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Rare! Limited! Hand Stamped! First and un-official Love Parade theme from 1989 and remained unreleased to this day. The Techno Deep Club were 8 guys from the early acid house scene in Berlin who organized some of the first acid house parties in both West and East Berlin, starting even before the wall came down in 1989. These three acid-experimental tracks have been recently rediscovered and are now being immortalized for the first time in a small edition remastered on vinyl.

Black Truffle is pleased to present Even Colder Spring, the latest release from the mysterious and wildly prolific Cities Aviv (a.k.a. Wilbert Gavin Mays, who also records as African-American Sound Recordings), a rare appearance from the artist outside his own D.O.T. Audio Arts label. For over a decade, Cities Aviv has twisted hip-hop conventions into the most skewed and splayed forms, layering and lacerating twitching loops, extreme production techniques and his mercurial vocal stylings into hermetic décollage. Across 16 tracks, Even Colder Spring charts Mays’ restlessly experimental approach: what sound like fully formed productions are interrupted suddenly after seconds; interjections of field recordings cue unexpected shifts; details drown under layers of fuzz. His vocal delivery takes in rhythmically intricate rap, barely articulate murmurs and freely melodic song, the latter often with a disorientating lack of connection to the track’s harmonies. The lyrical shifts are as paratactical as the musical movements. Apocalyptic visions of social and cultural uniformity alternate with reflections on mortality, glimpses of everyday life and head-scratching one-liners: ‘Maybe Mars is bougie?’ His reference points are as surprising as ever, the Dante quotes of previous releases joined here by a track named after Henri Bergson’s idea of the élan vital. Australian listeners, in particular, might be especially taken aback to hear ‘Closing Door’ open with the phrase ‘the tyranny of distance’.

While Mays’ work can sometimes be claustrophobically bleak, the productions here are often sparkling, at times touching on the shimmer of private-issue New Age sounds and the more playful end of krautrock. The instrumental ‘Martine Drift’ could almost be a snatch of Cluster’s Zuckerzeit caught through dial-up internet. The distant echoing drums of ‘L_area’ cross Persona’s Som with lo-fi IDM, while closer ‘Final Heaven’ dissolves a cloud of loops across almost seven minutes into ecstatic, rippling distortion. The graphic design, at the artist’s request closely modelled on the format of Corwood Industries, offers as good a clue as any to what awaits the listener on Even Colder Spring: a world at once impossibly opaque and intensely personal.

Originally created in 1987 as an image album for a luxury Sanyo air-conditioner, Get at the Wave stands as one of the most surprising and enduring works of Japanese ambient music. Recorded using synthesizers and natural field recordings, the album was designed to transport listeners far from the heat and noise of urban life — into open water, gentle wind, and unhurried space. Takashi Kokubo's mastery as an acoustic environment designer is present in every texture, blending electronic composition with an almost physical sense of atmosphere and place. Intimate, expansive, and quietly radical, Get at the Wave is an essential document of kankyō ongaku - and one that sounds more necessary than ever. The remaster and artwork of this vinyl edition were made by the artist. Takashi Kokubo (born 1956) is one of Japan's most influential ambient composers and acoustic environment designers. A pioneer of kankyō ongaku since the mid-1980s, his sound design work has reached virtually every corner of Japanese daily life - from the national mobile phone earthquake alert to the sign tone for iD e-money and the melody call tone for NTT DoCoMo. In 2020, he was included in the Grammy-nominated compilation Kankyo Ongaku (Best Historical Album), cementing his place as a foundational figure in environmental music worldwide.

Soul Jazz Records’ new ‘Inner Space’ collection is a mixture of Cosmic electronic music and proto-New Age sounds. The album features a wide range of European, British and American auteur electronic artists, including Hans-Joachim Roedelius, Steven Halpern, Michael Garrison, Ose, Klaus Schønning, Bernard Xolotl and others.

Their cosmic, exploratory music sits somewhere between the worlds of personal, inner space and galactic outer space. All of the music featured here was recorded in the 1970s and 1980s, much of it released on small bespoke private-press record labels, often owned by the artists themselves.

The album also features rare tracks from a number of Library Music artists, all of whom used electronic music to explore a variety of common celestial or Gaian themes – cosmology, spirituality, science, mother earth, wellness, technology, consciousness, exploration, healing and harmony – in their work. These include pieces by Sauveur Mallia, Keith Mansfield and Sven Torstenson.

Here on this album you will find the Sun Ra’s of New Age, the Picassos of Library Music and the Burroughs of space-related electronic music. Away from contemporary music fashions, these unique and highly individual artists remained free in their music to explore new ideas of sound and technological experimentation – together with the larger concepts of time, space and matter – a freedom rarely granted, and one that we celebrate here.

