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In the turbulent world of hip-hop, few artists are able to make the transition from hot young star to acclaimed rap luminary. Los Angeles emcee Blu has followed this rare path, graduating from a spot on the 2009 XXL Freshman list to an expansive catalog with more than 25 celebrated releases. Now, the talented lyricist is celebrating his remarkable journey with Forty, a new album entirely produced by influential beatsmith August Fanon, who has crafted tracks for Westside Gunn, Mach-Hommy, Tha God Fahim, billy woods, Navy Blue, and more. “This album is a celebration of me reaching 40 years of age,” Blu explains. “All the content is a reflection of where I am mentally at the age of 40.” With intricate verses packed with wisdom and maturity, the collection finds Blu and a host of guests reflecting on happiness, religion, love, knowledge, humanity, and more.
Fanon brings these tracks to life with a unique production approach, taking it back to basics with soul heavy soundscapes Blu describes as “straight loops, no drum programming or layers, just really soulful loops.” With appearances by Kota The Friend, Asher Roth, R.A.P. Ferreira, Mickey Factz, Homeboy Sandman, Chester Watson, Fashawn, and more, Forty is a timless experience from an artist who remains a vital presence in any decade of life.

Following the success of his debut album Echoes of Prayer - featuring singles like Communicate, Calm Waters, and Silent Chaos - Ghanaian-Dutch artist Bnnyhunna announces the album's first-ever vinyl release, set for May 30, 2025, via the renowned Belgian label Sdban Ultra.

Originally released digitally in October 2024, Echoes of Prayer stands as a deeply personal and spiritual work that reflects Bnnyhunna's faith, his early experiences growing up in church, and his West African heritage. Every track on the album serves as a form of prayer, a conversation with God. The album showcases his ability to weave poetic lyrics, vivid visuals, and captivating melodies, creating an immersive experience that resonates on a spiritual and emotional level.

Bnnyhunna's signature fusion of jazz, hip-hop, gospel, and Afro rhythms highlights his versatility and musical integrity. Next to the the warm jazz textures of Calm Waters, the vibrant Afrobeat pulse of Communicate, and the soulful, piano-driven Silent Chaos, Echoes of Prayer also blends elements of '70s P-Funk grooves, gospel harmonies, and modern hip-hop rhythms. Each song represents a different facet of Bnnyhunna's artistic vision. Tracks like SHOULD'VE BEEN YOU carry nostalgic R&B undertones, while Sum Love brings gospel-infused choir arrangements that recall sacred spaces. Interludes such asAvanti add moments of intimacy and reflection through gentle guitar lines.

The album's diverse sound is elevated by collaborations with The Cavemen, who lend their signature highlife revival, and Jembaa Groove, who contribute with West African-inspired rhythms.

His debut project EP SINTHA, released in 2021, quickly established Bnnyhunna as a rising talent, leading to collaborations with artists like Asake, Rimon, and José James. He gained momentum by selling out his first headline show, which included a surprise performance from Kokoroko, and receiving global recognition from platforms like Highsnobiety, VICE, and Complex, as well as performing at prestigious festivals such as North Sea Jazz and Montreux Jazz. Bnnyhunna challenges conventional music by engaging all the senses through photography, videography, and poetry.

The release of Echoes of Prayer follows a year of significant achievements for Bnnyhunna. In2024, he performed for Highsnobiety at Paris Fashion Week, appeared at prestigious festivals such as Dekmantel and Zwarte Cross, and played a standout performance at the Steam Down Weekly series in London. Additionally, he composed an original score for the Dutch National Opera and won the Edison Pop Award, one of the most prestigious music awards in the Netherlands (often referred to as the Dutch Grammys), in the Soul/R&B/Funk category.

With the vinyl release of Echoes of Prayer, Bnnyhunna offers fans a tangible, collectible edition of his powerful debut. The release via Sdban Ultra invites listeners to experience the full depth of his sound in its most intimate and analog form yet.

DJ Sodeyama returns to Sound Of Vast under his The People In Fog guise this June with the nine track 'Too Much Knobs And Cables' LP.

Over the past three decades DJ Sodeyama has been a staple in Japan's underground and beyond across the globe as a DJ and releasing material under his own name via the likes of Radio Slaves' Rekids, Dynamic Reflection, Nina Kraviz' трип and more. Here though, he makes a welcome return under his The People In Fog alias to Tokyo's Sound Of Vast, the platform that's played host to all of his material under this alias as well as others like The Mole, Shinichiro Yokota, San Proper and more.

Across the nine-track 'Too Much Knobs And Cables' LP, The People In Fog once again radiantly showcases his depth and understanding of true underground sounds. From the classic Deep House aesthetic of opener 'Red Morning', 'CC Love' and 'New Life' to more classic Chicago House inspired cuts like 'Animal Kingdom', 'Jack Out' and filtered Disco house jams like 'Dance To The Air', 'New Life' and 'Miraval'.

Sodeyama also dives deeper beyond House once again in true long player fashion to deliver the unique 80's tinged, funk-infused and vintage synth/drum machine laced 'Night Driver' and the cinematic closing piece 'Sun Moon Lake', which leans into a Balearic leaning sonic world via drifting guitar melodies, arpeggios, acid licks and a crunchy rhythm section.

Sohrab unveils “Dreams of Dawn”, on his newly born Toneblind label, a sonic journey that bridges the space between night’s final whispers and the first light of a new day. A fusion of styles with a progressive imprint, this release is a reflection of movement, crafted as a distinct evolution from the artists previous work

Each track, a fragment of a larger vision, pulses with the energy of transition, capturing the essence of dreams dissolving into reality. More than just a collection of sounds, Dreams of Dawn is a statement of intention, dedicated to friendships forged on the road and the experiences around the globe lived so far

Corrosiv, the sophomore album from Orchestroll, reveals the duo at their most mature and vulnerable. Originally conceived as a reflection on hybridity and bastardization, the album deploys New Age and ambient compositional tropes as a launchpad, exposing their trite sanctity to the realities of corrosion. Having come of age in the 1970s and 1980s, the New Age movement perdures today as a domain of contradictions; its promise of transcendence riddled with the very commercialized dogma from which its adherents claim to flee. Healing modalities such as reiki, crystal therapy, and sound baths are simultaneously pathways to solace and sites of exploitation; their sonic counterparts—ethereal synth pads, shimmering textures, celestial drones—claim to facilitate meditation and enlightenment while devolving into empty signifiers of vitality. With Corrosiv, Orchestroll displays neither reverence nor disdain toward New Age: they exhume it instead, revealing the saccharine effervescence and commodified murk undergirding its aesthetics. The result is intoxicating—disquieting.

