten vier bislang unveröffentlichte Stücke aus dem Nachlass des Komponisten ergänzt werden. Die LP basiert auf der Philips-Originalausgabe von 1966, erweitert um die neuen Titel - und enthält ausschließlich Musik, die in der Serie zu hören war, mit einer Ausnahme: "Bolero on the Moon Rocks", dessen Sample Pulp 1998 zu This Is Hardcore inspirierte. Die CD bietet über 60 Minuten Originalmusik, inklusive rarer Outtakes, ohne später hinzugefügtes Füllmaterial.

Godzilla’s/Eatin’ Dust is the most popular release in Fu Manchu’s 30 year recorded history. It is the combination of what were originally 2 distinct 10” releases: Godzilla (1997) and Eatin’ Dust (1999).In 2018, Scott Hill (vocals/guitar) found the original tapes from the Godzilla recording sessions produced by Josh Homme (Queens Of The Stone Age/Kyuss) and unearthed a secret that had been in his garage since 1996...The band had recorded 4 songs that had never been released. These extra songs are early versions of "Grendel, Snowman," "Strolling Astronomer" and "Urethane” (whose final versions appeared on 1997’s The Action Is Go) and a cover of Thin Lizzy's "Jailbreak" (which is a different version than the one which was released on 7” in 1998). The songs line up perfectly with the original tracklist, which includes the band’s crowd pleasing cover of Blue Oyster Cult’s “Godzilla” and fan favourites “Eatin’ Dust” and “Mongoose” (which was featured in a Super Bowl commercial for Toyota and included in the TV series “Sons Of Anarchy” and the films “Boondock Saints II” and “The Hot Chick”).In 2019, the band released a 2,000 unit limited edition of this new version in a triple 10" package. Due to the continuing demand after this version sold out, in 2020 the band issued a new limited edition version of 1,500 units neon green and white splatter double 12" gatefold package with 2 sided insert including the previously unreleased tracks at 45 RPM for the heaviest audio possible. Five years later, they are finally doing a repress of this 45RPM double 12” version on white with brown splatter vinyl in a limited edition run of 2000 units.

Long overlooked and pressed in modest quantities, the album quietly built a reputation among collectors as one of those rare low- budget releases where the artistry far outweighed the resources behind it. Fronted by the charismatic Herbie Hunte, whose warm and expressive vocals drive the record throughout, the Royalists blend blue-eyed soul, post-beat pop, light psychedelia and baroque flourishes into a sound both sincere and distinctive. From the infectious opener "Baby I Love You" to the ambitious "Royal Suite" and the atmospheric instrumental standout "Lost Voyage," the album showcases a band making inspired music with heart, energy and imagination. Despite its humble origins, The Soul of The Matter stands today as a rediscovered gem--passed between collectors and crate-diggers for decades. Now lovingly reissued by Morgan Blue Town, this edition finally gives the album the attention and presentation it deserves.

Moving Images is a collaborative album by composers Frank Maston and Greg Foat, and marks the inaugural release on Magic Hollow, the new imprint founded by Daniel O'Sullivan. Rooted firmly in the tradition of classic library music, the album draws from the deep, elegant end of the form: vintage keyboards, analogue synthesis, drum machines, and melodic economy, realised with clarity, warmth, and restraint. Recorded in February 2025 at Ritmo Studios in Leysin, Switzerland, high in the Alps, Moving Images unfolds as a suite of finely balanced cues, defined by restraint, texture, and a discerning sense of tone.Swiss bassist Elie Ghersinu features prominently throughout the album, his rich and fluid bass tone providing a continuous anchor. The record draws inspiration from the golden age of European library music, channeling the spirit of De Wolfe and Bruton releases such as Alan Hawkshaw's Frontiers Of Science, the Push Button albums by Karl Jenkins and Mike Ratledge, Edmondo Giuliani's refined orchestrations, and Alessandro Alessandroni's Romance and Drama for Coloursound. Rather than pastiche, Moving Images internalises the discipline and elegance of these recordings, translating their grammar into a contemporary context. Maston Frank Maston's work occupies a space where pop sophistication, orchestral writing, and library traditions intersect. His seminal album Tulips established a distinctive voice defined by melodic confidence and meticulous arrangement, while Panorama, composed for the KPM library, placed him firmly within the lineage of modern composers revitalising the classic library form.Maston's music is characterized by melodic generosity and meticulous arrangement, resulting in work that is elegant, florid, and richly detailed. Greg Foat Greg Foat is a central figure in the contemporary resurgence of library-influenced music, known for his prolific output and deep engagement with the form. A virtuoso pianist, his work bridges jazz, soundtrack composition, and classic library aesthetics, often favouring analogue warmth, strong melodic identities, and ensemble interplay. Foat approaches library music as both a craft and a living language, practical, expressive, and open ended. Moving Images Together, Maston and Foat treat Moving Images as a shared vocabulary rather than a showcase. The album prioritises mood, utility, and suggestion, music designed to serve images and narratives while remaining richly satisfying in isolation. Magic Hollow Magic Hollow is a London based record label founded by composer Daniel O'Sullivan. The imprint is dedicated to contemporary works that engage with library music as a creative practice rather than a fixed genre.Magic Hollow represents a parallel compositional practice in which the sonic self-portrait gives way to openness, economy, and concision.