Hier ist das definitive Beat Konducta-Box-Set: 7 LPs, die alle sechs Teile von Madlibs legendärer Instrumental-Serie vereint - erstmals gemeinsam erhältlich in einem hochwertigen, schweren Deluxe-Schuber. Zusätzlich enthalten ist Vol. 0, eine zuvor offiziell unveröffentlichte Promo-LP mit weiteren Tracks. Das 7-LP-Box-Set umfasst alle sieben Teile von Madlibs "Beat Konducta"-Reihe aus den Jahren 1994 bis 2008. Die Volumes 1-2, 3-4 und 5-6, die lange vergriffen waren, erscheinen hier erstmals als Doppel-LPs im klassischen schwarzen Vinyl und im aufklappbaren Gatefold-Cover. Exklusiv in diesem Set enthalten ist zudem Vol. 0: Earth Sounds, gepresst auf grünem "Northern Lights"-Vinyl. Die Tracks auf Vol. 0 entstanden im Zeitraum von 1994 bis 1996 und wurden dann ursprünglich 2001 als streng limitierte Promo-LP veröffentlicht. Die musikalischen Einflüsse reichen von Library-Musik aus TV und Film der 70er Jahre bis hin zu Bollywood-Soundtracks und weiteren Produktionen aus Indien (aus den 60er bis 80er Jahren) und gipfeln in einer Hommage an seinen verstorbenen, großartigen Freund und musikalischen Weggefährten J Dilla. Essentiell, keine Frage.

Madlib ist der Beat Konducta - oft kopiert, doch nie erreicht. Neuauflage der essenziellen Beat-Konducta-Reihe, hier die Volumes 1 und 2 als Siren Split Edition Beat Konducta Vol. 1-2: Movie Scenes & Movie Scenes, the Sequel waren die ersten offiziellen Veröffentlichungen in Madlibs Beat-Konducta-Reihe (Vol. 1 Ende 2005, Vol. 2 im Jahr 2006). Bei beiden handelt es sich um Instrumental-Hip-Hop-Produktionen von Madlib, die im Stil von TV- und Film-Library-Platten der 70er Jahre gehalten sind und zusammen eine Stunde voller instrumentaler Klanglandschaften bilden. Nachdem sie lange vergriffen waren, erscheinen diese beiden Volumes von Madlibs legendärer Instrumental-Reihe nun erstmals als farbige Doppel-LP auf Vinyl, welches zur Hälfte rot und zur Hälfte blau gefärbt ist (50/50 Split Vinyl), und verpackt in einem aufklappbaren Gatefold-Cover.

Katsunori Ishida’s vision of true crossover music reaches its peak. Powerful grooves and striking sound define the resurrection of Zerosen’s legendary first album.

Zerosen was a group led during the 1970s by Katsunori Ishida, who would later gain recognition as a producer, composer, and arranger of numerous television and film soundtracks. With a fluid lineup and only a brief period of activity, the group disappeared almost as quickly as it emerged. The only recordings left behind were two albums originally produced as audio component test records. Yet these recordings would later gain worldwide attention as landmark examples of Japanese rare groove.

Remarkably, this debut album already presents a fully realized concept and sound. Highlights include the rolling groove and vibrant keyboard work of “Scramble”, the hard-driving beat of “Circuit”, and the mellow Caribbean-infused groove of “Majo no Sasayaki”. There is not a weak moment to be found.

Outstanding arrangements and performances generate a groove of exceptional power, while the album’s origins as an audio component test record contribute to its vivid and dynamic sonic character. Here lies crossover music in its truest sense—a timeless fusion of musicianship, groove, and sound quality.

Originally released in 2005 on Playhouse, isolée's second album we are monster received widespread critical acclaim and was featured in numerous year-end lists, including Pitchfork's Best Albums of 2005, where it is praised for breathing "so carefree, years from now crits might accuse it of sounding timeless-- maybe even of being so." (Nick Sylvester in his Pitchfork review in 2005)

While closely associated with the minimal and microhouse movement of the mid-2000s, the sound on we are monster resists categorization; its musical vocabulary is too expansive to be confined to a single genre. Tracks such as schrapnell, mädchen mit hase, my hi-matic and enrico avoid many of the production conventions that define its period, allowing the record to retain a freshness that continues to resonate with listeners and music producers alike.

We are monster proved to be significant in more ways than one. Alongside its musical legacy, the album introduced the first record sleeve by Stefan Marx, whose artwork would become a familiar presence across countless releases on influential labels like Smallville or Mule Musiq, but also fashion labels like Comme des Garçons and many art galleries in the years that followed.

This anniversary edition revisits an album whose influence extends well beyond its original context!

Originally released in 2005 on Playhouse, isolée's second album we are monster received widespread critical acclaim and was featured in numerous year-end lists, including Pitchfork's Best Albums of 2005, where it is praised for breathing "so carefree, years from now crits might accuse it of sounding timeless-- maybe even of being so." (Nick Sylvester in his Pitchfork review in 2005)

While closely associated with the minimal and microhouse movement of the mid-2000s, the sound on we are monster resists categorization; its musical vocabulary is too expansive to be confined to a single genre. Tracks such as schrapnell, mädchen mit hase, my hi-matic and enrico avoid many of the production conventions that define its period, allowing the record to retain a freshness that continues to resonate with listeners and music producers alike.

We are monster proved to be significant in more ways than one. Alongside its musical legacy, the album introduced the first record sleeve by Stefan Marx, whose artwork would become a familiar presence across countless releases on influential labels like Smallville or Mule Musiq, but also fashion labels like Comme des Garçons and many art galleries in the years that followed.