Born from a two-week residency at EMS Studios and expanded through a performance at MUTEK Montreal’s 25th anniversary, Corrosiv has since outgrown its original conceptual nucleus, taking on a broader scope. Its inquiry into New Age ideology’s voided rhetoric and aesthetic mysticism now informs a broader interrogation of cultural mediocrity, anti-authoritarianism, gatekeeping, music industry toxicity, and the crumbling edifice of late capitalism and techno-feudalism—all the mechanisms by which meaning is stripped from ceremony, and once-potent forms of knowledge are subsumed into the machinery of economic extraction, severed from their original essence, and transformed into hollow simulacra. Corrosiv distills these themes through a loose narrative: a soul, fixated on wellness as dictated by cosmetic economism, becomes ensnared in an endless afterlife, unable to transcend and shed its dilapidated consciousness.

Framed as an act of audio dissolution, the album thus engages in an alchemical process, whereby complex waveshaping, morphing synthesis, and distortion enact a ritual of fragmentation. There is also friction: between the rigid, mechanical imposition of systematized order and the untamed, chaotic force of organic metamorphosis. Here corrosion and confinement are not solely conceptual motifs; they are enacted in real time, sculpting the album’s terrain. Scraping, tarnishing, degradation—the languid wear of form and substance—become instruments in their own right: buffing as abrasion, entrapment as transformation, corrosion as a means of reconfiguration. The ‘protagonist,’ if there must be one, is the listener, caught within the throes of structural determinism and the potential for emancipation, unable to pass into something greater as the specters of collapsed futures accumulate in the margins.

Corrosiv extends its reach through collaborations with familiar voices: Heith (PAN), VISIO (Haunter), Femminielli (Drowned by Locals), Habib Bardi (Interzone), and Jiyoung Wi (Enmossed, Psychic Liberation, Doyenne) each leave their imprint on its sprawling landscape. At 1h16m, it is a procession, dense with earworms that burrow into the listener’s unconscious.

Misshapen, broken-down metals leach copper into blood, acid reflux burning through the core. Psyche disaggregates into cosmic turmoil, drifting between planes—tongue on rustline, gullet laced with solvent hymns, molars unlatching, bitcrushed to marrowspill. A spasm of brine, ferrous scripture, venomtext blooming in leaden rivulets, cartilage smoldering in phosphor decomposition, synapses drowning in a quicksilver choir. Crest of bile, churning ore, breath clotting into arsenic mist, vein-thread cinched, a corrosive gospel, limb by limb, oxidized to silence.

Ultimately, as the music exhales its final breath, its residue refuses to dissipate—and stillness alone remains. There are no conclusions here—no resolution, no collapse—only the slow drift outward of a vessel unmoored, lost in the sea of symbolic souring. Corrosiv sings the song of a world barren of prophecy, littered with aesthetic detritus. Whether this magic has been transfigured or simply worn away is unclear: the last breath dissipates, but the oxidation does not stop. The silence, too, will decay.

Conceptualized, composed, performed, recorded, mixed, engineered and produced by Jesse Osborne-Lanthier, and Asaël Richard-Robitaille in 2023 and 2024 at Elektron Musik Studion (EMS) - Stockholm, Sweden and Landsc8pe Studio - Montréal, QC, Canada.
Artwork by Jesse Osborne-Lanthier.
Mastered by Stephan Mathieu @ Schwebung Mastering.

DEENAMIC steps up with 4 deep hitters for Syncro65. Raw dubtech pressure,future echoes and machine soul straight outta Madrid. Don't sleep — this one's got that late-night basement grip

Francois Kevorkian (Wave) : The whole EP is nice, "HAL 2024" is the standout track for me on first listen.
Laurent Garnier : Lovely deep organic dubs
Jaye Ward (Dalston Super Store / Netil Radio) : synchrophone is rockin' 4 fab tracks moonbus is heavy!
Eddie Richards (Evil Eddie Richards) : 800 mistakes
Danny Howells (Dig Deeper) : Sheer quality .. all four sound ace and up my street. Especially HAL 2024
Luke Solomon (Classic / Freaks / Music For Freaks) : hot hot hot
Bake (All Caps/Rinse FM) : love! thank you
Marcel Dettmann : thx
Harri (Sub Club) : liking, will play and support
Domenic Cappello (Subclub) : nice release
Pat Hyland (Northside Loft Society) : Loving these deep and dubby vibes.
Colin Dale : Excellent EP. All 4 cuts rock!
Ame (Innervisions) : thanks

»Mother Nature« is the debut solo album by Berend Intelmann, a key figure in the German indie music scene since the late 1980s. Having made his name as a member of groups such as Hallelujah Ding Dong Happy Happy, Guther, and Paula, Intelmann most recently focussed on his work as a producer for artists such as Jens Friebe, MissinCat, or Fotos. »Mother Nature« sees the multi-instrumentalist and singer navigate between pop sentiment and his penchant for classical music on these eight pieces, three of which feature additional contributions by Karaoke Kalk label mate Marla Hansen, synth pop iconoclast Der Assistent, and the versatile Mieke Miami, respectively. »Mother Nature« combines a sense of playfulness with cunning compositional rigour to stunning effect.

Intelmann took full creative licence and worked with the instruments that he feels most comfortable using: the drums, synthesizers, and his voice. While inspired by his life-long passion for pop music in all shades, he also took some cues from his more recent passion for classical music. »The synthesizer melodies are arranged like string quartets, while the songs are presented as musical themes strung together so that they form a coherent story,« he explains. The resulting sound isn’t quite as »krauty« as someone called it, instead the artist prefers to call it »slow-kraut—1980s synth sound with 1970s George Duke-style beats,« though of course he never attempted to fit in one specific genre or replicate a certain sound: This is simply the essence of Berend Intelmann as a composer and storyteller.

The lyrical matter of »Mother Nature« is inspired by life and death. This informs an album that masterfully creates contrasts and utilises the friction generated between them to tell its stories. The album opener and second single »All Gone« greets its audience with the couplet »In the long run / We’re all gone,« but sets this to soothing sounds that form a joyful counterpoint to the fatalism of the words. Also the slowly-unfolding first single »Life Of Another One« sets the stage for a reflection on memories that have become so distant that they feel like belonging to another person altogether with sombre, intertwined melodies. However, these darker tones slowly give way to laid-back grooves, Intelmann’s smooth vocalisations and whirling synthesizer sequences.