When Hot Mulligan took to social media to declare themselves #1 Hot New Band, it would have been easy to write off the terminally online emo quartet’s proclamation as yet another irreverent entry into their bag of tricks.

But it turns out Hot Mulligan have a way of manifesting things into existence, whether it’s name-dropping Michelle Branch and Mark Hoppus in song titles and netting responses from both (only one got the joke) or, true to their word, becoming synonymous with the newest waves of pop-punk and emo – err, post-emo, the genre Hot Mully have claimed responsibility for inventing. (Go ahead and fact-check it; they’ll wait.)

When Hot Mulligan took to social media to declare themselves #1 Hot New Band, it would have been easy to write off the terminally online emo quartet’s proclamation as yet another irreverent entry into their bag of tricks.

But it turns out Hot Mulligan have a way of manifesting things into existence, whether it’s name-dropping Michelle Branch and Mark Hoppus in song titles and netting responses from both (only one got the joke) or, true to their word, becoming synonymous with the newest waves of pop-punk and emo – err, post-emo, the genre Hot Mully have claimed responsibility for inventing. (Go ahead and fact-check it; they’ll wait.)

One of electronic music’s most sought-after names, producer and DJ KETTAMA today announces the release of his long-awaited debut album, Archangel, out 3rd of October. The announcement arrives in tandem with new single “Sort It Out” featuring Clouds, and a landmark moment in his career: his biggest ever London headline show, taking over Brixton Academy on Saturday, October 4th, followed by an expansive tour across Europe, North America, and Australia.



A decade in the making, Archangel is the definitive statement from KETTAMA (Evan Cambell), the Galway-born, London-based artist. The 15-track project is a powerful blend of hard-house energy, trance-inflected euphoria, hip-hop sample-based attitude, and unmistakable emotional depth—sonic signatures that have placed KETTAMA at the cutting edge of contemporary dance music.



The album showcases a curated roster of collaborators who reflect KETTAMA’s reach and relevance across today’s underground and mainstream scenes, including Interplanetary Criminal, Fred again.., Clouds, Prospa, DJ HEARTSTRING, Shady Nasty, SØLV and seantommy. Their contributions amplify the project's scope, offering a multi-sided view into KETTAMA’s musical universe.



Among its early singles, the Interplanetary Criminal collaboration “Yosemite” is a high-velocity anthem marrying speed-garage grit with ecstatic rave melodies, while his track “Air Maxes” with Fred again.. And Shady Nasty blends introspective vocal sampling with wide-eyed club emotion. On “If U Want My Heart” with DJ HEARTSTRING featuring KLP, the ensemble channels high-energy trance, breakbeats, and vocal euphoria into a soaring anthem that fuses emotional intensity with peak-time club energy. Meanwhile, his collaboration with Clouds, released today, “Sort It Out” dives headfirst into industrial-techno territory, conjuring a dark, cathartic energy destined for warehouse euphoria. And reigning as one of the undeniable anthems of the summer so far, “It Get’s Better (Forever Mix)” delivers euphoric waves of uplifting synths and relentless rhythm, bringing an irresistible surge of energy that’s become synonymous with this summer’s club moments.



Archangel has already found a home on the world’s biggest stages and radio airwaves, with early support from key tastemakers including Jack Saunders, Danny Howard, Sarah Story, and Tim Sweeney. Simultaneously, a grassroots groundswell continues to bloom across social platforms—where viral snippets and show footage capture the visceral reaction of a fast-growing, global fanbase.



This year, KETTAMA has elevated his status to a full-blown festival phenomenon, performing at major stages including Coachella, Glastonbury, Creamfields, Portola, Seismic, and ARC Festival, to name a few. In June, he played to 20,000 people in Belfast for a b2b with Chris Stussy—one of the UK’s largest DJ events in recent memory—and is currently mid-way through a 16-week Ibiza residency at Amnesia, playing every Monday night throughout summer. Full list of upcoming live dates can be found below.



Perhaps the clearest signal of his surging popularity is the jaw-dropping response to his upcoming Boiler Room live set, with over 15,000 fans signing up to attend— the set’s release is now highly anticipated as a time capsule moment in a breakout year for the artist.