This anniversary edition revisits an album whose influence extends well beyond its original context!

Gatefold cover, single LP

Following her acclaimed 2024 debut Rocky Top Ballads, Fine expands her world on Jazz Dreams, arriving in a fluid, surreal, and expansive place. Over the past sixteen months, the album has gradually taken shape in public. Early versions of songs appeared in live performances, while demos and alternate iterations surfaced through Fine's NTS residency, alongside the release of the singles "I Could," "Run," "Moment," and "Portal."

Self-produced, recorded and mixed by Fine, the album’s thirteen songs unfold as a collage of scenes, stories, and musical ideas stitched together with a logic reminiscent of a dream. At the center of it all is melody. Fine's intricate vocal melodies act as the connective tissue between the album's shifting scenes and moods, guiding the listener through its emotional terrain.

Throughout Jazz Dreams, Fine continues to make the mysterious feel intimate and human. The songs do not search for answers or destinations. They embrace intuition, allowing memory, longing, possibility, and imagination to stir together into something new. Like a jazz improvisation, the album follows instinct wherever it leads, transforming emotional fragments into a real dream.

Gatefold cover, single LP

Following her acclaimed 2024 debut Rocky Top Ballads, Fine expands her world on Jazz Dreams, arriving in a fluid, surreal, and expansive place. Over the past sixteen months, the album has gradually taken shape in public. Early versions of songs appeared in live performances, while demos and alternate iterations surfaced through Fine's NTS residency, alongside the release of the singles "I Could," "Run," "Moment," and "Portal."

Self-produced, recorded and mixed by Fine, the album’s thirteen songs unfold as a collage of scenes, stories, and musical ideas stitched together with a logic reminiscent of a dream. At the center of it all is melody. Fine's intricate vocal melodies act as the connective tissue between the album's shifting scenes and moods, guiding the listener through its emotional terrain.

Throughout Jazz Dreams, Fine continues to make the mysterious feel intimate and human. The songs do not search for answers or destinations. They embrace intuition, allowing memory, longing, possibility, and imagination to stir together into something new. Like a jazz improvisation, the album follows instinct wherever it leads, transforming emotional fragments into a real dream.

Sie ist zurück und lässt sich nichts mehr gefallen! Brandneues Studioalbum von Miss Ludella Black! "Niemand hält mich zum Narren Das ist mein viertes Soloalbum. Wir hatten einen Riesenspaß beim Aufnehmen, wie ihr sicher merken könnt! Ich werde wieder von den fabelhaften Masonics begleitet, und die eigenen Songs stammen aus der Feder von Mickey Hampshire. Wir haben das Album mit der lokalen Legende Jim Riley in den Ranscombe Studios aufgenommen, nur einen Katzensprung von meinem Hausboot entfernt. Das Etta-James-Cover (ich weiß, wie kann ich es nur wagen!) spielen wir schon seit einer Weile live, ebenso wie "Why Don't You Smile Now", das auch auf dem Album Delmonas 5! zu finden ist. Das Gänsehaut erzeugende "You Waster You" lässt euch die Nackenhaare zu Berge stehen und ist auch ein Highlight meines Live-Sets. Meine persönlichen Favoriten sind "I Bear the Scars" und "I'll Get Over Losing You" beide ganz unterschiedlich, aber sehr typisch Ludella! Ich freue mich riesig, diese tolle LP wieder bei Damaged Goods Records zu veröffentlichen, und hoffe, ihr liebt sie alle genauso sehr wie ich!"" - MISS LUDELLA BLACK, Rochester, Kent (August 2026)

London-based French artist, composer and vocalist Vanessa Bedoret returns with her second
album, About Time, released via Scenic Route.

Across 11 tracks, About Time moves between intimate vocal-led songs, glitching electronics haunting soundscapes and moments of catharsis. Bedoret’s classical training remains at the heart of the record, underpinning an approach that brings together spectral vocals, strings, guitar and experimental electronics with a striking sense of compositional clarity.

Written through a period of significant change in Bedoret’s life, the album explores transition and our shifting perception of time - how some moments disappear almost instantly while others seem to stretch indefinitely.

About Time follows Bedoret’s 2024 debut Eyes and marks a significant step forward for an artist whose work moves fluidly between classical composition, experimental electronics and songwriting. Alongside her solo work, Bedoret has collaborated with Astrid Sonne, Blackhaine , Space Afrika and Mark William Lewis.

Neuauflage der unverzichtbaren Beat Konducta-Serie von Madlib - hier die Volumes 3 und 4 in der Saffron Blend Edition! Die Beat Konducta-Reihe Vol. 3 & 4 führt nach Indien. ,Beat Konducta Vol. 3-4: In India" ist ein Doppelalbum mit Instrumentalstücken von Madlib, die von Bollywood-Soundtracks und anderen indischen Produktionen der 1960er bis 1980er Jahre inspiriert wurden. Die beiden Teile erschienen ursprünglich im Jahr 2007 als separate LPs. Nachdem sie lange vergriffen waren, erscheinen diese beiden Volumes aus Madlibs legendärer Instrumental-Reihe nun erstmals als farbiges Doppelalbum - gepresst auf halbtransparentem silbernen und safrangelben Vinyl und verpackt in einem aufklappbaren Gatefold-Cover.