The collaborations—a vocal duet with Marla Hansen on »A Focused Mind,« Der Assistent’s subtle theremin contributions to »The Less We Cared« and Mieke Miami flute and saxophone playing on »Mother Nature«—further enrich this album that the artist claims has been »co-produced by friends and family.« Indeed, »Mother Nature« might be Intelmann’s solo debut proper, but he remains a teamplayer at heart.

With the album Resonant Behaviour, URI pushes his sound into new territory, blendingbouncy Hard Trance, rolling Psy, and driving Hard Techno. In this 11 track story the 303Acid sounds play a leading role. On this album he brings his own style together withsounds from multiple collaborations. The balance between euphoric synths, bouncybasslines and trancey arrangements will bring together different genres into one story.
More than just a collection of tracks, Resonant Behaviour is about connection-movingtogether, feeling together. You Are I.

Remedy Entertainment und Laced Records präsentieren die wegweisende, unvergessliche Musik des preisgekrönten Videospiels 'Alan Wake 2' auf Vinyl.

Remedy und sein Creative Director Sam Lake sind wohl unübertroffen in ihrem Engagement für die Musik in ihren Spielen. Für den Soundtrack verfolgten sie vier kreative Hauptstränge: Der langjährige Mitarbeiter Petri Alanko (Alan Wake, Quantum Break, Control) kehrte als leitender Komponist zurück und lieferte einen bissigen und doch gefühlvollen dramatischen Horror-Score sowie die bei den Fans beliebte Hausmeister-Ballade „Yötön Yö“, gesungen von Martti Suosalo (Ahti).

Der Musikkünstler POE und Sam Lake haben sich zusammengetan, um vier Teile des spiralförmigen, melancholischen Epos „This Road“ zu schaffen, das das Ende von Wakes Reise durch den Dark Place darstellt.

Die Poets of the Fall schlüpften erneut in die Rolle der alten Götter von Asgard und schufen mehrere Prog-Opera, darunter das monumentale „Herald of Darkness“ mit dem Gesang von Matthew Porretta (Alan Wake) und David Harewood (Mr. Door).

Schließlich versammelte die Musikproduktionsfirma Fried Music in Zusammenarbeit mit Nordic Music Partners eine kleine Armee außergewöhnlicher Songwriter-Talente, um die vielseitigen, atmosphärischen und im Universum angesiedelten „Chapter Songs“ zu komponieren.

The Rose (더로즈) is a Korean alt-pop indie band made up of four talented members: vocalist and guitarist Woosung,vocalist/multi-instrumentalist Dojoon, bassist Jaehyeong, and drummer Hajoon. Their upcoming album, WRLD, promises to blend familiar early sounds with fresh sonic landscapes and genres. Fans can look forward to country-inspired melodies and themes of reflection and coming of age.

Action Speaks Louder Than Words is the 1975 debut album by Chocolate Milk, a funk and soul band from New Orleans. The band emerged in the mid-1970s and quickly gained recognition for their unique sound that blended the rich musical traditions of their hometown with the influences of contemporary funk and soul. The band was discovered by producer Allen Toussaint, a legendary figure in New Orleans music, whose influence is evident in the polished arrangements and the band's tight, cohesive sound. The album's themes of social awareness and personal reflection, combined with its infectious grooves and skilled musicianship, have ensured its lasting appeal. Also due to the single and title track "Action Speaks Louder Than Words", which charted well and was later sampled by numerous artists, including Public Enemy, Eric B. & Rakim, Aaliyah, Neneh Cherry and Toni Braxton feat. The Notorious B.I.G & Puff Daddy, cementing its place in music history. Action Speaks Louder Than Words is available as a limited edition of 500 copies on blue coloured vinyl.

A deeply intimate and cinematic body of work, My Goddess unfolds as a self-contained emotional universe; an album about grief, depression, healing, and the enduring human urge to find beauty in a world that often feels unrelenting.
Composed against the backdrop of Lebanon’s ongoing political and economic collapse, My Goddess captures what it means to process personal heartbreak and collective trauma simultaneously. Across nine emotionally charged tracks, Etyen draws from profound loss, existential reflection, and the tragic death of his beloved cat Lucy to craft a record that is as fragile as it is resilient; both a personal reckoning and a universal portrait of survival through art. “This album is a conversation with myself. It’s about loss and grief, about finding beauty and trying to hold on to it,” says Etyen. “It’s about confronting the painful parts of life while still believing there’s something gentle and divine to hold onto.”
Blending cinematic textures, Etyen's unique and inspired electronics, and minimally sculpted yet immersive melodies, My Goddess pushes further into the raw introspection first glimpsed on Etyen’s 2022 debut album Untitled. But this time, the sonic architecture is more distilled, the emotional stakes more immediate. The result is a record that gently lingers in the spaces between memory, absence, and hope.
The album’s first single, the title track “My Goddess,” drops May 5 with a self-directed music video, one of three cinematic visuals accompanying the album. The trilogy further expands the emotional world of the record and affirms Etyen’s role not only as a musical artist, but as a multidimensional storyteller.
With over a decade of work that spans Netflix scores (Jinn), international festivals (Sonar Barcelona, Mutek), and critical acclaim and editorial support from Bandcamp Daily, BBC Radio and much more, Etyen has carved out a singular voice in electronic music—bridging personal, cultural and political resonance through sound. As the founder of Thawra Records, he also continues to champion independent artists from the region, building a vital platform for forward-thinking music in and beyond the Arab world.

A limited double-LP collection of artists who've been on either Fourth Dimension Records or Lumberton Trading Company (or both). The title, based on the name of a childhood '50s sci-fi film favourite, also not only reflects the bringing together of these two labels but also the fact that most of the artists they are concerned with tend to navigate a wide range of ideas and approaches in their sound. The 2LP also began as a reflection of the two labels coming together on 18 May 2024 at London's Cafe OTO for an event featuring Alternative TV, Splintered, Edward Ka-Spel and Bass Communion.The 2LP, beautifully packaged in a Puppy38 designed sleeve.

WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.

An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.

O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.

Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.

A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.

The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.

Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.

The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.

The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.

Yore returns with an unusual one for us. This first EP by Ross Alexander is more Techy than what you would expect on Yore – However, its still somewhere between the slim lines of House and Techno – more Techno in a Detroit way. Well, Ofcourse – what else would it be, right?

All four tracks are ready for your dancefloor – so grab yours, as these very limited copies, will be gone in no time.


Strictly limited to 200 Copies worldwide (no repress).