KETTAMA’s rise to prominence has been anything but conventional. Eschewing the traditional gatekeepers of the industry, KETTAMA cultivated an underground following through the likes of SoundCloud and TikTok, where raw uploads, bootlegs, and viral edits generated a tidal wave of grassroots momentum. Over the years, these platforms became launching pads for a fiercely loyal global community, drawn to his unfiltered energy and boundary-pushing sound. This subversive path to recognition has made him not just a fixture of the scene but a symbol of how new-generation artists can forge success on their own terms.



From his humble roots in the Irish underground to the world stage KETTAMA is now pushing the limits of what a next-gen DJ-producer can achieve. With Archangel, he fuses the sound of his native ‘G-Town’ with a futuristic vision that’s unapologetically global—marking a creative milestone that cements his place among electronic music’s most compelling voices.

Radhika Meera Dade: “Ever since I entered this realm, music has surrounded me in every way possible. The sounds of magic have been nourishing my soul since birth, the first memories I have as a young child are listening to my dad’s eclectic vinyl collection. I feel so lucky to have been exposed to such a range of music at a really young age: artists from Alice Coltrane to The Go-Betweens, all of these musicians have subconsciously and consciously inspired me musically in many different ways”.

Glass Modern is very proud to present the debut album by Radhika Meera Dade. Cine-Pop is a collection of songs that flow gently and easily in and out of each other - a suite, a short film, everything an album should be. Coming in at 33.3 minutes, it’s the perfect length for an album, it doesn’t short change you, it doesn’t stay too long - it’s designed to be played in one sitting. It’s like being in a friend’s house and noticing the things that are most important in their life - objects, family portraits, records, musical equipment, their curated accumulation. It reflects so many things - culture, community, fandom and the incredible bond between Radhika and her father, Sushil, the Future Pilot AKA. The record spans generations and continents but its home is always Radhika and the family jams she made with Sushil in various garages, bedrooms and garden dens - her soaring voice and love of all kinds of music from Bollywood to Goth Pop to The Glasgow School. The songs are collected from memory and the immediacy of time - one goes all the way back to her 10 year old self penning Future Me, an eco anthem. In different moments other musicians appear - most notably key collaborator, Eric MacDonald, on hazy synth and keys, and Radhika’s mother Vinita, who has a gorgeous voice too. The Glasgow School is very present - Mitch Mitchell (The Pastels) , Gerard Love (Lightships/ ex-Teenage Fanclub) and Tracyanne Campbell (Camera Obscura) all bring their casual magic to the table. Cine-Pop, mostly made in Glasgow at La Chunky Studio with the excellent Colin McGeogh (who also contributes flute, keys and electronics) is a one-off. It’s unrepeatable - there, gone. It’s the world through the eyes of a dazzling young Indo-Scottish woman. Everything she is has gone into it, is part of it and is there for a reason. Following on from the first single, Starry Eyes, which was played multiple times on BBC 6Music and other stations, other singles to be released from the album include Feline Bandits plus a version of the Strawberry Switchblade classic Since Yesterday. Radhika will also be collaborating with Glasgow-based film maker, Laura Meek, on promos and the plan is to play live throughout the year.

Limited, 500 copies black gatefold 2LP...

Originally released in 2013, the long-awaited second album from Lulu Rouge finally returns to vinyl in its first-ever limited repress — revived after years of growing demand.

The Song Is In The Drum captures the duo at their most fearless and immersive. Known for their deep melancholia and anti-traditional pop structures, Lulu Rouge blur the lines between dark dub, cinematic electronica, and left-field songwriting. Intense, soul-cutting vocal pieces unfold alongside towering instrumentals — brooding, beautiful, and unapologetically atmospheric.

The album features standout appearances from Danish indie pop visionary Asbjørn and Icelandic-born vocalist Fanney Osk, adding further depth to an already richly textured sonic landscape.

Across 11 meticulously crafted tracks, producers Torsten “Buda” Jacobsen and Thomas “T.O.M” Bertelsen shape a world that feels both intimate and vast. Every beat is deliberate, every space intentional. This is music that doesn’t simply play — it envelops.

Fifty-three minutes that grip you by the heart and refuse to let go.

Welcome to the brightest dark place you’ve ever been.

Look out for a much anticipated new album coming later this year from Lulu Rouge - making this re-issue a timely reminder of the power of their work.

Repress 2025
The King of K-Pop Returns!

To those unfamiliar, G-Dragon is regarded by many as the Godfather of K-Pop. Rising to fame in the mid-00’s with his group, Big Bang, that later went on to become one of the world’s biggest selling boy groups. He quickly stood out with his unique and intricate songwriting as the leader of the group. A talented songwriter and trendsetter within the youth culture and fashion space, G-Dragon has received a bevy of awards, nominations for his music and fashion sense from the World Music Awards, to Hypebeast’s 100 list, to Forbes’ 30 Under 30 list, it’s apparent that G-Dragon has cemented his place in cultural relevance.