For over three decades, Berlin-based DJ, producer, and curator Marcel Dettmann has remained a central force in electronic music, continuously pushing the boundaries of the craft. Deeply rooted in early influences ranging from post-punk and industrial to synth-pop, his dynamic DJ sets and expansive discography, including seminal releases on Ostgut Ton and Dekmantel, effortlessly weave together raw techno, Chicago house, electro, and avant-garde soundscapes.

Far beyond club booths and releases on his own imprints, MDR and Bad Manners, Dettmann’s multidisciplinary ethos has led him into artistic territories spanning gallery soundscapes, ballet compositions, and cinematic film scores. This relentless creative curiosity defines a career built at the intersection of dancefloor functionality, collaborative experimentation, and perpetual sonic evolution.

Dettmann introduced My Own Shadow last year, a project where music, visual art, and photography converged in two EPs, Approaching (2025) and Faultline (2026) prior to the release of the full album this coming Autumn. More than just a name, this project lets sound, image, and vision blend organically, reflecting his intuitive process of deconstruction, resonance, and emotional discovery.

Speaking about the project Marcel says “My Own Shadow wasn’t born from a big concept. I simply liked the idea of working under another name and started following it. Different things I was doing - music, photography, visual work - slowly began to connect.

It happened quite naturally. My Own Shadow is me - just seen from another perspective.” Neither an alter ego nor a departure, My Own Shadow: Album is an intimate reflection of the artist; a transient, ever-shifting form that dances with the light and subtly reshapes its contours to reveal new depths.

My Own Shadow: Album is built with textural minimalism through rhythm, tension and release, embarking on a path through the recollections and experience of the dancefloor. This space remains the ultimate proving ground where history, instinct, and transcendence collide, guiding Dettmann through his musical interests.

My Own Shadow - Album is driven by rhythm, texture, space and tension. Across tracks such as ‘Gravitational Scar’ and ‘Resolution Vector’, these elements are constantly reshaped, connecting Dettmann’s past with a sound that remains firmly in motion.

2026 Repress

Next year the iconic anthem Cafe Del Mar will celebrate its 30th anniversary, a landmark that will be celebrated with a series of brand new remixes alongside the finest existing remixes in specially remastered versions.
Launching the series of vinyl releases in September is a remastered vinyl-only release of the original mix, as well as the best-known version of this classic track, the iconic Three ‘N One Remix.
Nearly 30 years ago, Paul M aka DJ Kid Paul recording as Energy 52 unleashed a record onto an unsuspecting public that would go on to define club culture for an entire generation of dance music enthusiasts. Named as an homage to the legendary Ibiza sunset spot, Café Del Mar broke down boundaries between the underground and
the mainstream, charting in the UK singles charts on three separate occasions and named as the “best tune ever” by Mixmag at the start of the new millennium. In terms of cultural and emotional impact in dance music, it’s hard to find a record that comes close.
Café Del Mar has come to represent the most euphoric and hedonistic pleasures of dancefloors - in Ibiza and all around the world - and has been remixed by some of the biggest names in the industry. Now, 30 years after its original release, Superstition Records will be putting out a new series of releases, with brand new remixes as well as remastered versions of some of the many remixes from across the last three decades. The vinyl-only remastered version of the original and Three ‘N One mixes will launch the series, with further details about the rest of the series announced in the coming weeks.

In 2021 Paul Van Dyk’s Café Del Mar remixes launched a series of vinyl and digital re-issues on the Superstition Records imprint after an almost 20 years hiatus. From 1993 until 2003 Superstition Records was a groundbreaking Techno, Tech-House and Trance Label and released some of the biggest and most revered records of the early German electronic scene.

Ghost Dubs, real name Michael Fiedler, aka Jah Schulz, announces a rebirth with 'Damaged', his first album for The Bug's PRESSURE label..

Having recently dropped two criminally overlooked, experimental dub LPs, with his 'Dub Over Science' series, the German producer/bass specialist, now stretches his own parameters of outwardness still further, with these twelve fresh explorations of dub deviance. For those who feel the fusion of dub techno and ambient drone had creatively ended with the demise of the short lived, Berlin based Chain Reaction label. Ghost Dubs now upgrades, and extends that legendary blueprint's abstract methodology even further and deeper, floating away upon a wonderfully warm sea of hiss and static bliss. This is dub so atomized that it disintegrates within your eardrums. Its music, where the machines take over and virtually all traces of humanity are erased. But thankfully, the warmest soul still oozes seductively from the pores of Fiedler's robo riddims. Relentlessly hypnotic, seriously sedated, 'Damaged' celebrates the point of departure within it's mesmerising low end grooves. Album opener 'Chemical', provides an opiated slo-mo skank, which sounds like Plastikman's 'Consumed' era pulsations drenched heavily in sub aquatic fx. A triumph of surface noise surfing and sub woofer testing relentlessness, it provides the perfect intro to this compellingly immersive album. For batty shakers and headtrippers alike, there's added thrills aplenty, as Ghost Dub's richter scale tremor rhythms remain impressively massive, and the atmospheric depths of 'Damaged' appear tantalisingly oceanic. Throughout the duration of the dreamy selection, there is an obsessive balance of bewitching ambience and heavyweight bassbin shaking. The lead single 'Thin Line' itself provides a missing link between African Headcharge's early percussive body probes and Rhythm & Sound's addictive radiance, with the slightest hint of Burial's doomed romantic hauntology added for good taste. Alternately, and no less gracefully, 'Dub Lobotomy' bizarrely resembles Miles Davis 'Get Up with it' chopped, screwed, and relocated to a futuristic Kingston Town. Impressive indeed, Fiedler's mastery of live dubbing on his mixing desk shines accross the duration, and gives the album an improvised edge, and sense of peripheral chaos. Elsewhere, spooked steppars('Hot Wired'), haunting house ('True to life') and 4th World psychogeography('Undone'), combine to ensure there is a forever changing mixture of flavours percolating within the admirable consistancy of the overall sound.

