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Biosphere is the main recording name of Geir Jenssen (born 30 May 1962), a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.



Cirque - originally released in 2000 - was Biosphere's first album for the UK label Touch. This new re-issue comes with a 6-track bonus album and new artwork.



Mojo (UK): Fourth full album from ambient pioneer. Coming to prominence with 1992's Microgravity - which along with the first couple of Aphex/Polygon Window CDs, defined the genre ambient - Geir Jenssen as Biosphere has made three of the '90s' best albums, culminating with last year's near beatless Substrata. The idea - as it always was thanks to Eno's On Land - is music as environment (reflecting, creating): working from his base in Tromso, Arctic Norway, Jenssen offers a polar, Apollonian exploration of the human psyche. Cirque is a perfectly constructed 47-minute sequence: cold clarity up against real depth of field, synth cycles dissolving into sudden moments of sonic revelation that sound like a waking dream - try the first 20 seconds of Black Lamb and Grey Falcon. (And if you think that's pretentious - your loss). Inspired by the story of a young American, Chris McCandless, who walked alone into the Alaskan wilderness and perished, Cirque balances the tightrope between warmth and unease, resolving into a moon melody that leaves you a peace. What a good record! Jon Savage.

ALL DAY I DREAM COMMENCES THE NEW YEAR WITH A BANG, RELEASING A WINTER SAMPLER VI COMPILATION
Lee Burridge’s All Day I Dream imprint is thrilled to kick off 2024 with the latest addition to its semi-annual compilation series, A Winter Sampler VI, releasing January 26.

Serving as a testament to the label’s commitment to fostering emerging talent and highlighting the cutting edge of melodic house music, A Winter Sampler VI is a curated selection of tracks that showcase the diverse and vibrant sounds within the All Day I Dream family.

A Winter Sampler VI brings together an impressive consortium of artists from around the globe to put together a 12 track offering. The compilation kicks off with Simon Vuarambon's remix of St Germain’s 2000 hit ‘So Flute’, the euphoric and driving track setting the tone for a journey through the innovative and cutting-edge sounds of the compilation. From Wassu and Bona Fide’s deep yet playful collaborative track ‘Threshold’ to Nathan Katz’s serene and uplifting ‘For You’ to Seth Schwarz and Solidmind’s beautifully spiritual collaboration ‘Create The Universe’, each contribution adds a unique flavor to the sonic tapestry, resulting in a must-listen body of work from beginning to end.

A Winter Sampler VI serves as a testament to All Day I Dream's dedication to providing cutting edge melodic house from select talent across the globe, providing a platform for both emerging and established artists to shine.

All Day I Dream invites music lovers to dive into the next edition of their compilation series with A Winter Sampler VI

Amonita, the ethereal musician known for her enchanting compositions and captivating live performances, is set to release her latest body of work, the Rainbow EP, under Lee Burridge’s esteemed record label All Day I Dream.

Since her debut in 2017, Amonita has been on a steadfast mission to craft iconic melodies that resonate deeply with listeners, evoking emotions that linger long after the music fades. She seamlessly blends live instrumentation with electronic elements, creating an immersive sonic experience that transports audiences to a world of serenity and wonder. Amonita is no stranger to All Day I Dream; In addition to her Secret of Happiness EP in 2019 and Aura EP in 2021, Amonita has contributed tracks on two A Winter Samplercompilations, and was featured on Gorje Hewek’s 2021 Collages album released on the label.

Drawing inspiration from her time spent in Turkey surrounded by nature, Amonita infuses the Rainbow EP with the essence of the awe-inspiring beauty she experienced: sun-kissed landscapes, tranquil seas, and the vibrant hues of a majestic rainbow. Her music speaks to the hearts of true dreamers – those who believe in love, walk barefoot in the rain, watch sunsets, admire the stars, and are impressed by the mystery and beauty of the moon.

In her own words, Amonita shares, "No matter how difficult your path through storms and thunder is, after that you will see a rainbow!"
This sentiment encapsulates the overarching theme of resilience and hope that resonates throughout the EP, serving as a beacon of light in challenging times. The Rainbow EP is a testament to Amonita's boundless creativity and passion for storytelling through music. From the shimmering melodies of title track ‘Rainbow’ to the hypnotic rhythms of ‘Amulet’ to the dark and mysterious ‘Moon Dust’, each track invites listeners on a transcendent voyage of discovery.

Prepare to be spellbound as Amonita unveils the Rainbow EP on March 29th. Experience the magic for yourself and let the music transport you to a world where you can dream while awake and rainbows reign supreme.

At daybreak, as sunlight travels through the atmosphere and begins to reach Earth’s surface, daylight gradually emerges. This marks the transition from night to the beginning of a brand-new day. As the temperature rises—especially after clear, calm nights—relative humidity decreases, and mist, formed of tiny suspended droplets, begins to evaporate. Warm air rises and cool air sinks, creating an interplay of temperature, humidity and sunlight that gives way to a soft, diffuse glow. The sea breeze slowly clears the morning mist, setting life in motion once again as the world wakes up.

‘Daybreak’ is Sven Wunder’s fifth full-length album, seamlessly continuing the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night and embarking on a lush journey through the early hours of the day and far beyond, until the light slowly fades and night falls once again. True to Wunder’s now-distinctive artistry, ‘Daybreak’ is marked by elaborately crafted compositions and elegant pop-jazz arrangements for flute, percussion, brass and strings—supported by a decisive rhythm section, all of which add depth and build on his body of work, continuing to unfold his creative path.

From the crypts of Parisian funk obscurity comes the long-lost Halloween holy grail, Disco Frankenstein from Ice AKA Lafayette Afro Rock Band. A teasing album of horror-disco oddities originally released as a compilation—a misnomer cloaked in mystery, as the tracks themselves hail from the group’s playful experiments in the mid-to-late ’70s.
This album unearths a twisted treasure trove of grooves, originally scattered across obscure side-projects and international pressings, brought back to life by Strut on blood-soaked vinyl exclusively for Halloween 2025.
Originally released as a 1976 Japan-only compilation featuring the Lafayette Afro Rock Band under a plethora of pseudonyms—Sweet Exorcist, Captain Dax, Hot Blood, Krispie and Co., and more, the release was masterminded by producer Pierre Jaubert and led by bandleader Frank Abel with the funk-virtuosity of the Lafayette Afro-Rock Band group, the minds behind the much sampled ‘Soul Makossa’ and ‘Malik’ albums.
Disco Frankenstein represents the band at their most creative—layering wah-wah guitars, thunderous Afrobeat rhythms, and creepy-crawly synths into a funky stew of horror-disco gold. Tracks like “Dr. Beezar (Soul Frankenstein),” “Disco Vampire,” “Zeke the Zombie,” and “Igor’s Reggae” blur the line between Halloween novelty and dancefloor fire, conjured with full seriousness by studio wizards who knew how to raise the funk.
Resurrected by Strut Records and remastered by The Carvery, this compilation finally gets the deluxe treatment it deserves: pressed on limited blood-stained vinyl just in time for Halloween 2025.

Lilya Mandre makes her Crosstown Rebels debut with her emotive three-tracker, ‘Exi(s)t’. Out on 10th October 2025, the Casablancan artist unveils two originals, including a collaboration with Zac Martel and Jono McCleery, backed by a remix from Haitian star Francis Mercier. Marking her first appearance on Damian Lazarus’ iconic Crosstown Rebels imprint, Moroccan-born artist Lilya Mandre steps into the spotlight with ‘Exi(s)t’. Landing on 10th October, the EP pairs her expressive, melodic style with a striking vocal feature from UK-based singer-songwriter Jono McCleery and a collaboration with Montreal’s Zac Martel, completed by a stellar remix from Haitian heavyweight Francis Mercier.An ascending name in the global electronic sphere, Lilya Mandre channels her Casablanca roots into a sound that balances deep, minimal-leaning grooves with raw emotional weight. Her magnetic presence has already taken her to stages such as Hï Ibiza, where she joined Crosstown head honcho Lazarus for his summer residency, plus the likes of Moga Festival, La Clairière Paris, and Picnik Electronik, while recent releases on Mind of A Genius, IN/ROTATION and Madorasindahouse continue to position her as one of the scene’s most exciting breakthrough candidates. With ‘Exi(s)t’, she brings this same captivating energy into the studio, weaving powerful collaborations and evocative solo work into a release that captures her artistry in full.