After serving his mandatory South Korean military service and a brief hiatus from music, the global superstar, G-Dragon has returned! He announced that he signed with indie-powerhouse, EMPIRE, and released his first comeback single on October 31, 2024 with POWER to immediate global fanfare and buzz, with the music video garnering over 44 MILLION views in a month and over 115 MILLION global streams. He soon followed that up with an electrifying performance at the 2024 MAMA Awards show in Osaka coupled with the release of his new single, Home Sweet Home which has garnered 100 MILLION global streams since release.

2025 will see the release of his first full length album since 2017 entitled Übermensch along with global tour dates. The album is expected to make a huge impact globally and further cement his place in music history!

Bleachers' new album “everyone for ten minutes” will be released on 22 May 2026. Described by The New York Times as “anthemic, life-affirming pop rock,” Bleachers are fronted by eleven-time Grammy Award-winning singer, songwriter, musician, and producer Jack Antonoff. Over the past decade, Bleachers have built a massive, devoted following, renowned for their impressive live show and infectious camaraderie. Bleachers’ self-titled fourth studio took the band to new heights including a sold-out Madison Square Garden & the cover of Rolling Stone magazine.

Bleachers' new album “everyone for ten minutes” will be released on 22 May 2026. Described by The New York Times as “anthemic, life-affirming pop rock,” Bleachers are fronted by eleven-time Grammy Award-winning singer, songwriter, musician, and producer Jack Antonoff. Over the past decade, Bleachers have built a massive, devoted following, renowned for their impressive live show and infectious camaraderie. Bleachers’ self-titled fourth studio took the band to new heights including a sold-out Madison Square Garden & the cover of Rolling Stone magazine.

Bleachers' new album “everyone for ten minutes” will be released on 22 May 2026. Described by The New York Times as “anthemic, life-affirming pop rock,” Bleachers are fronted by eleven-time Grammy Award-winning singer, songwriter, musician, and producer Jack Antonoff. Over the past decade, Bleachers have built a massive, devoted following, renowned for their impressive live show and infectious camaraderie. Bleachers’ self-titled fourth studio took the band to new heights including a sold-out Madison Square Garden & the cover of Rolling Stone magazine.

Tajemnica is a transgression—too gentle for dancing, too euphoric for standing still. Sparse, scarce, and subtle, the new album by Polish performance artist, musician, and poet Wojciech Kosma, aka spalarnia, eagerly explores modern dance genres, experimental production, and nostalgic electronics to surrender to what is truest—essential song forms, melodies, harmonic and rhythmic basics, the most resonant feelings.

Sung in spalarnia’s trademark soft, low, almost tactile voice, the eight hypnotic songs tell stories of closeness and love, and their favored companions—pain and heartbreak. In “Bliżej” he sings “I love not loving you / I want to be a part of you.” And in “Jedyna”—the album's single—he states: “You are the only one / there is no other me / only the one for whom you are the only one.”

Contrary to the meaning of its Polish title (Tajemnica translates to “secret”), the album that moves between ghostly ambient pop, languid R’n’B, and Eastern European folk doesn’t reveal anything outright—the music only points to where the secrets might lie. One can choose whether to hear them or not.

12 Inch Lovers nothing but classix, straight from vinyl! Part 2 of two double vinyl-pack incl. Tensnake, Afro celt Sound System, Midnight Star, Robert Babicz, Gregor Salto, Lovebirds, and Codec & Flexor



After its foundation in 2012, 12 Inch Lovers have become a household name for vinyl lovers in Belgium. Their parties sell out time and time again and focus on an adult audience that loves house and club music from the mid 90s to the present. This in combination with unique locations and DJ's that only play vinyl generates a very dedicated and passionate audience that share one big love: vinyl.