With a tip of the cap, and nod of the head to Pole('Second Thoughts'), its no surprise then that PRESSURE would then turn to the great, Berlin based producer Stefan Betke, to master/cut this collection at his infamous Scape mastering room. And a fine job he did too, as high quality sound and levels are definitely maintained throughout.

If you like your melodies submerged, your dub narcotic, your basslines obese, and your beats evaporating, 'Damaged' provides the perfect prescription and entry point into Ghost Dub's spectral soundworld.

2026 Repress in White Vinyl
There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’. A Grammy Award winner, Frankie had a street in Chicago named after him where the old Warehouse once stood to commemorate the first ever Frankie Knuckles Day on 25th August 2004. Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades.

Now he is commemorated once again by long time writing and production partner Eric Kupper who will release part II of the special commemorative album on vinyl around this date. Eric, himself a seasoned DJ producer and writer, working side by side with Frankie on many his seminal classics, as well as personally working on over 116 Billboard #1 Dance Records. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

The album features some of Directors Cut’s best works with the Re-Directed version of the seminal classic ‘Baby Wants To Ride’ plus their re rubs of Inaya Day, Sybil, Hardsoul and Lou Rawls - You’ll Never Find Another Love Like Mine (Kenny Summit, Frankie Knuckles & Eric Kupper Unreleased Anthem).

This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continue Frankie’s legacy whilst focusing on music in schools, LGBTQ youth homelessness, AIDS research / prevention & diabetes research / education.

16 scrap-rock sketches straight from the heart to the gut…
Maybe we can keep rock’n’roll alive for one more day?
Who knows? The Joe Glass experience is a telecastered-explosion of hooks and guitar charms
One G chord away from tearing a diamond-shaped hole in the stratosphere.
Originally Released as a Hallogallo Tape January 2026
Sharp Pins Bassists Strides out under his own banner

A schizophrenic space-techno 3 tracker on the dirty brown Murder Capital. A sonic wormhole vortex that you can't escape. Fly with the lost!!

Scruniversal's LSD (Local Sugar Diggers) series continues its deeply satisfying mission of sending trusted diggers into the field and letting local talent reveal all. This time Los Protos heads to Brazil and resurfaces with DJ Elohim, a native digger and producer with the sharp editorial instinct the series is known for. Two edits, two sides, two jewels: 'Eu Quero Ver Voce Se Remexer' collides vintage Brazilian groove with funky heat, while 'E Congo' delivers the kind of free-flowing and sunny rhythmic energy that only comes from Latin America. Another impeccable entry.

Cold, Bold & Together (CBT) CBT was founded in Bellingham, Washington in 1971 by percussionist Tony Gable and musicians Solomon Harris, Keith Hooks and twin brothers TC & Jamar Jenkins. It soon became evident that Bellingham was not a particularly welcoming environment for R&B music, so they moved to Seattle to try their luck and plumb the rich supply of venues, which they successfully did until disbanding in 1978. They spent their early Seattle years playing a combination of covers and originals in clubs, later becoming the "go to" opening act for various nationally known artists, such as Ohio Players, Kool and the Gang and Earth, Wind & Fire. While they were paying their club circuit and opening act dues, they squeezed in recording sessions whenever they could and released their own material, which was well-received and got strong regional airplay. However, because of the feudal nature of the music business at the time, they just couldn't break out, and like a lot of Northwest bands with great potential, they inevitably broke up and went their separate ways. Upon disbanding, they left behind a collection of original recordings at Seattle's legendary Kaye-Smith studios.

Unfortunately for CBT, the studio passed through several owners and at some unknown point in time, one of them did the unforgivable and destroyed the storied studio inventory of two-inch tapes and quarter-inch masters. Unknown to the band, a copy of their masters was smuggled out by their producer who added them to his legacy collection of cloned quarter-inch masters. After several years and many moves, he became concerned about the tendency for magnetic tape to deteriorate over time.