Opening track ‘A Part Of Your Soul’, crafted alongside. Canadian producer Zac Martel (Madorasindahouse), sees Lilya also link up with acclaimed English singer-songwriter Jono McCleery (Ninja Tune), whose delicate and soulful vocals glide over rich synth work and fluid percussion to deliver a stirring and cinematic cut. Deep Roots founder Francis Mercier then steps in on remix duties, injecting his signature blend of worldly percussion and driving energy to transform the original into a hypnotic, club-ready anthem. Closing the package, ‘Malou’ takes things deeper as Lilya steps out solo, layering subtle melodies and textural flourishes for a track that’s both restrained and emotionally resonant. With its balance of expressive collaborations and immersive solo work, ‘Exi(s)t’ sets a compelling tone and brings an impressive debut to Crosstown Rebels, showcasing her ability to craft moments that resonate both on the dance floor and beyond.

Man O To from the elusive producer NU is finally set to be released as a single on Crosstown Rebels, featuring remixes from Parisian producer Pépé Bradock who producers two amazing takes on the original. Since its inclusion on Acid Pauli's Get Lost Compilation in 2012, the track has gained huge support and become a modern-day electronic classic.
A nomad of modern times, NU has travelled the continents with his diverse music to unearth his imitable style. Represented heavily in Man O To, where instruments amalgamate with electronic production to become solid rhythms. An extra spark come from its lyrics, outtakes from an old Persian poem from the well known poet Rumi, who speaks of true happiness in love here performed by Ghazal Shakeri from an original recording made by renowned French composer Armand Amar.
Julien Auger aka Pépé Bradock is a widely respected producer best known for his ground breaking remixes and releases on labwes such a Avatisme, Classic and Versatile Recordings. As a DJ, he has spun in almost every major club in the world and is known for his versatile, and mesmerising style. Bradock conjures a trippy remix and dub version of Man O To and fitting ode to the original.

When we did the first ever vinyl reissue of this 1972 masterpiece back in 2012 it sold out so fast and so many lost the chance to grab a copy has translated into continuous messages asking us to do a repressing of this marvel - which we did and, again, it sold like hot bread. So here is a new edition of this UK jazz masterpiece, this time with a twist :

- Silk-screened cover art : we respect the original design, but have upgraded the printing from regular offset to silk screen to give it an artistic touch!

- In adition to the limited black vinyl edition (400 copies), we offer an ultra limited clear vinyl version (100 copies-only!)

One of the big names in UK Jazz, Neil Ardley was offered the leadership of the seminal New Jazz Orchestra in 1964. Under his direction the Orchestra moved though different styles and changes of personnel, bringing in musicians such as Mike Gibbs (trombone), Harry Beckett andHenry Lowther (trumpets) or even Jack Bruce (bass), some of them also contributed with the writing of some original compositions, making the NJO the root from which the UK's 70's jazz scene was to blossom.

By 1972 the NJO was already defunct, but his legacy remained in the works of its members. Ardley's 'A Symphony Of Amaranths' is a perfect example of what was boiling in the UK jazz scene. It was Ardleys tribute to his idols Duke Ellington and Gil Evans, and featured the skills of some great musicians of the scene including Don Rendell,Stan Tracey, Henry Lowther, Harry Beckett, Jeff Clyne & Jon Hiseman. Side B is inspired by the words of Edward Lear, W. B. Yeats, James Joyce and Lewis Carroll that are musicated by Ardley and feature, among other highlights, Ivor Cutler's narration of 'The Dong With A Luminous Nose' and Norma Winstone's vocals on 'Will You Walk A Little Faster'.



Musicians that participated in the recording session :

- Derek Watkins, Nigel Carter, Henry Lowther, Harold Beckett (trumpets)
- Derek Wadsworth, Ray Premru (trombones)
- Dick Hart (tuba)
- Barbara Thompson, Dave Gelly, Don Rendell, Dick Heckstall-Smith (woodwind, saxes)
- John Clementson (oboe)
- Bunny Gould (bassoon)
- Dave Gelly (glockenspiel)
- Neil Ardley (prepared piano)
- David Snell, Sidonie Goossens (harp)
- Stan Tracey (piano, celeste)
- Karl Jenkins (electric piano)
- Alan Branscombe (harpsichord)
- Frank Ricotti (vibraphone, percussion)
- Chris Laurence, Jeff Clyne (bass)
- Jon Hiseman (drums, percussion)
- Eric Gruenberg, Jack Rothstein, Kelly Isaacs (violin)
- Ken Essex (viola)
- Charles Tunnell, Francis Gabarro (cello)
- Ivor Cutler (narrator)
- Norma Winstone (vocal)
- Jack Rothstein, Neil Ardley (conductors)

n B7 The Cut That Always Bleeds [Live]
[o] B8 Heather (Lost Verse Version) [Live]














[n] B7 | The Cut That Always Bleeds [Live]
[o] B8 | Heather (Lost Verse Version) [Live]

A Walking Contradiction resurfaces with a new release by their friend & collaborator Katatonic Silentio, channeling a collection of tracks submerged in echoes and pressure-shaped pulses. AWC011 traces fluid architectures built from delay, decay, and deep resonance--each composition unfolding like sediment in motion. Sounds sway with tidal pull, suspended in chambers where space thickens and time refracts. Basslines emerge like sonar beneath shifting layers, while percussive elements flicker at the edges, softened by current and drag. Elastic and disorientated, these underwater constructions are tuned to the language of depth and dissolution.

Fresh techno from the Lowlands by two veterans of the Utrecht scene. Quince made his debut 20 years ago on the renowned Delsin label, while Sayne is the latest alias of DJ, producer and label owner Nuno Dos Santos. All three tracks are built around a single initial idea. Both producers expanded the idea independently, before coming together to forge the final result. The title track Orange has a nice Detroit vibe with its shuffle rhythms and bouncing rimshots, while Klonneplein 1 (an Amsterdam square all too familiar to visitors of a populair techno party) navigates the wobbly bridge between Sterac and Andy Stott. The closing track Work is one for sweaty basements, where bass lines tug viciously at your trouser legs. Raw, distorted jakbeat in a frayed techno jacket. If you like to lose yourself, this sixth EP on the Nowhere label is a good place to start.

Schwarzes Recycling-Vinyl. Kommt mit Texblatt und Downloadcode. Great Resignation! So wird das massenhafte Kündigen von Bullshitjobs während der Corona-Pandemie bezeichnet. Die Verweigerung die eigene Arbeitskraft zu den widrigsten Bedingungen zu verkaufen, wenn es nicht mal zum Leben reicht. Auch wenn man sowieso bald wieder ran muss - nur für einen Moment spüren, die Macht zu haben alles lahm zu legen, hörten einfach alle auf: Wertschöpfung, Broligarchie, Kaufland, Deutschland. pogendroblem haben sich also nochmal zusammengerauft und ein neues Album gemacht. Drei Jahre für ein neues Album? In der Tat: Great Resignation. Oder zu wenig die Brotjobs gekündigt? Und wenn sie die Arbeit so hassen, warum haben sich pogendroblem dann noch weiter in die Musikindustrie reinbegeben? Widersprüche schärfen und aushalten. Ambiguitätstoleranz. Nachdem AWINHSMK Ende 2022 bei Audiolith erschien, ging es für die Band wild hin- und her zwischen Pop-Festivals, Punkbühnen, Preisverleihungen und Solishows für selbstverwaltete Kulturzentren oder gegen die extreme Rechte. Nun der Nachfolger Great Resignation bei Kidnap. Das Schulterklopfen der Kulturförderung darf natürlich auch nicht fehlen. Zwölf Tracks auf 1:22 bis 2:30. Ästhetisch nochmal diversifiziert und dennoch aus einem Guss, entstanden unter Regie von Gregor Hennig im Studio Nord Bremen, gemischt von Daniel Roesberg und gemastert von Christian Bethge. Musikalisch klarer und pointierter als zuvor. Obviously punk, poppige Niedlichkeit, Garage Vibes, bisschen Hamburger Schule, bisschen Kraut, etwas düsterere Gitarren und natürlich Brotschneidemaschine durch FX geballert. Wahrscheinlich Post-Punk. Doch Achtung, das ist keine Neue Neue Deutsche Welle! Große Resignation! Die große Traurigkeit zieht sich durch die Platte hindurch, auch in den auf den ersten Blick lustigen Liedern. Denn hier sind sich pogendroblem treu geblieben, es geht um absurde Alltagsgeschichten, um Subjektivierung, die nicht mehr zu funktionieren scheint. Um Fragmentierung von Gesellschaft, Arbeitsbeziehungen, der Linken. Wie durch die Zeit der Monster (Antonio Gramsci) navigieren, fragen pogendroblem. Wie weiter machen gegen Faschisierung und Klimakrise? Lösungsansätze werden diskutiert und ausprobiert. Es ist klar: Es kann nicht immer so weitergehen.