Die XKatedral Anthology Series III ist die dritte Ausgabe einer Reihe von Archivveröffentlichungen, die Musik von Komponisten zeigen, die sich mit langsam sich entwickelnder harmonischer und klanglicher Musik beschäftigen. Die hier vorgestellten Stücke konzentrieren sich auf die Verwendung von synthetischen und akustischen Klängen sowie auf algorithmische Komposition als Werkzeuge für präzises Arbeiten im Bereich der spektralen Erforschung. Dieses Doppel-Vinyl-Set erscheint anlässlich des zehnjährigen Jubiläums des Labels und enthält Werke aus den Jahren 2014 bis 2025. Es wird zusammen mit Neuauflagen der XKatedral Anthology Series I-II veröffentlicht. "My Falling Sinks" von Kali Malone ist eine sparsame, absteigende Melodie für justierte Orgel, Cello und Akustikgitarre mit Lucy Railton und Stephen OüfMalley. Das Stück ist eine kompositorische Skizze in septimaler reiner Stimmung, die 2021 während eines Aufenthalts in La Becque auf einer experimentellen Stimmorgel in La Temple de La Tour-de-Peilz entstanden ist. ,Empyrean Flare" von Maria W Horn wurde 2022 für ,The Dawn Chorus" der Choreografin Stina Nyberg komponiert. Dieses Stück nutzt die von Arvo Pärt entwickelte Tintinnabuli-Technik, um vier Supersaw-Oszillatoren in langsamen diatonischen Arpeggios zu animieren, die um eine Moll-Tonika-Dreiklang kreisen, und destabilisiert das harmonische Gerüst durch Glissandi und verstärkt die Summe seiner Teile durch analoge Bandsättigung. ,Tessellation" von David Granstrom wurde im Sommer 2017 mit generativen Synthesemethoden komponiert. Die musikalische Periodizität und harmonische Bewegung, die in dem Stück zu hören sind, entstehen durch feste synthetisierte Bandschleifen, die einen Raum zwischen gegensätzlichen Welten erkunden. "To Whoever Shall Inherit the Earth" ist das erste Solostück von Jessica Ekomane und entstand laut der Komponistin fast zufällig. Das Werk wurde vor einem Jahrzehnt spät in der Nacht aufgenommen und fängt einen flüchtigen, zerbrechlichen und unwiederholbaren Moment ein, der genau so festgehalten wurde, wie er sich ereignet hat. Smoking Mother von Stephen OüfMalley wurde für Gisele Vienneüfs Der Teich / LüfEtang von Robert Walser geschaffen. Es wurde 2018 während eines Aufenthalts im SMEM-Synthesearchiv in Freiburg komponiert und im August 2020 bei EMS produziert. Das Stück greift auf Werke von Zia Mohuiddin Dagar, Krzysztof Penderecki und Popol Vuh zurück und erkundet gleichzeitig die Wurzeln des Minimalismus. ,Att boja sjalarna" von Mats Erlandsson wurde 2018 komponiert und ist Teil von ,On Eternity", einer Sammlung von vier Texten und vier zehnminütigen Kassettenloops, die 2021 von Irrlicht Forlag als limitierte Box-Set-Edition veröffentlicht wurde. Dieses Werk enthält Darbietungen von Gaianeh Pilossian und Sara Fors, jeweils auf der Violine und mit Gesang. This will be my last piece for organ wurde 2025 von Theodor Kentros komponiert und nutzt Gruppen von Cluster-Oszillatoren durch resonante Rückkopplung, um die schwankenden Frequenzen zu synthetisieren, die beim Verstimmen einer Orgel im physischen Raum zu hören sind. "Fault Lines" wurde von Daniel M Karlsson mit generativen Methoden komponiert, wobei ein deterministischer und endlicher Output für diese Veröffentlichung festgelegt wurde. Dieses Stück enthält Gesangsdarbietungen von Sara Fors, Ansis B.ti. und Art.rs C.ukurs.

• “Guerrilla Girls!”, Ace Records’ much-anticipated first release of 2023, takes us on a thrilling ride from punk’s mid-70s origins, via the left-field post-punk groups, jangly female combos, grunge bands and vigilante Riot Grrrls of the 80s and 90s, to the she-punk bands of recent years – a five-decade alternative to the macho hegemony of rock.

• The collection highlights songs that emerged out of a dynamic underculture of female creative expression. What unites the featured artists is a healthy disregard for the way the music industry ties up its female performers into pretty, neo-liberal packages. From Patti Smith, universal mother of the punk movement, to the Bags, Bikini Kill and Skinny Girl Diet, this music is anti-A&R. Including lesser-known names such as San Francisco street punk Mary Monday and London-based experimentalists pragVec, it shows that, rather than being a few novelty bands existing on the margins, these performers represent a stronger, more three-dimensional version of the female experience.

• Glorious resistance was on display in the first wave of UK female-fronted punk bands. Poly Styrene’s charged vocals on X-Ray Spex’s ‘Iama Poseur’, for instance, were a deliberate refusal to be a pretty punkette. With 15 year-old Lora Logic on saxophone, X-Ray Spex epitomised a fearless, self-defined agency that was at odds with the pastel shades and flowery, submissive Laura Ashley version of 1970s girlhood. By the early 80s, there was a hugely vibrant scene propelled by the diverse rhythms and voices of post-punk feminism. Lora Logic had left X-Ray Spex to form the interweaving textures of Essential Logic, the Mo-dettes mangled ska and off-kilter pop, and Birmingham band Au Pairs sliced political rigour into their lyrics and funky guitar work.

• Some female artists took that elemental energy into pop, creating pop-punk with a twist. We’ve Got A Fuzzbox And We’re Gonna Use It!! made a statement on music technology and female power with a cheeky play on words. Their song ‘Rules And Regulations’ shows that what Guerrilla Girls do well is debunking – taking genres of popular song and turning them inside out – like the way the Pandoras and the Pussywillows would amp up the driving beat and high vocals of the 60s girl group style, and subvert it with a DIY garage element.