Oasis Records is a Portuguese outlet that marks its 10th release with its first vinyl outing, and the music is certainly deserving of that treatment. Vros is a collaboration between three siblings who use real instruments to blend hypnotic sounds from the worlds of deep and dubby electronica. Each track symbolises an elementiwind, earth, fire, and wateriso has a real connection with nature and encourages self-reflection as well as plenty of shape-shifting. 'Space Marimba' is perfect for outdoor dancing with its happy marimba melodies and elastic bass, 'Don't Be Afraid' is pure Balearic house bliss and 'Fusion' brings subtly trance induing chords while 'Release Your Mind' is a deep, mind-bending opener.A

Following the first two releases on Sea~rène, GiGi FM returns with “Virgo Space Acid”, a deeply personal and sonically assertive exploration of transformation and healing.

Rooted in the energies of 2025, the Year of the Snake, this four-track EP channels the mystery and intuition of the serpent, weaving together Virgo’s archetypal forces of the healer and the alchemist.



Across driven beats, hypnotic acid sequences, and vocal-infused textures, “Virgo Space Acid” reflects a journey of renewal, self-ownership, and inner power.

From Berghain to The Bunker New York, GiGi FM has long been known for her ability to channel movement into sound. With “Virgo Space Acid”, she refines her craft even further, working with fewer elements yet pushing them to their fullest expressive potential. She explores the full range of her voice, shaping it into textures, atmospheric layers, and even percussion, while separately reworking classic 909 drum machine sounds into something entirely her own. This EP is a statement of both discipline and liberation, where minimalism meets deep transformation.



Opener “Calibration” sets the tone with its mantra-like intention: an invitation to realign and tune into one’s own energy. Built around a driving bassline, nostalgic yet forward-moving synths, and GiGi’s own spoken word, “A breath holds time, calibrates space”, the track creates a moment of clarity before the journey begins.

“Mercury” follows, embodying the trickster, the messenger, the shapeshifter. Playful and urgent, its bouncing synth sequences move like conversations in motion, with rising tones driving the track forward, pushing toward a restless ascension that mirrors Mercury’s role as a bridge between realms, both celestial and internal.

The title track, “Virgo Space Acid”, is the wormhole: the brain battle, the transformation. With a heavyweight 303 bassline, spiraling bleeps reminiscent of birds, and powerful classic 909, it is pure tension and release, an acid-drenched trip through motion and evolution.

Closing the record, “Floresta” is a sensual and grounding moment of reflection. Named after the stage at Waking Life Festival where GiGi felt a pivotal shift in her healing journey, the track mirrors the scene with dub chord sequences, emotional rising pads, and percussive vocal elements. Like the purple and pink drapes floating above the dance floor at sunset, Floresta is both a farewell and a prelude, a misty horizon where one chapter closes and another awaits.

With “Virgo Space Acid”, GiGi FM continues to expand her sonic language, deepening her connection between body, rhythm, and transformation. More assertive, more urgent, yet deeply intuitive, this is a record of movement, clarity, and self-empowerment.



"We are Sea~rène, swimming in-between supernatural tides, forever following the emotional waves of the universe." GiGi FM

In a world where physical experiences are becoming rarer, artists are looking to connect their process to something more tangible, and with A/V rinsed, scent is an obvious next sense to plunder. Florian TM Zeisig - who last appeared on Somewhere Press as Angel R, goes the extra mile, teaming up with perfumer Angel Paradise to develop a suite of music that plays like a bouquet of memory-triggering aromas, coupled with a fragrance that captures the oily essence of their bucolic alpine setting. The project came about when both artists were living in Hinang, a small farming village in the rural Bavarian alps. Paradise was studying alpine plant behaviour and using her research to inform her approach to scent creation, developing natural perfumes based on the landscape. Zeisig, meantime, composed his own response to the mountains and forests that surrounded them. He wrote ‘Spool’ as a poignant farewell (or spiritual rebirth) as they prepared to leave, considering teenage nostalgia as well as the idyllic locale, and the pastoral suite of lulled loops, field recordings and dissociated instrumental vamps plays like a contemporary Heimatfilme soundtrack, locking into the genre’s idyllic, fantastical simplicity and romance. Drunken horn loops and mushy piano chords concertina around a wobbly axis on ‘Oneandhalf’, met by dreamy guitars and whispered, lysergic vocals. The sweet-smelling notes form an enigmatic compound, prompting us to think of Codeine or Galaxie 500 without solidifying completely. It’s music that works with outlines and traces, catching us off guard with flickers of samples and veiled base notes: the Cocteau Twins-like phased piano on ‘Threeandhalf’ that’s drowned out by gunked tape fog, or the smudges of ‘Spirit of Eden’ ambience on ‘Alright’ that creep between tweezed piano phrases. There’s depth too; Zeisig doesn’t restrict himself to Romance-cum-Basinski loopmuzak, he intersperses his GASeous orchestral waves with serene, relatively demure reflections that capture the pristine beauty of a dewy alpine morning. ‘Four’ is an ASMR-rich blend of crunching leaves and mossy, decelerated pads, and ‘Plus’ burns its drones down to crackling embers, letting the faint harmonies flicker through the coal dust. Importantly, it’s emotional music, but not overly melodramatic, finding peace in nostalgia and the calm of nature.

((( O ))) is unveiling her highly anticipated fifth studio album, ((( 5 ))), marking the latest milestone in her visionary series of releases. Continuing her tradition of fusing music with the rhythms of the universe, she has introduced the concept of 'MoondropDISABLEDs,' which are individual pieces of audio-visual art released every full moon. These 'MoondropDISABLEDs' are then compiled into an annual collection called 'Sundrops,' released on her birthday. ((( 5 ))) represents the fifth installment in this series, offering a mesmerizing blend of genres and sonic landscapes that reflect ((( O )))'s deep connection with nature and the cosmos. Each track is crafted to resonate with the energies of the lunar cycle during which it was created, offering listeners an otherworldly experience. Looking ahead, ((( O ))) aims to complete a full collection of 12 'Sundrops' by the year 2032, creating an unparalleled anthology of art that spans a decade and encapsulates the cycles of the moon. Her work continues to inspire a global audience with its innovative blend of music, visual art, and spiritual exploration.
In the words of ((( O ))): “Each 'Sundrop' is a reflection of my journey through life, intimately connected with the rhythms of nature. With ((( 5 ))) being my first fully-produced album, I invite listeners to join me in sitting with the moments in between, with the simplicity of instrumentals from sounds that I used from my journeys living in the Philippines, celebrating the beauty and power of our cosmic connection. I needed it to create space versus taking up more space in an already overwhelming world we live in now.