New Model Army, a band synonymous with rebellious energy and social commentary, made an indelible mark on the punk rock scene with
their 2nd album “No Rest for the Wicked.” It's bursting with raw passion and a commitment to social justice
“No Rest for the Wicked.” is available on black vinyl and includes an insert.

Jessica93, prodigal bastard of our glorious french squat scene, relocated on Born Bad : this is no picnic. Geoffroy Laporte, alone against all odds, alternates bass and guitar to build harsh loops with a drum machine spitting pre-Gulf War patterns. That’s where it gets tricky : every musical posse claims him. Grunge, sure, but Jessica doesn’t indulge in necrophilia. His circuit is punk, he doesn’t dress the part though. Cold wave, the atmosphere fits somehow, but the gear does not. The self-confident rock horde saw him playing with hair in his eyes… but he never joined the Party. Metal had something to say but sadly, nobody listened. Maybe it's time to give it a rest and let Jessica93 cook his great misery broth on her own, called « 666 tours de périph’ » (666 laps on the beltway). Witnessing Jessica93 live makes you dread that he'll get up the next morning, drive 200 miles and one nap later kick it again, when it takes us a good week to recover from the bad half of that same evening. Like so many other unknown soldiers during our very own world war of music, he patrols small venues relentlessly.



At the heart of this cultural pentacle painted by french weirdos Bryan's Magic Tears, and Carine Krinator, Jessica93 has built a sound validated by years of chosen vagrancy, birthing bands with joyously stupid monikers, in the humid jungle of small labels. Jessica93's debut album had a track celebrating Omar Little, HBO’s gay bandit from Baltimore. This story begins on the beltway, where Florence Rey, accidental copkiller turned to political icon of the 90’s. Geoffroy offers his brilliant analysis : " C’est la police qui nous tire d’ssus / C’est mon trou d’balle qui leur chie d’ssus « (Police shoots us down / my dripping asshole gets the job done).



A previous album was haunted by bedbugs, this one is essentially about love, a delicious scourge just as hard to eradicate. Two black diamonds peek out of the LP : ’’La colline du crack’’, heartbreak song about the ultimate temptation of violent delights, located on crackhead central in Paris. The brilliant chorus, ‘Take my hand and come with me to Crack Hill’ will put an end to the rumours, almost everything was really false. And Bébé Requin, alternative obituary that’ll make you shiver, where our nice couple states ‘’on kiffe la drogue dure et les ptits chiens’ (‘we love hard drugs and little dogs’). And that is the reason we face the wall of sound jostled by unnecessary shoulder thrusts: those nice fat chunks of charcoal poetry, hidden under light sarcasm.



The rest of the record demonstrates the know-how acquired in loop-by-loop construction of ruins that are pleasant to squat in together. There’s your classic doom delicatessen, with bits of heavy metal inside, crafted with the manic care typical of hard wankers. Arthur Satàn, who produced and mixed the album at home in Bordeaux, helped him get his head out of the reverb safe house. And Jessica93 took the opportunity to switch to the dark side of the language : french at last. Worth the wait ! Sing along : « nique sa mère / nique sa grosse mère » (translate that yourself).

After his 2024 album The Spirit Continues, Tilman returns with Altered Spaces, a tightly focused four-track EP that distills his signature sound into a concise, club-ready format.

Opening track Make My Body Move sets the tone with soulful vocals, warm piano stabs, a rolling bassline and a breezy Balearic vibe. The Last Resort deepens the mood, layering pads, organ hits and shimmering strings over a steady, driving groove. Rounding out the EP are two reimagined cuts from The Spirit Continues. Dance Department (Spirit Mix) smooths out the rougher edges of the original, adding organ stabs and a more melodic sensibility.

Need It (Dance Dub) transforms the track into a softer, dub-tinged version - hypnotic, restrained and full of subtle movement. Altered Spaces is classic Tilman: warm, understated house music that's rich in detail and groove - made for dancers and deep listeners alike.

Wrong Filament embodies Robert Piotrowicz's creation of fictional traditional music - not studied but invented, a utopian and oniric construct that becomes tangible in sound. These imagined traditions act as communal forces of music-making, resisting dominant structures of power.

The album unfolds in six dense compositions built on rhythm, repetition and minimal melodic gestures that draw on archetypal patterns of Eastern European traditions. Entirely synthetic yet strikingly instrumental in character, they develop as autonomous sound events, expanding into multi-part forms that evoke the physicality of ensemble performance - as if played by an imagined community of musicians.

Rather than reconstruction, Piotrowicz invents forged dances - a pre-techno of sorts, where complex meters and dense textures point to a parallel history of collective sound beyond industrial uniformity. They imagine a utopian and fictional genealogy of collective sound: one where industrial modernity yields to more unstable, communal energies.

This is celebratory music with invocatory charge: calls to dance, echoes of ceremony, microtonal melodies shaped by emotional weight, and traces of Eastern ornamentation stretched through synthetic means. Wrong Filament sacralises performance through sound alone, spinning a world where spectres of collective experience vibrate against the limits of rupture and resistance.

These pieces confront the traces of violence inscribed in body and memory, yet also affirm freedom, emancipation and integration. They manifest celebration, identity and resistance while opening a path toward liberation and shared needs that exceed social, private and intimate categories.

An extremely rare Northern Soul 45 RPM single originally released in 1965 on the Holly label, Billy Arnell And The Sparkles "Tough Girl" was the product of two childhood friends that lived less than a block apart in suburban Fairlawn, New Jersey in the early 1960s - Billy Smith and Lou Hemsey.

Billy played guitar and sang; Lou played guitar and wrote songs, so they decided to form a band. They added friends Eddie Hoffman on organ and Jack Gullone on drums and began playing lots of gigs locally as Little Willie & The Sparkles. They were young, ambitious, and imagined themselves as the next Beatles. By a stroke of fate, they met Joe Martin of Apex-Martin Distributors in Newark, NJ, who caught the band's live show and was duly impressed. That meeting led to the recording session for the "Tough Girl" single. When they recorded the first version of the song, the producer wasn't happy, nor was Joe Martin - so he fired that producer and brought in the young, up and coming producer, George Kerr. Kerr didn't care much for the band, so they redid the entire thing without Hoffman and Guilone - with just Billy singing and Lou playing guitar.

The pair of old friends were buoyed by session aces Eric Gale on guitar, Bernard Purdie on drums, Bobbie Banks on organ, as well as a bass player whose name has been lost to time. In addition to those changes, they used the studio horn section that Hemsey arranged for, plus two trumpets, two saxes and two vibes players. The resulting single was an infectious amalgamation of rock and soul. Billy changed his surname to Arnell for the 45 release (because he thought it sounded more "show-biz") and the rest is pop history. Arnell later started a record company (Fire Sign Records) and purchased a recording studio (112 Greene Street Recording) in the trendy SoHo section of Manhattan with Steve Loeb.

As for the rest of The Sparkles, Hoffman became a teacher somewhere on Long Island, Guilone graduated from the Culinary Institute of America in Massachusetts and ended up living in Northern New Jersey. Hemsey became a well-known recording engineer, composer (Lou was the one who wrote "Tough Girl"), guitarist, arranger, orchestrator, editor, film director and producer for records and commercials.

Mit „The Best of All World Bands: The Residency“ bringt Rocklegende Sammy Hagar die größten Hymnen
seiner Karriere auf die Bühne – energiegeladen, zeitlos und voller Rock’n’Roll Spirit. Diese Show vereint
alle Welten, alle Klassiker und alle Vibes, die Hagar zur Kultfigur gemacht haben. Ein Muss für alle, die
den Soundtrack echter Rockgeschichte live erleben wollen!
Ab jetzt erhältlich als 2LP auf grün und blauem Vinyl und als 2CD!