He sent the tapes to a Seattle lab to be restored and digitized, with the hope that perhaps, some day, they might be made available for the listening pleasure of R&B fans. The hoped-for day has finally arrived. Russell Paine and Super Disco Edits has pressed two of the Kaye-Smith CBT tracks: "Go For It", a jazz-influenced instrumental, featuring Kenny G, and "Unity", sung by the group en masse with Tony Gable singing lead. The musicians on these tracks are: Tony Gable, leader, vocals and percussion Harry Alexander, drums Kenny Gorelick (now world-renowned "Kenny G"), sax, flute and horn arrangements Chris Ishi, trumpet Michael Young, Trombone Jamar Jenkins guitar, vocals TC Jenkins bass, vocals 1 Philip Woo, keyboards Footnotes: CBT gave legendary saxophonist Kenny G his start in the music business. Kenny was still in high school when he was recruited to play sax and write horn arrangements. Kenny co-wrote, arranged and played sax and flute on the instrumental "Go For It." He rips a smoking tenor sax solo in the middle, which showcases his already masterful technique and solidifies his R&B bona fides. He went on to have a spectacular career recording for Clive Davis and Arista Records. Before his untimely passing in 2016, Tony Gable went on to found contemporary Jazz group, "Tony Gable and 206" (206 being Seattle's then only area code). With songwriting, performance and production help from Kenny G.

A cassette-only collection of scratchy one-away dubplates and 45s from the vaults of Jah Massagan Sound, featuring plates cut at the studios of legendary producers and engineers such as King Tubby, Lee Perry, JoJo Hoo Kim, and Joe Gibbs among others during the peak of the roots sound in the mid 1970s through to the early 1980s.

Beginning in Leyton in 1972, owner-operator Lloyd alongside childhood friend and amp builder Tony Mass were part of a wave of reggae soundsystems formed in London and across the UK immediately after the Windrush generation. Focused on preserving and promoting the authentic Jamaican roots, Jah Massagan has remained a small but steadfast cornerstone in the East London scene more than 50 years later. Eljay Mass, the son of owner Lloyd, takes the reins for this cassette-only document, as the torch is passed on inter-generationally to continue the sound’s work.

College of Knowledge Records verkündet stolz das selbstbetitelte zweite Album von Let Your Hair Down. Let Your Hair Down ist eine siebenköpfige Boogaloo-Soul-Band aus Melbourne / Naarm , bestehend aus Hudson Whitlock (Karate Boogaloo, The Pro-Teens), Lachlan Stuckey (Surprise Chef), Tom Pettit (Temporary Blessings), Nic Ryan-Glenie (Owelu Dreamhouse), Will Morrissey (Saskwatch), Olaf Scott (The Teskey Brothers) und Luigi Portararo. Kurz nach der Veröffentlichung von Let Your Hair Downs mittlerweile sehr beliebtem Kult Klassiker-Debüt ,Waiting Room" kehrte die Band in das inzwischen stillgelegte Dachstudio zurück, in dem ihr erstes Album aufgenommen wurde, um ein zweites Album auf Band aufzunehmen. Mit dem gefeierten Toningenieur und Produzenten Henry Jenkins (alias Jnbo) erneut am Ruder entstanden bei einer fruchtbaren und fröhlichen Wochenendsession 11 brandneue Originalaufnahmen - und der einfache Teil war geschafft. Mit einem von Let Your Hair Down-Schlagzeuger Hudson Whitlock entworfenen Albumcover war das selbstbetitelte zweite Album von Let Your Hair Down fertig; 11 hammermäßige Instrumentalstücke, die den schrägen Funk in Moll, die perkussive Psychedelia und den bläserlastigen Boogaloo der undergroundigsten Gruppe aus der Soul-Underground-Szene von Melbourne dokumentieren. ,Let Your Hair Down" fängt die Band in Höchstform ein: spontane, energiegeladene Arrangements, dargeboten von einer erstklassigen Gruppe von Musikern, die es einfach lieben, gemeinsam Musik zu machen. Der ,Good Clean Fun"-Faktor verbindet sich mit messerscharfer Musikalität und fundiertem Gespür und kristallisiert sich zu einem wahrhaft erstklassigen Originalalbum heraus.

Die in Austin ansässigen Lieblinge der experimentellen Indie-Rock-Szene, Font, haben ihr zweites Album über einen Zeitraum von zwei Jahren geschrieben. Nach ihrem Debüt ,Strange Burden" (2024) wollte die Band ihren Ansatz beim Songwriting neu ausrichten. Der Sound, der Lob von Pitchfork, Rolling Stone und anderen musikkritischen Medien erhielt, kam ihnen allmählich weniger originell vor. Viele der Songs auf diesem neuen Album entstanden aus Aufnahmen von Improvisationssessions im Studio ,Dutch Interiors" ihrer Freunde in Long Beach, Kalifornien, wo sie im Sommer 2025 drei Wochen lang komponierten. Nachdem es der Band gelungen war, aus den durch das erste Album geschaffenen Mustern auszubrechen, fanden sie die Grundzüge dessen, was schließlich zu ,American Bully XL" wurde. ,Wir ließen uns von vielen der gleichen Fragen leiten, die schon unser erstes Album geprägt hatten, zum Beispiel: Wo endet das Akustische und wo beginnt das Elektronische? Wie ist das Verhältnis zwischen Dunkelheit und Licht, Verzweiflung und Euphorie, dem Selbst und dem Anderen?" Obwohl all das für die Band von grundlegender Bedeutung ist, ist ,American Bully XL" das Ergebnis davon, dass die Band diese Fragen von der Live-Bühne ins Studio mitgenommen hat, wo sie lernten, die Musik für noch mehr Fragen zu öffnen: Was ist ein Song? Was ist Texas? Was ist ein Instrument? Was bedeutet es, ein Mann zu sein? Was ist eine Aufnahme? Wie kannst du das nur?