DOUBLE-DISC EDITION OF DARKTHRONE'S 1993 PURE NORWEGIAN BLACK
METAL MASTERPIECE, INCLUDING THE 30TH ANNIVERSARY MASTER, PLUS
ADDITIONAL DISC WITH COMMENTARY FROM FENRIZ
Darkthrone began life in the late 80's as a thrash/ death metal act & progressed
through technical death/doom metal experimentation to become legends of the black
metal world & one of the original leading bands of the Norwegian scene, as well as
inspiring a whole generation of metal bands, as they continue as strong as ever to this
day.
'Under A Funeral Moon', Darkthrone's third album, was originally released by Peaceville
in 1993. The album is a bleak reflection of contemporary times, featuring harsh guitar
riffage & hateful vocals in what was the band's first 100% pure black metal opus; a
work completely stripped of the death metal traces of former releases & in its place, a
stark & primitive execution. This was aided by an intentionally lo- fi sound that is
powerfully cold & entirely unconcerned with any modern- day aesthetics. 'Under A
Funeral Moon' is the album that many Darkthrone fans hail as the ultimate manifesto
for Black Metal.
This edition of 'Under A Funeral Moon' is presented on double- disc CD format &
includes an audio master created for the album's 30th anniversary in line with the
original 1993 version, plus the 2013 commentary disc from Fenriz with his
recollections on the tracks & the time period.

Italian jazz guitarist Andrea Rinciari's 'Soho Sessions', presents eight carefully
curated jazz standards and hidden gems with a stellar quartet featuring tenor
saxophonist Alex Garnett, bassist Lorenzo Morabito and drummer Mark
Taylor
"The album represents a great period of my life where I was playing in Soho every
week with this band and we were able to create a vast repertoire of tunes by various
different composers, from American songbook composers to the most obscure
bebop artists," explains Rinciari. "So, the tracks of this album are a good
representation of those tunes."
'Soho Sessions' features a mix of classic and lesser-known compositions, including a
Barry Harris arrangement of 'Bean And The Boys', a rare John Collins piece ('John's
Delight'), and a reharmonised 'I Can't Get Started' inspired by Teddy Wilson. Other
highlights include a fresh take on 'Tea For Two', Bud Powell's groove- driven 'John's
Abbey', and deep cuts by Freddie Redd and Elmo Hope/Sonny Rollins, 'Time to Smile'
and 'Carvin' the Rock' respectively. The album closes with Rinciari's signature
contrapuntal solo interpretation of 'Polka Dots And Moonbeams'.
Rinciari's dynamic quartet breathes new life into the music while exploring fresh
harmonic and melodic ideas. "This album is a reflection of the magic that happens
when musicians play together regularly. The tracks capture the spirit of our weekly
Soho sessions - improvised, refined, and always evolving," concludes Rinciari. "It's a
tribute to the jazz greats who have inspired me and the amazing musicians I'm lucky
to play with."

'Better The Devil You Know' marks the long-awaited comeback of British band The Spitfires. Their first release with a refreshed line-up and also their debut on Bellevue Music, the track sees the band teaming up with producer Simon Dine (Paul Weller, Dexys Midnight Runners, Noonday Underground) to deliver a punchy, politically charged anthem.

On the B side, exclusive to the physical release only, is a remix of new track 'A Man Of Time' by french wizard and Paul Weller collaborator Le SuperHomard. Another new song to discover in its original form on the forthcoming album " MKII ". With musical hints of The Clash, The Specials and Hard-Fi at their most outspoken, 'Better The Devil You Know' is a sharp reflection on the ongoing turmoil in the Middle East. Frontman and songwriter Billy Sullivan explains "It relates to all war. A true protest song" The band is set to hit the road for a UK and European tour ( see below for details ), culminating in a headline show at London's KOKO on May 23rd.

Indian-born British composer Cephas Azariah presents his highly anticipated debut album, a 12-track neo-classical LP 'Joy Paradox' to Reflections. Cephas was always drawn to classical composition, he studied Music Theology and the Arts at Middlesex university and began composing soundtracks for film right away. He drew on the full spectrum of his influences to write his debut album, including neo-classical, ambient and cinematic, and wrote it in his home studio with a piano he bought off Facebook Marketplace. "I finished it all in Scotland in a cabin by the lochs," he says. "It was a beautiful way to wrap it up." Every track on Cephas Azariah's 'Joy Paradox' has a story, tending to resolve personal conflicts through music, with each piece acting as a gentle unravelling of inner unrest. "This project is a summary of thirty years of life, and a realisation that you can't have good things without sacrifice," Cephas says. "Achieving success takes a certain level of suffering, and that's the paradox of joy."

Teal’s debut LP, Original Watercolour, is an album that feels like a canvas come to life. A sonic blend of street-soul, digi-dub, and downtempo. Original Watercolour explores the complexities of love, oneness, and intuition — themes that resonate deeply within the context of the history women have shared with what was once known as the “ladies’ medium.”

The bi-coastal family trio—Ashleigh and Melissa Ball, better known as the Ball Sisters, alongside producer N1_SOUND—bring a fresh, genre-defying sound to the table with their latest 6-track album. Running just under 30 minutes, this immersive collection weaves together skipping beats, addictive bass lines, three-dimensional flute textures & emotional vocal melodies. This musical portrait is as ethereal as it is powerful, inviting the listener to get lost in its depths while celebrating the beauty of self-expression.

The opening track, “Original Watercolour,” takes you on a psychedelic trip-hop journey. From the first reverberous snare hit, you’re whisked away to a sonic wetland — lush and euphoric. The soft yet poignant soundscapes set the tone for the album, inviting us into a world where the boundaries between earth and music, reality and imagination, automatically seem to blur.

“Locked In 2 Love” offers a boogie-fueled bassline that pushes Teal into dance-floor territory with soaring flutes and rhythmic intricacies that make it impossible not to move — it’s a track that exemplifies the magic of Teal’s ability to craft both intimate and expansive musical landscapes. And then, there’s the hypnotic flow of “One In The Same,” where stacked vocal harmonies and mantra-esque lyrics transport you to a place that could easily be mistaken for a lost Soulquarians demo. It’s gentle yet unrelenting in its depth.

The second side of the album opens with “Sleep on It,” a track that immediately grabs attention with its dancehall-driven rhythm. Ashleigh Ball's vocals set the stage for a song that’s both introspective and emotionally charged, yet unmistakably rooted in groove. The phased-out bassline creates an almost hypnotic atmosphere. Pulling the listener into a mood of contemplation—matching the restless, sleepless night that Ball describes. As the song progresses, this groove builds in intensity, culminating in an explosive ending that mirrors the emotional release of a long-held frustration.