We are honoured to work with Neil, who’s been an intrinsic part of the UK techno scene, especially with his devotion to experimentation within the genre! Sorry for the typo on the centre label mate. This release came out of the thirst for something very much outside the box.. literally! Fun fact: Fang Man was inspired by a breakdown driver who Neil met the day before signing this EP with us. Maximum respect to all DJs who picked this one up for the club circuit or radio spins! Thanks to everyone who’s been supporting the label and bought the wax, we’ve got plenty more in the works.

10 year anniversary edition of Kreng's massive »Works for Abattoir Férme 2007 - 2011”« 4 LPs worth of slow, skin crawling cinematic ambience made for the Belgian theatre group Abattoir Fermé.

It could hardly be a better time to again dive deep into Kreng and Abattoir Fermé's disturbingly beautiful underground worlds. Through 8 full- length vinyl sides we are transported through the most terrifying, shadow- filled, down-right bizarre moments of the subconscious. What could be the sound of your darkest dreams or most surreal fantasies gradually unfolds throughout the three and a half hour duration. Exactly this is what Abattoir Fermé specialises in, and Pepijn Caudron's scores perfectly reflect and accompanies both this theatricality as well as our own fears and desires in a masterful way.

Each extended side is crafted from an arsenal of samples, disintegrating vinyl and corroded tape, and Pepijn Caudron manipulates these sounds in a way that belies the sources. Rather than allow the sounds to emerge, they stay trapped beneath swathes of noise, tape delay and oppressive bass giving us a compositions that emerge like a cross between William Basinski, Jerry Goldsmith (circa Alien) and Henryk Górecki.’ »Works for Abattoir Fermé« is not for the faint of heart, but for the rest of us it might be just what the Doctor ordered...

Furthering the passionate exploration of cinema that has guided her two previous LPs - 2017’s ‘Fassbinder Wunderkammer’ and 2020’s ‘I Should Have Been a Gardener’ - the Milanese guitarist/composer, Alessandra Novaga, returns to Die Schachtel with ‘The Artistic Image Is Always a Miracle’, two sides off shimmering, tense compositions – culminating as one of her most creatively ambitious and conceptually rich outings to date – freely inspired by the life and work of the Russian director Andrej Tarkovsky and the music of Johann Sebastian Bach.

Classically trained at the Musik Akademie in Basel, Switzerland, over the last decade Alessandra Novaga has emerged as one of the leading figures within northern Italy’s thriving new, experimental, and improvised music scene, rendering striking solo efforts, in addition to collaborations with Loren Connors, Stefano Pilia, Elliott Sharp, Nicola Ratti, Paula Matthusen, Sandro Mussida, Kid Millions, Travis Just, Francesco Gagliardi, and others. Remarkably ambitious and forward thinking, her approach to the guitar embarks upon a relentless deconstruction and rethinking of her instrument’s unique properties through distinct applications of structure, resonance, space, and tone, creating in a deeply personal and emotive music, seeking narrative and meaning within the abstractions of sound.

In 2017, with the LP, ‘Fassbinder Wunderkammer’, issued by Setola Di Maiale, Novaga embarked upon the exploration of her love of film. Having begun with Rainer Werner Fassbinder, this was followed in 2020 by Die Schachtel’s release of ‘I Should Have Been a Gardener’, a deeply intimate mediation on the life and work of Derek Jarman. Rather than focusing on a fixed point of inspiration or a single film to work from, these pieces achieve a form of abstract portraiture, distilling elements drawn from these filmmaker’s life and work into ambient networks of texture and tonality. ‘The Artistic Image Is Always a Miracle”’ freely inspired by the Russian director Andrej Tarkovsky and the music of Johann Sebastian Bach, finds Novaga radically expanding her sonic palette within this approach.

The seeds of ‘The Artistic Image Is Always a Miracle’ can be traced to a conversation that Novaga had with Alan Licht (contained in the highly regarded Common Tones: Selected interviews with artists and musicians 1995–2020, Blank Forms, 2021), relating to the connections between music and cinema, which led her to consider Andrej Tarkovsky’s use of Bach's music within a symbiotic framework: how the music illuminates the imagism of the films, and the film illuminates new dimensions of the music. Slowly developing over the subsequent years, the resulting album comprises six individual works, some of which draw directly upon pieces of Bach’s music that Tarkovsky used in his films – specifically 'Erbarme dich, Mein Gott', 'Das alte Jahr vergangen ist', and 'Ich ruf zu dir, Herr Jesu Christ' - while others draw upon the sensibilities and moods evoked in the imagination by the director’s films.

As a point of departure and illumination into the process and spirit that underscored the creation of the album, Novaga points toward a passage in Tarkovsky’s "Sculpting in Time”:

“Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, for the ideal: that longing which draws people to art. Modern art has taken a wrong turn in abandoning the search for the meaning of existence in order to affirm the value of the individual for its own sake. What purports to be art begins to look like an eccentric occupation for suspect characters who maintain that any personalized action is of intrinsic value simply as a display of self-will. But in artistic creation the personality does not assert itself, it serves another, higher and communal idea.”

‘The Artistic Image Is Always a Miracle’ can be understood as a realisation of the collectivism of which Tarkovsky speaks, in the service of something far beyond the expression of self. Encountering Novaga moving into fairly uncharted waters, three of the album’s pieces incorporate the human voice we encounter the voices of others: that of the poet Arsenij Tarkovsky, the director’s father; a singer from Bach’s ‘Erbarme dich, Mein Gott’, capturing a broadcast in an underground parking lot, and Novaga’s own, rendering the melody from Bach’s “Ich ruf zu dir, Herr Jesu Christ”. Roughly alternating between solo excursions on guitar and bristling electroacoustic pieces, over the course of the album’s two sides Novaga weaves one of her most abstract and ambitious bodies of recordings to date, shifting between the complex tonal mediations generated by the six strings of her instrument, and phycological densities activated by the expanded pallet of sonority made possible by the tactics and approaches of musique concrète.

An immersive, deeply engaging meeting of beauty and melancholy within a labyrinth of voices and ideas, ‘The Artistic Image Is Always a Miracle’ transfigures the life and work of Andrej Tarkovski – one of the greatest auteurs in the history of cinema – into a singular, experimental statement of collective truth. Belonging to recent, ambitious stream of contemporary new music releases on Die Schachtel that’s already included Novaga’s ‘I Should Have Been a Gardener’, Stefano Pilia’s ‘Spiralis Aurea’, Jim O'Rourke & Giovanni Di Domenico’ ‘Immanent In Nervous Activity’, Claudio Rocchetti’s ‘Labirinto Verticale’, and Damāvand’s ‘As Long As You Come To My Garden’, among others, ‘The Artistic Image Is Always a Miracle’ is available on as a limited edition of 300 dark turquoise vinyl LPs released on June 21, 2024. The LP, designed by Bruno Stucchi / dinamomilano, comes with an 8-pages insert illuminated by Alessandra’s text as well as the lovely and intense photographs of Matilde Piazzi.

Returning to Die Schachtel with his fourth full-length with the label, the Genoa born, Bologna based, guitarist and electroacoustic composer, Stefano Pilia, delivers “Lacinia”, a new, immersive cycle of compositions, delving deeper into the realm of metaphysical, spiritual, and divine meaning, weaving astounding arrangements of sonority from a palette of synths, strings, brass, organ, various electroacoustic instruments, and percussion. Resting at a refined intersection of the acoustic and electroacoustic, drone, and chamber music - overwhelmingly beautiful, delicate, and bold, - “Lacinia” stands as a high-water mark in Pilia’s already remarkable and forward-looking career.

Since its founding in Milan during the early years of the new millennium, Die Schachtel has occupied a singular place in the landscape of experimental music, issuing a carefully curated body of reissues and archival releases by historically significant figures and projects like Christina Kubisch, Luciano Cilio, Marino Zuccheri, Prima Materia, Claudio Rocchi, Lino Capra Vaccina, Gruppo di Improvvisazione Nuova Consonanza, Roland Kayn, and numerous others, balanced against bristling contemporary counterparts by the likes of Jim O'Rourke, Giovanni Di Domenico, Nicola Ratti, Luigi ArchettI, Valerio Tricoli, etc. Running like a spine through the label’s output is a deep dedication to the work of the Italian guitarist and electroacoustic composer Stefano Pilia. Now Die Schachtel returns with “Lacinia”, Pilia’s forth full-length with the label and their first release of 2024. Building on the ground of deeply personal engagement with metaphysical, spiritual, and divine meaning, explored within his previous LP with Die Schachtel, 2022’s “Spiralis Aurea”, “Lacinia” encounters the composer working in close calibration with various ensembles, including the Bologna based Ensemble Concordanze and Comunale di Bologna String Orchestra, weaving synths, strings, brass, organ, various electroacoustic instruments, and percussion into an astounding reconfiguration of immersive, contemporary minimalism that stands among Pilia’s most noteworthy releases to date. Issued by Die Schachtel in two special double vinyl editions and a CD edition, “Lacinia” features artwork by Bruno Stucchi/Dinamomilano, and is an absolute marvel that draws you in and doesn’t let go.