following two releases dedicated to sydney's atone, tonal oceans now turns its attention closer to home. after several years in the making, this release reintroduces the berlin trio die elektronische wohlfahrt in a revised form. nearly three decades after its original release on lab records in 1997, alongside the original 12" material, it includes two short pieces from the treffpunkt freizeit cd. die elektronische wohlfahrt was a short-lived project formed by kai kroker (rawell), peter lay, and anne westphalen. their recordings grew organically from late-night after-hours sessions in their studio in berlin's pankow district, capturing a unique blend of warm, quirky and playful textures. although their recorded output was rather limited, die elektronische wohlfahrt occupied the same creative circles as artists and friends such as move d and jan jelinek, at a time when berlin was establishing itself as one of germany's most innovative electronic music hubs. the group also performed at the legendary interference festival, one of germany's key underground electronic events of the 1990s. founded by dr. motte and uwe reinicke, the festival later evolved into interference records, where die elektronische wohlfahrt released the caro ep in 1996, further cementing the project's place within berlin's underground electronic scene. over the past few years, the music has quietly found its way into the hands of a new generation of listeners and discerning tastemakers, making its return feel long overdue.

Four percussion-heavy tribal techno tools on SDM008. Leaf-cutting flutes slice through bone-crushing grooves, royal frequencies rise above the dark, sub-heavy Baltic pulse. High energy on the A-side, deeper cuts on the flip.

Ltd pressing, Widespine, black paper inners.

Tectonic Recordings presents Tectonic Sound: Vol. 2, the second instalment of the various artists series curated by label founder Pinch. Following the first Tectonic Sound collection, released in 2025 to mark the twentieth anniversary of the label, the series continues Tectonic’s forward-facing approach; bringing together artists from their wider family and connecting dots across the underground.
Longstanding figures of the UK Bass scene such as J:Kenzo and Roska sit alongside a new gen of artists including Ehua, Manami, Cimm, Denham Audio, Henry Greenleaf and SHXCXCHCXSH. Beatrice M. also returns following the release of their acclaimed debut album Sinking earlier this year, while Jay Carder and Sir Hiss make their first outings as solo artists on the label, after both appearing as collaborators on Sinking.
Pinch says: ““As Tectonic enters its third decade, the spirit and passion behind the music hold true to its roots. I love every single track on this compilation and how it shows off the various corners of the label's sound. Each artist has delivered something truly special!”
Each artist arrives with a distinct sound and history of their own, but across these twelve original tracks there’s a shared understanding of what Tectonic represents. Different strains of the UK bass continuum come together, creating a space where sounds collide, and new forms take shape. 
Pinch leads the charge with ‘Hold On!’, an upfront, high-definition 4x4 propulsion tool that pairs rolling momentum with seismic bass pulses. Manami enters with ‘Turning Point’, further solidifying her newer direction, leaning into deep, dubbed-out territory with a sound that feels both vast and exploratory, while remaining heads-down and locked in. Henry Greenleaf steps in with ‘Whist’, an ominous and otherworldly offering, reminiscent of early dubstep productions that fell somewhere between the lines of dark garage, 2-step and grime.
Elsewhere, SHXCXCHCXSH’s ‘NexxxD’ and Sir Hiss’s ‘2TUFF’ form a middle climatic point of pure chaos, with Sir Hiss serving up a raw slab of gnarled grime waveforms and cascading claps. Beatrice M. & Cimm bring things back down with ‘Pad City’, a cool, meandering cut of shuffling house, while Lorem closes the compilation with ‘Console Corners’, exploring the outer rims of sound manipulation and deconstruction before tying it all together.
Since its formation in 2005, Tectonic has been a trailblazing force in electronic music, helping to define and continually redraw the boundaries of dubstep and its surrounding sounds. The compilation arrives in the middle of a serious run for the label. Earlier this year, Tectonic released Beatrice M.’s debut album Sinking, a major moment for the label that was embraced across the electronic music community. Pinch has also continued his long-running creative relationship with legendary grime MC Trim this year, following their joint 2025 EP No Caller ID, with recent single Striker.
Across Tectonic Sound Vol. 2, those different strands of Tectonic’s history and present day meet head-on. The music moves between familiar forms and stranger territory, with rhythms and frequencies refracting across the collection. It’s a record that feels cohesive without being uniform, reflecting a label whose sound has always been defined by forward movement.