• In its fanzine culture, use of montage and DIY music, 90s Riot Grrrl bands such as Bikini Kill and Bratmobile drew direct inspiration from 70s punk, articulated through the prism of Third Wave feminism. Too often, Riot Grrrl gigs were invaded by men intent on heckling “the enemy”. Liz Naylor, manager of British Riot Grrrl band Huggy Bear, says that their concerts became war zones. From the US grunge and Riot Grrrl scenes emerged more female instrumentalists, with bands such as L7 and Babes In Toyland proving that it was possible to recruit cutting-edge drummers, bass players and guitarists. Lori Barbero, whose relentless power drumming is a major element of Babes In Toyland, took the one instrument that has been a staple of male rock’n’roll and made it her muse.

• In the 2000s a new generation of girl-punk bands drew on the Riot Grrrl underculture to form their own sound. London trio the Tuts refashioned C86, Riot Grrrl and lush dream pop on songs like the ironically titled ‘Let Go Of The Past’, while the Regrettes injected shots of ska and doo wop into their explosive West Coast pop-punk. What began with Patti Smith and 70s punk has grown into a vast, spikey infrastructure of girl music. Many take inspiration from their foremothers, like Skinny Girl Diet whose vigilante feminism and punk distortion has been championed in return by Viv Albertine of the Slits. As long as these female artists stay aware of their musical vision and what they are trying to express – in a sense, A&R themselves – the underculture will continue to grow and flower. And this “Guerrilla Girls!” compilation is a celebration of that power.


• The back sleeve of the release features a scene-setting introductory essay by Lucy O’Brien (author of She Bop: The Definitive History Of Women In Popular Music). Each of the two discs come in a swanky inner bag containing a track commentary by compiler Mick Patrick (Ace Records’ long-serving champion of female artists of all persuasions) and exclusive interviews with many of the featured artists by Vim Renault and Lene Cortina (founders of the Punk Girl Diaries webzine).

Loukeman is a Toronto-based producer, DJ, and songwriter. His music pulls from folk, pop, rap, and R&B, creating his own warped yet familiar forms. He’s earned support from the likes of a wide range of artists including Fred again.., Obongjayar, Aminé, Skin on Skin, Ecco2k, and more. He’s delivered official remixes for PinkPantheress, Vegyn, and Obongjayar, and he’s shared stages with some of the most exciting acts in the underground. Most recently, he's produced 5 tracks on ASAP Rocky's long awaited record, 'Don't Be Dumb.' Having garnered praise for his self-released Sd-1, Loukeman followed up with Sd-2, which established his cultural and critical presence.

Sd-2 — the second of a planned trilogy -- continued his display of range as one of the most exciting producers in recent years. Following the release, praise followed from the likes of Pitchfork, Resident Advisor, Mixmag, and numerous others. He launched a series of club nights titled BRXZN WXRLD in 2024, which sold out across London, Los Angeles, Toronto, and NYC. A recent guest mix on Rinse.fm provides a glimpse into his eclectic mix style and range of edits. His music has been used by a multitude of brands from Burberry, and Stussy to Nike and Apple. With a forthcoming album in 2026, he's also caught the attention of several pop acts as a producer and co-writer.

Constructive is pleased to announce, 'Utopia or Oblivion', a new compilation featuring ten artists inspired by the pioneering work of R. Buckminster Fuller, with each track inspired and in response to Fuller's work specifically Utopia or Oblivion', first published in 1963.

From the irregular glitch pop scintillation of 'How Would I Be? What Would I Do' by German artist & founding member of To Rococo Rot, Robert Lippok, to the heartfelt ambient and seraphic voices of 'Afterimage' by Japanese artist Tujiko Noriko (Editions Mego, PAN, Room40), through to the tensile, eruptive, dub-contoured emittances of 'Tensegrity Rhythms' by Peruvian experimental composer Ale Hop (Karlrecords).

Elsewhere, there are appearances from the Bafta-nominated composer Adam Janota Bjowski (Saint Maud OST), musician & Constructive co-founder Adrian Corker, London-based experimentalist No Home, Italian artist & NTS Radio resident Silvia Kastel (Blackest Ever Black, Palto Flats, Youth), British sound artist David Prior, and a unique collaboration between the British DIY experimental musician Richard Skelton & Corey Fuller, a descendant of R. Buckminster Fuller.

We’ve all experienced that feeling when a song instantly transports us back to the moment we first heard it and became completely hooked. For Linda & Norm, “Moments to Want You” by the Jerry Lillard Band carried the warm vibes of a Parisian summer in 2019. Fast-forward to 2025, they revisited the track with a complete twist, nudging it toward an AOR resurgence for the label’s Soft Rock for Hard Times series.