First emerging during the early 2000s, over the past two decades – via solo releases and numerous collations with artists like Oren Ambarchi, Valerio Tricoli, Alessandra Novaga, Z'EV, Andrea Belfi, David Grubbs, and numerous others - the Genoa born, Bologna based, guitarist and electroacoustic composer, Stefano Pilia has presented a singular voice within Italian experimental music, harnessing visceral energy and hands-on immediacy within delicately woven tapestries of sonority, each investigating the sculptural properties of sound and illuminating its relationship to space, memory, and the suspension of time. “Lacinia”, Pilia’s forth solo venture with Die Schachtel, encounters the composer reentering his longstanding practice of collaboration with various ensemble forms, including the Bologna based Ensemble Concordanze, for the albums central piece, “Lacinia Off Axis”, spinning stunning string confirmations by Pietro David Carami and Elena Maury on violin, Alessandro Savio on viola, and Mattia Cipolli on cello.

A new, important cycle of compositions by Pilia, “Lacinia” (meaning "lace" in Latin) builds upon the exploration of the metaphysical, spiritual, and divine dimensions through numbers, geometry, and the creation of tonal forms explored by 2022’s “Spiralis Aurea”, mirroring archetypal, immutable forms at the juncture of the abstract realm of mathematics and architectural structures in the physical world, expands the poetics and compositional ideas featured in its predecessor. Regraded by Pilia as both a series of individual compositions and a single work, “Lacinia” was conceived to “define a circular path (a sort of "rhizomatic lace") where the beginning and end touch, suggesting the concept of time not only as linear but also cyclical and ritualistic—an eternal return, a process of transformation where matter changes, its state changes, but without altering the invisible internal principle of mutation”, embarking upon a a series of “steps, degrees, and energetic quanta in a progression of archetypal whole numbers and transcendent creation.”

The resulting 16 tracks unfold as a series of complex sonic meditations. While deeply resonant with the minimalism of composers like Arvo Pärt, LaMonte Young, Pauline Oliveros, and Eliane Radigue, Pilia digs deep and moves far beyond the predictable tonal relationships and structures of that idiom, echoing the ancient liturgical and devotional music of composers like Gesualdo da Venosa, Monteverdi, and John Dowland, at a refined intersection of the acoustic and electroacoustic, drone, and chamber music.

Fascinatingly structured as a whole to include a number of motif returns, across which we encounter works like “Lacinia Off Axis” appearing in slightly different rendering, states, or evolutions three times, and compositions like “Eve” appearing twice in subtly different forms and arrangements - first for four oscillators, guitar and voice and then for string orchestra - as well “Maris Stella”, which similarly makes two appearances, first for horn trio, organ and percussion, and then for string orchestra, with “Lacinia” Pilia delves further into the world of chamber music than ever before, creating a deeply inward, mediative body of work the totality of which, guided by its rich string arrangements of arching, sorrowful tone, feels almost like a mass for some unproclaimed loss; simultaneously locked in the nuances of a moment, while managing to suspend time.

Perhaps most remarkable is Pilia's ability to create a remarkable sense of sonic cohesion while using such a varied number of ensembles and instrumentation. From the sprawling string arrangements delivered by Comunale di Bologna String Orchestra, under the direction of Paolo Mancini, and Ensemble Concordanze, and a flute trio (Cadux / Plectere) brilliantly played by Manuel Zurria, to pieces for sax, organ and percussion, violin duo and percussion, organ and percussion, Pilia manages to create a sense of singular, encompassing world that flows forward like a shifting stream.

Overwhelmingly beautiful, delicate, and bold, “Lacinia” is unquestionably a high-water mark in Stefano Pilia’s already remarkable, forward-looking career. Nothing short of a marvel of contemporary Minimalism that, through its shifting arrangements of harmonics, tonality, and texture draws flickering images of ancient forms of music into the present day, “Lacinia” is Issued by Die Schachtel in two special editions on double vinyl and a CD edition, featuring artwork by Bruno Stucchi/Dinamomilano. This is an immersive all-consuming listen that can’t be missed.

Cassette
Earth Sounds Now is a collective made up of community activist and musician Stefan Christoff,
drummer, composer, scholar, and bandleader Asher Gamedze, music producer Nicolás Jaar, pianist
and composer Büsra Kayikçi, and novelist, poet, and sound performer Kaie Kellough.

Over 13 months, they met online to share sounds, readings, writings, and drawings, resulting in
Convergence—a project reflecting their collaborative process. Each member submitted different
works, including paintings, poetry, field recordings, and musical experiments, taking turns responding
to each other's contributions.

Member Stefan Christoff highlights the importance of listening in these sessions:
"Sometimes we would listen all together, so there was also silence on the online call as we all listened
on headphones to the sounds from our respective places. I am underlining listening here, which the
world needs much more of."

These submissions were organized into a sound library and finally mixed into record format by Jaar,
capturing the essence of their exchanges across global soundscapes.

Returning with its final instalments, Die Schachtel's Decay Music series extends its explorations of inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract with Luigi Turra and Elio Martusciello’s “Liminale” and Sergio Armaroli and David Toop’s “And I Entered Into Sleep”, two astounding electroacoustic gestures of blurred space and time, plumbing complexity of meaning bound to sonority. Creatively groundbreaking and inspired, radically rethinking the terms of what ambient music can be perceived to be, they stand among the most striking efforts to appear within the series to date.

An aural bridge between two distinct generations of Italian experimental musicians, “Liminale” is the debut collaborative outing from the creative partnership of Luigi Turra and Elio Martusciello. Active within the context for roughly two decades, Turra (b. 1975) is a reductionist/electroacoustic composer, noted from his tense deployment of concrete and acoustic sources — particularly small sounds and noises — whose work threads the balance between silence, tactile auditory perception, and aleatoric music. Martusciello (b. 1959), on the other hand, is a musician and composer working across the fields of acousmatic and electroacoustic composition, sound installation, multi-media and audiovisual art, and computer music improvisation, who is widely celebrated for both his solo efforts and his collaborations with Eugene Chadbourne, Mike Cooper, Alvin Curran, Chris Cutler, Rhodri Davies, Iancu Dumitrescu, Michel Godard, Tim Hodgkinson, Lawrence D. "Butch" Morris, Jérôme Noetinger, Tony Oxley, Evan Parker, Z'EV, and others.

A single, nearly 40 minute work, extending across the two sides of the LP, “Liminale” — as its title eludes — is an exploration of the liminal through sonic means: “places that exist on the threshold, transitional spaces suspended between a before and an after, between the real and the evanescent” conceiving the soundscape as “a liminal place, a space to be inhabited without the certainty of where it leads.” Unfurling like a labyrinth navigated in darkness, the piece’s first half is marked by sparseness and restraint, as slow-paced guitar tones and harmonics thread silences and resonant ambience within a sprawling sense of space, delicately populated by tiny sounds, fleeting punctuations drawn from undeterminable sources, vocal utterances, and the unexpected appearance of intoxicating piano tones.

As “Liminale” progresses into its second half, Turra and Martusciello enter a more densely populated notion of the in between. No less defined by the presence of space and mystery, discreet textures rustle and writhe within passages of pure concrete abstraction and a fragmented, stretched sense of musicality: long-tones, metallic pulses, minimal vibrations, processed vocalizations, guitar harmonics, and deconstructed piano melodies, buried in spectral, gauzy hazes drifting from beyond arm’s reach within an imagistic and immersive landscape of profoundly meditative scope, where each sonic element flirts the line between emergence and disappearance.

Intimate, fragile, and achingly beautiful, “Liminale”, Luigi Turra and Elio Martusciello’s debut collaboration, is a masterstroke in sound-craft and composition, revealing the potency of meaning locked within transitional spaces and the undefined, and imbuing silence with monumental gravity and weight. Mastered for vinyl by Giuseppe Ielasi, and taking electroacoustic minimalism to an etherial extreme, “Liminale” is issued as the ninth entry in Die Schachtel’s Decay Music series, highlighting inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract.