Original Watercolour is more than just an album — it’s a meditation on the interconnectedness of life and art. “Frog Kingdom,” the longest and only instrumental track creates a contemplative space that builds upon the themes introduced earlier. It feels like a sequel to their earlier work, Frog Legacy from their debut Bluish Green 2024 12”, expanding on the familiar sound with even more complex layers.

Yet the real emotional power of the record lies in its closing track, “Can’t Shake the Feeling.” Simple in structure but profound in impact, this song captures a deep yearning and understanding — that everything, from the ecosystems we inhabit to the relationships we nurture and the art we create, is fundamentally interconnected. As the track crescendos in a falsetto peak, it becomes clear that the album is a reflection of both the world around us and the personal journey each member of the band has embarked upon to get to this point.

Just as the medium of watercolor has been traditionally linked to women artists, Teal carries this legacy into the modern musical landscape, blending the richness of history with a unique forward-thinking perspective. The album feels like both a celebration of the past and a bold declaration of a path forward — one that welcomes anyone ready to join in and shape the future of the art form.

The beauty of Teal’s work is that it feels familiar, while simultaneously offering something new and refreshing. Original Watercolour doesn’t just push musical boundaries; it redefines them, offering a lush and textured soundtrack for those willing to listen closely.

In a world that often feels over-saturated, Original Watercolour stands as a reminder of the power of simplicity, intuition, and connection. Teal’s debut album invites you to experience something both deeply personal and universally understood. The landscapes they create are vivid, yet soft, grounding yet expansive. With each track, Teal’s music reflects the interconnectedness of all things — a truly unique piece of work in the world of experimental soul and dub adjacent electronic music.

Rising and falling. We all live in the same pond. Peace to all.

Panos Alexiadis is a sound artist based in Athens, Greece, active in the field of contemporary electro-acoustic music. He founded and co-curated the tape label Thalamos, a home for exploratory sounds, where some of his own works also found their place. Marking a return after a period of (sonic) reflection, Cestrum Nocturnum is an album of remembrance and renewal. Through a lattice of self-sampled piano, fragmented voices, field recordings, and transient digital traces, Alexiadis composes a space of warmth—an electronic tapestry woven from the ephemeral. Across six pieces, sound unfolds like memory: layered, textured, dissolving at the edges yet leaving an imprint. A meditation on the cyclical nature of being and the often unnoticed beauty that quietly persists, even in the darkest hours. Cestrum Nocturnum is both a shelter and a signal.

--

The night has a thousand eyes,
And the day but one;
Yet the light of the bright world dies
With the dying sun.

The mind has a thousand eyes,
And the heart but one:
Yet the light of a whole life dies
When love is done.

Francis William Bourdillon, 1899

--

All music composed, recorded & mixed by Panos Alexiadis
Spoken word on 'But One' & ‘Follower' by Fotini Stamatelopoulou
'The Night Has a Thousand Eyes' poem by Francis William Bourdillon
Mastered by Christophe Albertijn

Marty Willson-Piper is an English guitarist, singer, and songwriter best known as a longtime member of the Australian band The Church (1980–2013). With a career spanning over 45 years, he has contributed to a wide range of musical projects, including his solo work, collaborations with All About Eve and The Saints, and his own band, Noctorum.

In 2025, Willson-Piper launched Archaeological Dig - Volume 1, the first in a planned trilogy of releases where he re-records over 30 songs from his extensive catalog. This re-imagined collection features ten songs from different time periods, played with strings, acoustics, piano, and keyboards while still incorporating bass, drums, and multi-layered vocals. The album revisits material from his solo career—including selections from In Reflection (1987), which also received a Record Store Day 2025 reissue, and Art Attack (1988)—as well as songs from his tenure with The Church, drawing from landmark albums like Heyday (1985) and Starfish (1988).

Included in Volume 1 are fan favorites like "Tristesse," originally featured on Heyday (1985), and "Spark," from the platinum-selling Starfish (1988). These songs highlight the diversity of Willson-Piper’s catalog and showcase his evocative songwriting and signature guitar work.

Adding to the album’s distinctive presentation, the cover art for Archaeological Dig features a themed sci-fi illustration, with each of the three volumes depicting Willson-Piper in a different setting alongside UFOs. The release is available across all planets and throughout the galaxy via the In Deep boutique label in conjunction with Schoolkids Records.

Blending psychedelic rock, folk, and alternative influences, Willson-Piper’s music remains deeply atmospheric and introspective. Beyond his recording career, he is also an avid vinyl collector, music historian, and passionate champion of independent artistry.

Spincycle records presents the second imprint on their label – a two track split EP from Neil E & Big City Bill on 180g heavyweight vinyl.

Bill and Neil met deep in the mountains 20 years ago.
With work drying up in the mountains, they tobogganed into the city to find their calling.

For years in dim garages, they studied with diligence strange hieroglyphs projected on the wall by the reflection of fluorescent lamps through emptied vessels.
At first, none of it made sense. All they knew was that it was important.

They began posting their findings online, and after a time of thinking they may have gone crazy, they began to receive anonymous messages: “Click here to join a guild of amazing artists: link redacted.”; “Follow me, and I’ll follow you back. Let’s grow together!”; “Do you want 10k+ follows? We can help!”
This was the encouragement they had been waiting so eagerly for. And so on they went. They joined a few guilds and continued to hone their practice, mining their depths, searching for that ineffable thing, whatever it was, wherever it was locked away.
After years of deep contemplation, the breaking of sacred tools, fiddling around, and the collection of various bevelled talismans, a revelation struck.

Two fantastic thoughts struck them both simultaneously.
These are those thoughts.

12" EP. Azmari is thrilled to announce the release of their fourth opus, 5-track EP 'In Oculis'. The EP is a reflection of the band's collective desire to reinvent themselves. With a more minimalistic approach, the four musicians have created an eclectic, intense, and vibrant body of work, recorded during various residencies in Belgium and abroad. The result is a fusion of genres that range from powerful grooves to cinematic jazz, from floating melodies to entrancing soundscapes.

For this new project, Azmari teamed up with a long-time collaborator, Guillaume Souffrice (alias Mosso Mosso), who had already been Azmari's guitarist in the band's early days. Souffrice's expertise as a music therapist and multi-instrumentalist, combined with his passion for cross-cultural rhythms and melodies, adds a new depth and dimension to the band's sound.