The original version by the Jerry Lillard Band was released in 1981 on a German rock sampler, created in protest against the closure of their rehearsal space in an old school building. “Moments to Want You” stands out for its haunting melody, heartfelt lyrics, and compelling arrangements. Inspired by these elements, Linda & Norm cast the song in a new light, leaning into ’80s-tinged guitar pop à la Trevor Horn, with hints of psych bedroom pop in a distinctly Californian fashion.

Joining the release are two favorite artists of theirs, further expanding the song’s potential into dancefloor territory. Sydney’s own DD Mirage delivers the smoky, dubby disco blend we’ve admired since their debut album, while seasoned producer Justin Van Der Volgen brings the B-side magic, echoing the authentic stripped-back dub approach in the vein of Pettibone and Baker. To round it out, an instrumental version, along with an extended mix courtesy of Justin, complements the release, making it a 12” worth pulling out whenever the moment calls.

San Diego’s Mrs. Magician has always bent surf music and punk into something delightfully off-kilter — sun-soaked, hook-heavy power pop with a lyrical fixation on life’s darker undercurrents. Their 2012 debut, Strange Heaven, was a nihilistic pop statement that grew into a cult classic. The 2016 follow-up, Bermuda, sharpened the edges with punchy, nervy songwriting. Both records were produced by John Reis (Rocket From The Crypt, Hot Snakes, Drive Like Jehu), cementing the band’s place in Southern California’s underground lineage. Now, in 2026, Mrs. Magician reemerges with their long-awaited third LP, Spiritual Hangover. Recorded at Dave Grohl’s Studio 606 and Singing Serpent Studios with producer Christian Cummings, Spiritual Hangover finds songwriter Jacob Turnbloom trading youthful nihilism for something more reflective. Where earlier records wrestled with existential dread through anthemic defiance, this new collection embraces uncertainty — an admission of ignorance in the face of the human condition, paired with a genuine longing for connection and understanding. The humor remains. The hooks are sharper than ever. But the perspective has shifted.

These songs feel less like a declaration of dominance and more like a celebration of fragility — an acknowledgment that life is fleeting, confusing, and still worth enjoying. The album features Andrew Montoya (drums) and Mark Rivera (bass) of The Sess, Ian Fowles (guitar) of The Aquabats, and John Reis (guitar). Spiritual Hangover channels the bright urgency of late-’70s power pop through a distinctly Californian lens — warm, melodic, and irresistibly alive. “Super fun, well crafted, with great melodies. It gives me that late ’70s power pop energy I loved so much as a kid. Every track has something joyous to grab onto. In a world full of bleak news, Spiritual Hangover is a warming blast of California sunshine.” — Walter Schreifels (Gorilla Biscuits/Quicksand)

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On The Beths’ album Expert In A Dying Field, Elizabeth Stokes’ songwriting positions her somewhere between being a novelist and a documentarian. The songs collected here are autobiographical, but they’re also character sketches of relationships – platonic, familial, romantic – and more importantly, their aftermaths. The shapes and ghosts left in absences. The question that hangs in the air: what do you do with how intimately versed you’ve become in a person, once they’re gone from your life?

The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. With Expert, The Beths wanted to make an album meant to be experienced live, for both the listeners and themselves. They wanted it to be fun -- to hear, to play -- in spite of the prickling anxiety throughout the lyrics, the fear of change and struggle to cope.

Most of Expert was recorded at guitarist Jonathan Pearce’s studio on Karangahape Road in Tāmaki Makaurau, Aotearoa (Auckland, New Zealand) -- and sometimes in the building's cavernous stairwell at 1am -- toward the end of 2021, until they were interrupted by a four-month national lockdown. They traded notes remotely for months, songwriting from afar and fleshing out the arrangements alone, the first time they’d written together in such a way. The following February, The Beths left the country for the first time in more than two years to tour across the US, and simultaneously finish mixing the album on the road. That latter half felt more collaborative, with everyone on-hand to trade notes in real time, until it all culminated in a chaotic three-day studio mad-dash in Los Angeles. There, Expert finally became the record they were hearing in their heads.

Expert is an extension of the same skuzzy palette the band has built across their catalog, pop hooks embedded in incisive indie rock. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.”

The rest is a capsule of The Beths’ most electrifying and exciting output, a sonic spectrum: “Your Side” is a forlorn and sincere love song, emotive; while “Silence is Golden,” with its propulsive drum line and stop-start staccato of a guitar line winding up and down, is one of the band’s sharpest and most driving. “When You Know You Know” skews a bit groovier, pure pop and a natural addition to the band’s live set. “Knees Deep” was written last minute, but yields one of the best guitar lines on Expert. There’s a certain chaos across the 12 tracks, the palpable joy of playing music with long-time friends colliding with the raw nerves of pain.