★Japanese obi-strip
★First time reissued on vinyl

Turning Into Small, the second album by shoegaze band All Natural Lemon & Lime Flavors from New Jersey, originally released in 1998 on local label Gern Blandsten,
is now being reissued on both CD and vinyl.

Formed in the mid-90s, All Natural Lemon & Lime Flavors were deeply influenced by UK shoegaze and alternative rock—most notably My Bloody Valentine—while
pursuing a uniquely experimental sound within the US emo and indie scenes. Their innovative spirit reached full bloom on Turning Into Small, which remains their
final album to date.

One of the standout tracks is the nearly eight-minute-long “Your Imagination,” a spacious sonic landscape that draws listeners into deep immersion.
It has become a signature song for the band, heralding a new wave of shoegaze that emerged in the late '90s and beyond. Even more noteworthy, however, are
tracks like “Puzzled Into Pieces” and “In Between And After,” which showcase the band's layered, synth-driven electronic textures, dynamic collage-like structures,
and occasionally buoyant melodies. These elements come together to create a strange and otherworldly sense of weightlessness—something rarely found even
within the shoegaze genre.

While resonating with the likes of My Bloody Valentine, Stereolab, and The Flaming Lips, the band's mutant-like blend of styles also draws parallels with acts like
Swirlies, Serena-Maneesh, and contemporary shoegaze innovators such as They Are Gutting a Body of Water.

This is a groundbreaking album in US shoegaze—one that still feels fresh and vital thanks to its timeless experimental spirit and originality. Now is the perfect time
to (re)discover it.

Cloudy Gold Vinyl. This 10 Year Anniversary Edition features new, gatefold packaging with updated photos, lyrics and liner notes. Disc one incldues the originial album in full and the brand new second disc features rare b-side "Nail In Your Hand," a re-done version of "Heaviside" with artist Wisp performing vocals on the song, and seven never-before heard demo versions of songs from Citizen's second album. Ten years ago, Citizen released Everybody Is Going to Heaven _ a record that marked a bold turning point in their career. Following the breakout success of Youth, the band could have stayed the course. Instead, they doubled down on darker textures, heavier moods, and a fearless sense of experimentation. Released in 2015, Everybody Is Going to Heaven expanded Citizen's sound beyond their emo and post-hardcore roots, weaving in elements of grunge, and alternative rock. Tracks like "Cement" and "Stain" captured a raw, unsettled energy that explored mortality, depression, and identity with an honesty that still resonates today. It wasn't a record built for easy listens _ it was built to last. Now, a decade later, Everybody Is Going to Heaven stands as a defining moment in Citizen's evolution _ a record that challenged both the band and their audience, and helped shape the fearless, genre-blurring artists they've become. As they celebrate its 10th anniversary, Citizen remains a band deeply committed to growth, refusing to be tied to a single sound or era. Everybody Is Going to Heaven didn't just mark where they were; it lit the way for everything that came next.

After bending boundaries on the acclaimed labels Optimo Music and Höga Nord, Rudolf Abramov resurfaces with a fierce new statement – inaugurating Aquasonic Records, the freshly minted label founded by one half of the duo.

They unveil a sweeping collection of rare recordings, drawn from the shadows of their enigmatic Berlin studio.

This debut full-length album unfolds like a sonic tapestry, threading krautrock, new wave, dub, psychedelia, experimental electronics, ambient, and jazz into a singular, genre-bending experience.

True to form, the duo assembles a diverse ensemble of guest collaborators, fusing layered musical worlds into a cohesive, concept-driven whole.

At its core, the album captures a dynamic interplay: acoustic instruments recorded with raw intimacy and spatial breath meet the hypnotic churn of modular synths, samplers, and analog machines. A vivid document of process, presence, and unfiltered sound, resisting definition, yet wholly their own.

David Jackson's first EP on Fragrance!

David Jackson, the youthful purveyor of fun dance music lands on Fragrance with a danceable, percussive and emotional record entitled “Holding Me”.
It launched with strong support already for the first single, Tu Medice - a big room, percussive and bass heavy club track with heartfelt production - the rest of the EP follows suit with 2 additional playful excursions through rhythm - Bump & Cry and 1000 Days.

Here to dazzle you by the power of the disco ball, Lack of Afro is your friendly neighbourhood ‘Love Dealer’. Two years on from the funk & soul rebirth of ‘Square One’, powered by the ubiquitous ‘Loving Arms’ featuring Greg Blackman, Lack of Afro aka Adam Gibbons is now close to two decades deep in the game with soundtrack credits galore and online streams doing calculator-busting numbers. With extensive touring taking ‘Love Dealer’ up and down the country this Autumn, Gibbons’ ninth studio album is all for "the thrill of seeing people on a dancefloor, all collectively locked into a track that you've produced - there’s nothing like it!”.


‘Love Dealer’ is the authentic modern disco experience, packing a stacked sole’s worth of club beats full of stardusted sing-alongs, style-outs and French touch-style cool. Despite being “written during one of the longest winters in living memory”, ‘Love Dealer’, featuring some co-production from fellow South Coast dancefloor scholar Flevans (and influenced by producer du jour Barry Can’t Swim), exudes warmth and will make you sweat when its highs take effect.


Entering the scene with the radiance of ‘Make It Shine’ featuring Greg Blackman, washing over the airwaves of BBC 6 Music and Radio 2 and taking up a 10-week residency on the Jazz FM playlist, Gibbons and his crack line-up of discotheque players are your go-to team when you can’t wait for the weekend to begin, as subtle as they are straight down to business. ‘Love Dealer’ offers you nothing but the best in sparkling string symphonies, the hippest guitar licks, samples of those invited beyond the velvet rope and struts soaked in night fever.


Double A-side ‘Walls Start Rockin’ and ‘Heart & Soul’ guide the album’s glamour-and-groove, while ‘Love Saves The Day’ and ‘Plain to See’ dramatically take to the podium in a shimmer of pure peak 70s theatre. ‘Keeping Me Strong’ is the synergy of disco chic and the sound of a global advertising tie-in with Dyson, ahead of Gibbons taking a slightly Moroder/Cerrone-ish detour on ‘Idolising People Like Madlib’. “'Love Dealer' is aimed unequivocally at the dancefloor" says Adam. "As an artist, I wanted to push myself in a slightly new direction - more into the land of disco and a four to the floor sound. 'Love Dealer' is quintessentially an upbeat record, full of joy, optimism and hope for the future”. Seek your inner ‘Love Dealer’, kink your ‘fro and let your funk flag fly.
















n B7. 14 Your Love (feat. Jonah Hitchens) BONUS TRACK














n B7. 14 Your Love (feat. Jonah Hitchens) BONUS TRACK














n B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]

Legacy in Motion is the third studio album from Western Sydney hip-hop powerhouse The 046. Legacy in Motion is a 16-track statement of growth, resilience, and ambition that cements our status as leaders of Australia’s rap scene. Blending our signature “Aus Funk” sound with a GFunk and West Coast-inspired style built on heavy basslines, smooth synths, and street-level lyrics with fresh, evolved production. Legacy in Motion captures The 046 at their sharpest, from the anthemic opener “Forever G’s” to standouts like “Music Is Everything” and “Young Free & Reckless”, the album moves seamlessly between hard-hitting street energy, reflective storytelling, and tracks built for festival stages. Stacked with heavyweight collaborations, including Lisi, Barkaa, Nyxladd, JKING, D-Boy 223, and Say True God?.

Legacy in Motion expands The 046’s reach across Australia’s hip-hop landscape. The title track and deeper cuts like “Nothing’s Free” showcase their maturity, reflecting on hustle, loyalty, and carving out a lasting legacy while staying true to their Western Sydney roots. This album isn’t just another release it’s The 046 proving their movement is unstoppable.