Souffrice's extensive travels have taken him from Iranian Kurdistan, where he studied the daf (a large frame drum used in Sufi ceremonies), to northern India, where he immersed himself in the modal subtleties of the shehnai (Indian oboe). His love for psychedelic guitar tones and the classic wha-wha pedal remains at the heart of his musical approach, creating a fusion of tradition and experimentation.

The EP opens with 'Night Plants Can Run,' a track that starts with a rhythmic loop on the Berimbau, a Brazilian percussion instrument traditionally used in Capoeira. The song offers a steady, groovy journey between Rio de Janeiro and Sarajevo, with a guitar theme doubled by the saxophone, all underpinned by a deep 4/4 groove. The middle part of the track introduces a lot of percussion (an Azmari signature move) that gives a sense of urgency and chase, inspired by the band's experience playing the track in the studio, imagining a pursuit through the depths of the Amazon.

Next, 'Disassembling the Matrix' takes listeners on a 9/4 march that feels both elusive and powerful. Born from a jam session where an arpeggiator loop wouldn't stop, the band decided to continue with it, highlighting the beauty of a spontaneous creation once again. 'Lizzard's Dream' is a guitar-driven trip that gradually intensifies in energy. The song surprises with a sudden groovy break - a moment that was initially the core of the track - before returning to its soft and introspective theme, closing out the A-side of the vinyl.

The fourth track, 'Eyelights,' was born from the shores of Vevey Lake in Switzerland. It reflects the result of a long period of mental observation and rhythmic exploration. Three different time signatures were used to create the song's intro, which comes together as they go along. The melody loops with a peaceful and nostalgic vibe, creating a dreamlike atmosphere. Under the direction of Frederik Segers, who produced the EP, 'Eyelights' takes on a cinematic feel, with classical upright piano sounds that are a first for Azmari.

The EP closes with "17th Tiger Print," which takes us to the banks of the Ganges. Souffrice's shehnai leads the track into a hypnotic, hallucinatory dimension, where the interplay between his instrument and the baritone saxophone creates a textured, mystical atmosphere. This track encapsulates the essence of Azmari, a sound that bridges cultures and emotions in a minimalist yet highly effective way.

'In Oculis' marks another milestone in Azmari's musical evolution, blending the band's signature style with new influences and experimentation. Whether you're a longtime fan or new to their sound, this EP promisesto take you on another ride around the world.

"Underground EP" is an immersive dub experience from Domino Vibes. It's the third release from theyoung but promising romanian label, that stays true to its groovy dub-techno sound.

Especially tailored for the clubgoer, the opener "Soirée Privée" is an odissey into
monotonal synth themes played in a echo chamber, a pumping kick accompanied by syncopatedperccussion accents lost in delay reflections.The whole rhythmic construction drives the dance forward to a hypnotic state that finally locks in an endless loop.

"Night Drive" is recorded with a playful wit, using synth pads with rich chord harmonics all packaged with a rolling beat that drives the dancer to a realm of happiness. A must have for the DJs from the romanian underground scene, "Get Real" is the true banger of the release that will fill any Floor. It is an uncompromising crowd pleaser, with a punching kick, thick bass lines and rich synth chords ready to impress any clubgoer and guaranteed to lead you in a memorable epic state at the peak of afters. The ending act "Warmness Inc." is constructed around a solid groove, a relentless beat, a deep bass line, and a warm synth theme that carries you to an euphoric state of mind.

MM Discos presents 'Freedom Spirit' by Pleasure Voyage: a sonic journey into the essence of Balearic Beat From the sunniest corners of the Balearic imagination, MM Discos opens the doors to a new musical expedition with Freedom Spirit, the highly anticipated vinyl release by Pleasure Voyage. A tribute to freedom, nature, and the connection to the ethereal, this EP encapsulates the spirit of eternal summer with six carefully crafted tracks that move between ambient landscapes, hypnotic downtempo, and immersive grooves. This work is a testament to Pleasure Voyage's talent for capturing the magic of the sea breeze and the ebb and flow of the waves in sound form. From the first chord of Cloud Waves (New Age Balearic Mix) to the deep reflection of Cloud Waves (Ambient Meditation Mix), each track is a gateway to a state of escape and immersive enjoyment. Side A kicks off with Cloud Waves (New Age Balearic Mix), an enveloping anthem with celestial pads and floating arpeggios, followed by Surf Meditation, an ode to the ocean with pulsating basslines and ethereal percussion. Verano Española closes the A-side with a warm groove and guitars that evoke golden sunsets and cocktails by the sea.

Native New Yorker, Paco Cathcart is an important progenitor of the NYC underground that birthed the likes of Water From Your Eyes, Palberta and Lily Konigsberg. Down On Them is Paco's first record by their own name after 100+ releases under the name The Cradle. "Down On Them" is about Paco's NYC homeland and living in these strange and often dark times. The record features some of the NYC's best players.

Depth.Request presents Lllneas' debut album, Buried Stories, a powerful 7-track odyssey through life's darkest shadows and most enlightening revelations.
This collection of works traces its origins back to 2018 when the concept of Lllneas was born. Long before the music was written, the idea and name carried the promise of an eventual catharsis, a release that would embody the untold stories and emotional complexities of its creator.
Each composition on Buried Stories weaves a vivid tapestry of experiences, shaped by contemporary events and echoes from the past. With remarkable intensity, Lllneas channels the raw emotions they evoke, transforming music into a catalyst for healing, reflection, and understanding. More than an album, Buried Stories is an unapologetic and honest expression of survival, self-acceptance, and transformation; a tribute to those who feel out of place, offering hope and validation to embrace their unique perspectives. This release marks a moment of liberation, a turning point that sheds light on an issue that deeply resonates with Lllneas: the devastating realities of domestic violence. The artist calls for courage, awareness, and immediate action, urging people to break free from cycles of abuse and fear.

Let Buried Stories inspire you to confront the untold and find freedom in your own truth.

Psychedelic music can be many things, but not many are quite like Fomies brand of the genre. This Swiss five piece throws some punk rock a la The Dead Milkmen into the mix and describes themselves as:
“Great followers of the D.I.Y., FOMIES is a garage-fuzz band mainly inspired by obscure records badly recorded in weird places.”
For fans of: Oh Sees, Ty Segall, Harvey Rushmoore & The Octopus.

Autarkic is back with "Tahor", a bold sonic collage where history, nostalgia, and raw emotion collide. This limited-edition vinyl release weaves together vintage samples, archival snippets, and hypnotic beats, crafting a personal and collective memory trip.

14 tracks of euphoric highs, hazy melancholy, and wry humor.