Stokes strings it all together through her singular songwriting lens, earnest and self-effacing, zeroing in on the granules of doubt and how they snowball. Did I do the wrong thing? Or did you? And are we still good people at the end of it? She isn’t interested in villains, but instead interested in just telling the story. That insecurity and thoughtfulness, translated into universality and understanding, has been the guiding light of The Beths’ output since 2016. In the face of pain, there’s no dwelling on internal anguish - instead, through The Beths’ music, our shortcomings are met with acceptance. And Expert In A Dying Field is the most tactile that tenderness has been.

Prism Shores return with Softest Attack, produced by Scott "Monty" Munro, the album blends '90s power pop crunch and shoegaze shimmer in their most collaborative and ambitious release yet. Montreal janglers Prism Shores return with a sharper, more immediate follow-up to their acclaimed 2025 breakthrough Out From Underneath. While the previous record leaned into atmosphere, this new album doubles down on hooks, maximalist guitars, and the pure strength of their melancholic songwriting. Produced by Scott "Monty" Munro (Preoccupations) and mixed by René Wilson, Softest Attack blends jangle pop, '90spower pop, and shoegaze with clear echoes of The Wedding Present, Teenage Fanclub, and My Bloody Valentine all filtered through the band's Dunedin-inspired indiepop sensibility. For the first time, all four members contribute lyrics and lead vocals, marking their most collaborative and ambitious effort yet. Softest Attack is Prism Shores' boldest attempt to craft a top-tier indiepop record: bigger, brighter, and overflowing with guitars, but always anchored by undeniable melody.

Seit ihrer Gründung im Jahr 2016 haben die Londoner High Vis ihre Palette an progressivem Hardcore mit Nuancen von Post-Punk, Brit-Pop, Neopsychedelia und sogar Madchester-Groove verfeinert und einen Mittelweg zwischen Hooks und Wut, Melodien und Moshpits gefunden. Sänger Graham Sayle beschreibt ihr drittes Album Guided Tour als eine Achse der konkurrierenden Kräfte: "Es versucht, eine hoffnungsvolle Platte zu sein, während es gleichzeitig wütend macht." Die Band, die von Schlagzeuger Edward 'Ski' Harper, Bassist Jack Muncaster und den Gitarristen Martin MacNamara und Rob Hammaren komplettiert wird, ist tief in der britischen und irischen DIY-Hardcore-Szene verwurzelt und wird von Rastlosigkeit und rechtschaffener Wut gleichermaßen inspiriert. Die 11 Songs des Albums umfassen das gesamte Spektrum zeitgenössischer Gitarrenmusik, die durch Erfahrung, Kameradschaft und gesellschaftliche Frustrationen geschärft wurde. Von schwungvollem Streetpunk ("Drop Me Out", "Mob DLA") über schrillen Indie-Spott ("Worth The Wait", "Deserve It") bis hin zu Heavy Alt ("Feeling Bless", "Fill The Gap") und shoegazeartigem Spoken Word ("Untethered") - die Chemie der Gruppe verwandelt jeden Stil in ihre einzigartige Intensität.

Sixteen killer 70s reggae funk and soul cuts from the likes of John Holt, Lee Perry, Cornel Campbell, The Cimarons, The Chosen Few and more featuring superb reggae takes on songs by artists including The Jackson 5, William DeVaughn, Diana Ross and The Supremes, War, The Temptations, Roberta Flack, The Stylistics and others!

Well-documented is the influence of American black music on Jamaican styles of the 1960s – from the birth of ska music, when The Skatalites ska-ified the jump-up southern USA rhythm and blues music of Rosco Gordon, Louis Jordan and Fats Domino, through to the creation of rocksteady when Jamaican artists like The Techniques, The Paragons, Alton Ellis and The Melodians turned to the slower rhythms and soulful harmonies of groups such as The Impressions and The Drifters for inspiration. 

Less-well established is that in the 1970s Jamaicans didn’t (shock!) stop listening to American black music styles, with many 70s reggae artists as invested in soul, funk and the proto-disco sounds of Philadelphia, as was the case with rhythm and blues in the previous decade. In the 1970s, while Jamaica promoted its own roots reggae styles around the world, powerhouse USA soul labels such as Motown, Philadelphia International and Stax Records were at the same time all popular on the island.
This interaction between American and Jamaican music was not limited to Jamaica. In Britain, first-generation Caribbean-émigré children in the 1960s and early 70s grew up with an equal love of both soul and reggae, which manifested itself in the home-grown arrival of lovers rock in the mid-1970s.
Soul Jazz Records’ new ‘Reggae Island Soul’ tells this story of how soul and funk-infused reggae in the 1970s united the sounds of Jamaica, USA and the UK into a highly addictive cultural hybrid of styles.