"Prudência / Praga", or "Prudence / Plague", is a double single with these two songs that I composed and which were originally recorded by two of my heroes: Maria Bethânia and Alaíde Costa. Curiously, they are two sambas: although I come from the rock and roll scene in Sao Paulo, I wound up writing a samba as if it were the 50s. At the time of my first heartbreak, at the age of 17, I had the record Jamelao canta Lupicínio with the Orquestra Tabajara on my iPod, and I identified with those dramatic sorrows, almost a hundred years old. In a way, I felt that Lupicínio Rodrigues was bloody and direct, like Tarantino, and Nelson Cavaquinho, heavy metal like Black Sabbath. So, I feel it's a compact 45 of sambas but it's also very Rock n Roll to me. Raw and coming from hell. "Prudência" is that internal battle between the passionate side and the controlling side in the head of the former romantic bohemian. I wrote it for Bethânia to record on her album Noturno. Her version turned into a moving bolero. When I saw her singing it live and the audience singing along with her, I couldn't believe it. I cried, hidden in the audience. She said that when she showed the record to her brother, Caetano Veloso, he thought that "Prudência" was some old classic that she had dug up to bring back to light. Nothing could be a greater compliment than this mistake on Caetano's part. "Praga" also has to do with MPB heroes of mine that I never imagined I'd see up close or have any relationship with or any connection with. I was asked to write these lyrics in partnership with the main man Erasmo Carlos for Alaíde Costa's album! Surreal. Like many people, I got acquainted with Alaíde listening to "Clube da Esquina," her singing with Milton Nascimento. And the idea was to do a poisonous cabaret song samba. The curse of a woman who has dumped a drunk. I love it when Alaíde sings "BIBIDA" in her recording of the song_a total legend. I wanted to produce a kind of horror samba recording, because if it wasn't rock and roll, it wouldn't be much fun for me. I went over to Bielzinho's, and we recorded this chorus that explodes with the percussion and the choir of my friends Tulipa, Maria Beraldo, and Luiza Lian. This take of "Prudência" came from the unpretentiousness of recording two live sessions of the song with Fred Joseph with the cameras of the 70s' program "Ensaio" (MPB Especial) by the great Fernando Faro. The video take ended up being so unexpected and raw that it unseated the studio version, and that's what you hear on the single. The idea behind the video is a sort of this temporal mindfuck; like found lost tapes of the MPB Especial from the early the 70s. Same microphones, same cameras, that zoom_time travel. Between Mil Coisas Invisíveis, the end of the cycle with O Terno, and starting the new album process, I decided to take advantage of the respite to release this rock and roll 45 of sambas, without thinking too much or over-producing the thing. "Prudence? Don't talk to me about prudence!" ;) Tim Bernardes, 2025

Swiss shapeshifter Elsa surfaces on Punctuality for the first time, marking the label’s seventh release with a debut EP that dives deep and swims sideways through an eclectic milieu of club influences.

Across the five tracks on Web Glow, there are nods to turn-of-the-century tech house, liquid D&B, broken IDM, psy-laced trance, and modern tek mutations. Subtle wubs ripple under the surface, low-end pressure coils tight, and meticulous sound design binds the tracks into a fully realized vision of Elsa’s forward-thinking sound. Enter the unfolding.

Roza Terenzi steps up to remix “Web Glow,” reanimating the track as a skeletal early-morning stepper—the mood is giving sizzling dubbed-out vocal wisps, pulsing subs, and stripped-back drums. “Groupie” notches up the BPM but keeps things fluid with aquatic atmospherix, jittering FX, and drums that skid out and under rolling basslines.

“Fortune Cookie” flashes uk-tinged tech house with shimmering shards of SFX, resplendent with stuttering kicks, glassy pads, and sultry textures. The halftime jungle-IDM stylings of “No Ads” round off the EP in a haze of fractured breaks and dubbed-out atmospherics. A murky, magnetic debut on Punctuality—Elsa sketches out a soundworld all her own. Dive in and catch it.

Emily A. Sprague's Cloud Time traces an audio-spiritual journey through time and place, recorded across a long-awaited debut tour of Japan in the fall of 2024. Compiled from environmental improvisations captured in and for the moment, material at once welcoming, responsive, and inimitable, the album distills a voyage guided by psychic wayfaring, unbound presence, and activating performance for a reciprocal exchange with space, listener, and each fully engaged instant. The Japanese tour documented on Cloud Time held an almost mythic significance for Sprague, taking on properties of her own sonic white whale. After many near-departures and dropped plans to play in the country, "the empty spaces of cancelled trips and forgotten music turned into strange little misty spirits that I felt followed by," she says. "When I began preparing for the tour, I couldn't shake a sense that the invitation to Japan was more about opening myself up to this new place instead of bringing something into it tightly under my control. Improvisation has always been such a pillar in my music practice, and I really wanted to meet the country, spaces and people through that process." To amplify these intuitive whispers on-stage, Sprague reimagined her time-tested live rig, designed to be as free from error as possible, as a looser, more flexible set up that would allow her to interface with what was essentially a blank sonic canvas every night. Each performance became a collaboration between environment and instinct, Sprague processing the events, energies, and emotions informing the evening through her new sound ecosystem, and projecting an entirely present and unique version of herself to each open-eared and hearted crowd. "It was very much more than just an act of playing for me, but a total experience of time and place," she says. The seven long-form pieces that plot the course of Cloud Time, excerpted from over eight hours of recordings archived on the artist's on-stage recorder and generously shared on the album with no additional mixing and only minimal editing, invite listeners to become still in these deep-rooted moments of presence as the album moves from city to city, venue to venue. Cloud Time chronicles material recorded at each tour stop, Sprague selecting and sequencing the album around mood-based storytelling more so than linear chronology. "I tried to make the whole album flow in the way that any one of the complete live performances did," she explains, "while also keeping the spirit of the whole thing as a journey." The result is equal parts travelog, love letter, and impressionistic collage channeled from the potent ferment of a now encased in the glowing amber of memory. Intrinsically inspired by kankyo ongaku, an environmental music philosophy, known both in and widely outside of Japan that tunes into the similarly expansive ethos as Pauline Oliveros' deep listening practice and posits the listener as composer, Cloud Time is ambient music that seems to be listening right back, grounded in heartfelt synthesized frequencies that abundantly hold and heal. Pieces like "Nagoya," "Tokyo 1," and the ten minute "Matsumoto" in particular hum with the atomic resonance of gently tended landscapes, offering space for tuning way in and dropping far out from perspectives that stifle and bind. Cloud Time is an invitation to embrace each moment as both fleeting and eternal, floating by with nothing to grasp onto and absolutely everything to gain. The exercise in acceptance and letting go that Sprague practiced throughout the tour deeply impacted her understanding of self as both a guest and venerable performer. "The process of loving wherever I am, being present and focusing on a clear channel of communication for mind and emotion, rooted so deeply in respect for the space, those within it, and myself, ended up being profoundly healing," she says. "My vision and hope is that this album can be released as a gift back to anyone who either was or wasn't there. A cloud time of life passing by." Emily A. Sprague's Cloud Time will be released Friday, October 10th in vinyl, Japanese import CD (via Plancha), and digital editions.

Steve Hauschildt returns after 6 years with a new album titled Aeropsia. After a transcontinental relocation from the US to Tbilisi, Georgia, the electronic composer emerges from a personal and global transformation to explore themes of perceptual distortion, disconnection, and renewal.

Aeropsia (which roughly translates as “seeing the air”) refers to a visual phenomenon in which objects appear to float or shimmer, often due to changes in pressure, perception, atmospheric shifts or neurological disturbance. This becomes a metaphor for the liminality that informs the record: blurry visions, dreamlike displacements, and the fragile membrane separating what is seen from what is felt.

In the years since his last solo release, Hauschildt’s world has been marked by relocation and a growing sense of global turbulence. These experiences became the raw material for a work that navigates institutional haze and uncertainty itself. The result is music that employs decay as method, structure as entropy, and mutation as expression.

While Aeropsia remains subjective in its vision, Hauschildt invited two previous collaborators to expand the album’s gravitational pull. Cellist Lia Kohl, who previously performed on Nonlin, returns and brings a tactile warmth to select tracks, while guitarist Michael Vallera threads spectral harmonics into the mix. The album’s electronic foundation and its tactile elements meet in a state of luminous suspension to navigate the shifting in physical and psychological terrain.

“Electronic / Funk Yacht Rock testament to the carefree teen spirit of the 80s”

In 1985, a young and ambitious Britt Cobble, fresh out of school, ventured to Florida to have his debut solo album Maiden Voyage mastered by none other than reggae legend Touter Harvey, known for his work with Bob Marley. The result is Spinnaker – Maiden Voyage, an Electronic / Funk Yacht Rock album infused with the carefree teen spirit of the 80s.