The artist, DJ, and producer Autarkic (Nadav Spiegel) - one of the most influential underground figures in recent years and a key player in TLV electronic scene-releases a new Hebrew-language album, available as a limited-edition vinyl and on digital platforms. "Tahor" is Autarkic's sixth album and his second in Hebrew. It is entirely composed of a mosaic of samples from his personal music collection, cuts from archival recordings, and historical references that hint at events that shaped him. The result is a personal and collective memory machine - 14 tracks that take the listener on a journey through euphoric joy, subdued melancholy, and playful sarcasm.

"Tahor" is a journey that emerges from Autarkic's private consciousness, offering a sober reflection on his unwavering insistence on being an artist who neither knows nor wishes to "play the game" for popularity ultimately finding peace with himself. Throughout the album, Autarkic ventures beyond his own mind into the outside world, confronting social and political realities and adding his own musical document about life in Israel.

Der Jazz-Schlagzeuger und Komponist Tarun Balani veröffentlicht am 16. Mai sein neues Album Kadahin Milandaasin über BERTHOLD records. Das Werk ist eine tief persönliche Auseinandersetzung mit seinem Sindhi-Erbe und erzählt die Geschichte der Migration seines Großvaters von Sindh nach Neu-Delhi. Der Titel Kadahin Milandaasin bedeutet "Wann werden wir uns wiedersehen?" und greift Themen wie Sehnsucht, Identität und kulturelle Bewahrung auf. In seinen Kompositionen verbindet Balani traditionelle Sindhi-Folklore mit modernem Jazz, geprägt von komplexen Rhythmen und improvisatorischer Tiefe. Gemeinsam mit seiner Band Dharma - Olli Hirvonen (Gitarre), Sharik Hasan (Piano) und Adam O'Farrill (Trompete) - erschafft er ein einzigartiges Klangbild, das Vergangenheit und Gegenwart vereint. Mit Kadahin Milandaasin erforscht Balani seine musikalischen Wurzeln und öffnet eine emotionale Klangwelt voller Geschichte und persönlicher Reflexion. Jazz drummer and composer Tarun Balani is set to release his new album Kadahin Milandaasin on May 16th through BERTHOLD Records. This deeply personal work explores his Sindhi heritage, tracing the migration journey of his grandfather from Sindh to New Delhi. The album's title Kadahin Milandaasin, translates to "When Will We Meet?" and reflects themes of longing, identity, and cultural preservation. Balani's compositions blend traditional Sindhi folk music with contemporary jazz, creating a rich tapestry of rhythm and improvisation. Together with his band Dharma - Olli Hirvonen (guitar), Sharik Hasan (piano), and Adam O'Farrill (trumpet) - he crafts a sonic landscape that bridges the past and present. With Kadahin Milandaasin, Balani embarks on a deeply personal journey, offering a poignant musical reflection on his roots.

With Short Circuit Control, Berlin electronic duo Diagram (made up of Brian Jonestown Massacre guitarist Hákon Aðalsteinsson and Fred Sunesen) re-emerges ith a refined yet unpredictable sound, a testament to resilience, collaboration, and the endless possibilities of analogue synthesis. What began as a bedroom project by Aðalsteinsson culminated in the debut album Transmission Response (2019, Fuzz Club), a raw and exploratory work that set the foundation for what was to come. When Sunesen joined, Diagram evolved into a live act, carving out a space for itself in Berlin’s underground music scene. Built on mechanical rhythms and eerie textures, their second album Short Circuit Control plays with tension and release, its analogue pulse imbued with a restless, human energy. There's a hypnotic, almost ritualistic quality to the music, where modular synths hum and crackle, beats loop and fracture, and melodies emerge like ghostly transmissions from some distant, flickering signal. The result is an album that feels both controlled and unpredictable—moody, immersive, and always teetering on the edge of something unknown. It is released on P.U.G Records, the new label from the Psychedelic Underground Generation music blog.

“Growing up has always been a solitary journey, marked by forward-looking anticipation, anxiety, unripe potential, aspirations, and closures.”

London based Chinese composer and multi-instrumentalist Li Yilei returns to Métron Records with NONAGE, their second full length release following 2021’s OF. An introspective reflection on the journey through childhood, this new work brings together samples from old Chinese TV shows, mechanical children’s toys and an array of acoustic and electronic instruments - some of which were designed and built by Li themselves.

The Chinese title for "NONAGE" is "垂髫", which translates to “childhood” or “disheveled hair”, and refers to the carefree phase of life when children let their hair down, both figuratively and literally. For Li, nonage is a place that they always revisit - to learn about fear and fearlessness, love and despair, grief and glee, curiosity and mistakes.

“I remember pressing piano keys like touching flowers, reading scores like looking at paintings, writing like how I would talk to myself, greeting death like how I would greet life.”

Initially conceived as an archiving project, the record retraces and reimagines fractions of Li’s childhood memories through smell, location and colour, and brings to life the lingering feelings that remain into adulthood.

Compositions are built around a variety of unusual sources: damaged instruments such as a toy piano, a hand cranked music box, bird whistles, a broken accordion and anything else Li could find that evoked nascent recollections. Interspersed throughout are samples from Li’s childhood piano jams, moments of contemplative transmigration where previous incarnations of self and memory meet the present.

Zur Feier des 10-jährigen Jubiläums des berühmten zweiten Albums von Imagine Dragons veröffentlichen
Imagine Dragons am 21. Februar 2025 auf ihrem Jubiläumsalbum „Reflections (from the Vault of Smoke
+ Mirrors)“, 14 nie zuvor gehörte Demos aus dieser Zeit. Die physischen Ausgaben von Smoke + Mirrors
werden am 25. April 2025 veröffentlicht.
„Reflections (from the Vault of Smoke + Mirrors)“ wird bei allen DSPs und als physische 1LP Ocean
Blue Vinyl erhältlich sein.
„Smoke + Mirrors Ten“ enthält vierzehn nie zuvor gehörte Demos, darunter das exklusive „I Bet My
Life (Demo)” sowie das neue „Reflections (from the Vault of Smoke + Mirrors)” Vinyl. Ebenfalls enthalten sind 6 exklusive Lithos mit originalem und neu gestaltetem Artwork von Tim Cantor in einem
Deluxe-Box-Set.
Das 2x Platin-Album „Smoke + Mirrors“ debütierte auf Platz 1 der Billboard 200 und hat seit seiner
Veröffentlichung über 7,8 Milliarden Streams und 6 Millionen Verkäufe weltweit erreicht. Die Hit-Single
„I Bet My Life“ wurde von der RIAA mit dreifachem Platin ausgezeichnet und wurde bis heute über 960
Millionen Mal gestreamt.