Anchored by its central motto, “Love the coast, it’s there for you,” the album captures the essence of youthful exploration and the allure of the open sea. With slick production and an undeniable air of nostalgia, Spinnaker invites listeners to escape into a world of sun-soaked coastlines and endless horizons. Britt elevates yacht rock to new heights, serving as both a testament to youthful ambition and a celebration of the era’s smooth, coastal vibes.

“Warning! Night Time Listening Advised!”

In early spring 2023, with the end of COVID-19 in China, MK helped produce this album for Rubey. Focusing on the piano atmosphere and framework of the Night Piano Project, MK added some flowing sounds and textures to Rubey’s original tracks using a guitar, delay effects, and a synthesizer. At the same time, Ding Mao, another member of the band Hualun, contributed on two tracks. Of course, all production processes were completed at night; capturing the quiet atmosphere of traditional Eastern natural landscapes and transforming them with indoor amorous feelings. These melodies and notes wander and travel through different times and spaces, and ultimately converge in different rooms.

“In Different Rooms” is the second solo album by Rubey, a keyboardist from the band Hualun. It is also Rubey’s second album release since producing the soundtrack for the movie “Virgin Blue” in 2022. It includes 8 works created between 2020 and 2023. Rubey and MK are located in Beijing and Shenzhen respectively. Just like many of Hualun’s works, the original idea for “In Different Rooms” came from Rubey’s daily piano improvisation practice. Named the “Night Piano Project”, Rubey would spend his nights playing his YAMAHA electric piano.

Auf 500 Stück limitierte 2025er Nachpressung vom 2013er La Luz Debütalbum auf rotem Vinyl. LA LUZ aus Seattle sind cool. Doch ihre Art der Coolness hat nichts mit Distanz oder Arroganz zu tun; es ist eine Laune und irgendetwas in ihrer Musik passt zum düsteren, unwirklichen Duft sterbender Monde und Schatten. Diese Art von Coolness. Was LA LUZ da besonders macht, ist die Verkörperung des am wenigsten definierten Eckchens des menschlichen Daseins: Sehnsucht und die flüchtige Erleichterung, die mit tiefster Sehnsucht einhergeht. Auf Spanisch steht LA LUZ für ,Licht" und das ist der perfekte Ausblick, wenn die Songs der Band eigentlich in die gegenteilige Richtung streben. Doch wenn man die Texte ausblendet - eine gute Entschuldigung, den vierteiligen Harmonien noch mehr Gehör zu schenken - findet man die Unwegbarkeiten und Schmerzen von Liebe und Verlust und die Gewissheit, dass nichts im Leben für immer ist, vorgetragen mit einer perfekt ausbalancierten Heiterkeit, die fast den Eindruck entstehen lässt, dass am Ende doch alles Sinn macht. Im letzten Frühjahr begaben sich LA LUZ in einen dunstigen Trailerpark, um ,It's Alive" mit ihrem Freund und Toningenieur Johnny Goss aufzunehmen. Vom ersten Drumroll und den unheimlichen Akkorden von ,Sure A Spring" an - einem angekratzten Popjuwel, das das Album einläutet - bewegt sich das Album wie eine langsame Fahrt auf schwieriger Strecke, die sich schlängelt und abfällt, während sich das Terrain verändert. ,What Good Am I?" erinnert mit dem Leadgesang und den dazu passenden Harmonien an den Superhit von MAZZY STAR. Mittendrin findet sich der Titeltrack. ,It's Alive" ist ein klingender Rocker mit unheimlichem Refrain, einem großen Batzen ,ooohs" und einer umschweifigen Geschichte, die die vernebelte Logik vom Rest des Albums aufgreift. Zwei Instrumentalstrücke, ,Sunstroke" und ,Phantom Feeling" zeigen, dass die Band über den echten Surf Sound Bescheid weiß und passen perfekt zum unterkühlten Herzschmerz um sie herum.

The latest boy band in town, POP VAMPIRES COLOGNE, opens the party with the enigmatic ‘Karianne’. SUPERPITCHER knows how to make a grand appearance, accompanied by high-calibre guests. His electro-pop treat ‘Pandora’s Box’ features Hot Chip’s ALEXIS TAYLOR​ on vocals.​ JÜRGEN PAAPE isn’t coming alone either, but with newcomer HELLA in tow. ‘Grace (A Tale)‘ once again shows our resident hit maker at his best. JÖRG BURGER also has a table companion, the extremely talented Irene Kalisvaart, and remixes himself on top of that. REINHARD VOIGT points out that money never sleeps and proceeds according to the motto: ’​Zahl an einem anderen Tag (Pay another day​)’. Our Brazilian whirlwind GUI BORATTO returns after a long absence with the banger ‘Panorama X-Press’. After careful consideration, ROBAG WRUHME has named his new track ‘Total’ and sings in the chorus with his family for the first time. WASSERMANN contributes an ultra-fat remix of Mayer’s ‘Brainwave Technology’, while MICHAEL MAYER himself marvels at the rare ‘Erdbeermond’. HARDT ANTOINE’s ‘Let Me Go’ really gets the party going again before WASSERMANN orders a large taxi and skips out on the bill.

See you again next year!

TOTAL 25… Schon wieder ein Jubiläum in einem an Jubiläen ohnehin nicht armen Jahr. Zum 25. mal versammelt sich die Kompakt Familie zum alljährlichen Stelldichein. Ohren angelegt, los geht’s!
Die neueste Boygroup in town, POP VAMPIRES COLOGNE eröffnet die Party mit dem enigmatischen ‘Karianne’. SUPERPITCHER weiss, wie man einen großen Auftritt hinlegt, und zwar in hochkarätiger Begleitung. Sein Elektropop-Leckerbissen ’Pandora’s Box’ featured Hot Chip’s ALEXIS TAYLOR an den Vocals. Auch JÜRGEN PAAPE kommt nicht allein, sondern mit der Neukommerin HELLA im Schlepptau. ‘Grace (A Tale)’ zeigt unseren Haus- und Hitlieferanten mal wieder in Bestform. JÖRG BURGER hat ebenfalls eine Tischdame im Gepäck, die überaus talentierte Irene Kalisvaart, und remixed sich obendrein selbst. REINHARD VOIGT gibt zu Bedenken, dass Geld niemals schläft und verfährt nach dem Motto: ‘Zahl an einem anderen Tag’. Unser brasilianischer Wirbelwind GUI BORATTO meldet sich nach längerer Abstinenz mit dem Banger ‘Panorama X-Press’ zurück. ROBAG WRUHME hat seinen neuen Track nach reiflicher Überlegung ‘Total’ genannt und singt darauf erstmals selbst im Chor mit seiner Familie. Der WASSERMANN steuert einen ultrafetten Remix von Mayers ‘Brainwave Technology’ bei, während MICHAEL MAYER selbst den seltenen ‘Erdbeermond’ bestaunt. HARDT ANTOINE’s ‘Let Me Go’ bringt die Party nochmal so richtig in Schwung, bevor der WASSERMANN ein Großraumtaxi bestellt und die Zeche prellt.

Wir sehen uns wieder im nächsten Jahr!

Following the lush listening LP outing by KAMM, the EG team is back in fine floorrocking form, this time with both label operatives on the dials as Rodney joins Dave Aju for his debut co-production. And what a debut it is: Highly-potent, raw, swinging house music of the highest order, complete with knocking 909 kicks, thick slapping snares, and a hypnotic melodic call-and-response tonal section that keeps things properly lifted and moving throughout. The vox evoke label boss Aju’s earlier catalog work, and he’s in particularly pointed mode here, spitting fire spoken word lines calling out various questionable corners of the dance music scene and humanity on the whole. A bold light-shining display during notably dark times, defending the once-sacred underground dance space against runaway trends of ego-driven capitalism, online image over actual skill sets, and the beyond low-ball barrier of entry into the arena. But by the time the soulful chorus lines hit and rise us up and onward toward the blissful musical finish, it is clear that this is in fact a unifying floor anthem and that indeed despite our differences amidst disheartening global chaos, at least “We Still Dancin". As always with the seasoned DJ-focussed three-piece Elbow Grease EP offerings, here we have the full A-side OG Vocal Mix cut at a crispy and tight 45rpm, a deliciously stripped and leveled-up EG Dub Mix on the B1, and finally the uplifting B2 Vibe Mix which doubles-down as half ambient instrumental builder and essential acapellacapella