Video Age kreieren beschwingte und zeitlose Songs, die so unwiderstehlich sind, dass sie nur das Ergebnis einer jahrzehntelangen Freundschaft und Songwriting-Partnerschaft sein können. Auf vier Alben haben Ross Farbe und Ray Micarelli ihre Einflüsse freudig offen zur Schau gestellt und einladende Melodien geschrieben, die Anklänge an Sounds von Disco über Pop bis hin zu Indie-Rock enthalten. In diesem Jahr feiert die Band das 10-jährige Jubiläum ihres Debütalbums ,Living Alone" mit einer limitierten Vinyl-Neuauflage ihres Heimatlabels Winspear. ,Living Alone" erlebt endlich seine lang erwartete Rückkehr auf Vinyl - ein aufregender Moment sowohl für langjährige Fans als auch für Neulinge, da das Album seit über einem halben Jahrzehnt vergriffen war, nachdem die ursprüngliche Auflage von 2016 ausverkauft war.

Was genau ist Folk Soul? Es handelt sich nicht um den zeitgenössischen Roots-Rock oder die Country-nahen Balladen, die du wahrscheinlich kennst. Folk Soul steht direkt vor - wenn nicht sogar direkt neben - der schwarzen Musikszene der Mitte bis Ende der 60er bis in die frühen 70er Jahre. Während Spiritual Soul das Ethos der afroamerikanischen Befreiungsbewegung und den breiteren Kampf seiner Zeit verkörpert, beschäftigte sich Folk Soul mit der Analyse, Klassifizierung und regelrechten Ablehnung des Status quo - und stellte sich den komplexen, starren Machtkämpfen jener Zeit durch minimalistische, klassisch geprägte und zukunftsweisende Ansätze im Songwriting. Diese LP besiegt den Faschismus.

Mit ihrem Solodebut "No Human Tongue Can Tell" gelingt Radie Peat eine eindrucksvolle Auseinandersetzung mit der Essenz der Folk Music. Die Sangerin von Lankum zahlt zu den pragenden Stimmen der sogenannten "Irish Green Wave" und verbindet auf diesem Album ihre außergewohnliche Kontra-Alt-Stimme mit tiefem Respekt fur die irische Gesangstradition. Als Interpretin und Multiinstrumentalistin haucht sie uberlieferten Liedern neues Leben ein und macht sie fur die Gegenwart relevant. Die ausgewahlten Songs erzahlen von Liebe, Verrat, ungewollter Schwangerschaft, Gewalt, Verlust und Widerstandskraft. In Stucken wie "The Moon and Stars" oder "Willow Garden" ruckt Peat weibliche Perspektiven in den Mittelpunkt und verleiht historischen Erzahlungen neue emotionale Kraft. Ihre prazise Stimmfuhrung, vielschichtigen Harmonien und sparsam eingesetzten Arrangements schaffen einen Raum, in dem individuelle Erfahrungen zu universellen Geschichten werden. Zugleich versteht Peat Folk als generationsubergreifenden Speicher menschlicher Erinnerung. Die Lieder tragen Spuren zahlloser Leben in sich, und genau diese Verbindung macht sie zeitlos. Atmospharische Stucke wie "Luisne", das melancholische "Same Old Man" oder das historische "Dark Horse on the Wind" zeigen ihre Fahigkeit, Tradition, Geschichte und personliche Interpretation miteinander zu verweben. Ein weiterer Hohepunkt ist "Still I Love Him", das die Ambivalenz von Liebe und Leid beleuchtet und aus einer Geschichte emotionaler Abhangigkeit eine Erzahlung uber Starke und Selbstbestimmung macht. Auch "Bonnie Boy" und das abschließende Triptychon "Cailin Deas" kreisen um weibliche Autonomie, gesellschaftliche Erwartungen und den Wert personlicher Freiheit. So entsteht ein Album, das archaisch und zeitgenossisch zugleich wirkt. Mit großer Empathie, musikalischer Raffinesse und kunstlerischer Eigenstandigkeit macht Radie Peat die Stimmen vergangener Generationen horbar und schafft eine Sammlung von Liedern, die Trost, Erkenntnis und Verbundenheit vermitteln. "No Human Tongue Can Tell" ist damit weit mehr als eine Bewahrung von Tradition: Es ist deren lebendige Weiterentwicklung.

Mit ihrem Solodebut "No Human Tongue Can Tell" gelingt Radie Peat eine eindrucksvolle Auseinandersetzung mit der Essenz der Folk Music. Die Sangerin von Lankum zahlt zu den pragenden Stimmen der sogenannten "Irish Green Wave" und verbindet auf diesem Album ihre außergewohnliche Kontra-Alt-Stimme mit tiefem Respekt fur die irische Gesangstradition. Als Interpretin und Multiinstrumentalistin haucht sie uberlieferten Liedern neues Leben ein und macht sie fur die Gegenwart relevant. Die ausgewahlten Songs erzahlen von Liebe, Verrat, ungewollter Schwangerschaft, Gewalt, Verlust und Widerstandskraft. In Stucken wie "The Moon and Stars" oder "Willow Garden" ruckt Peat weibliche Perspektiven in den Mittelpunkt und verleiht historischen Erzahlungen neue emotionale Kraft. Ihre prazise Stimmfuhrung, vielschichtigen Harmonien und sparsam eingesetzten Arrangements schaffen einen Raum, in dem individuelle Erfahrungen zu universellen Geschichten werden. Zugleich versteht Peat Folk als generationsubergreifenden Speicher menschlicher Erinnerung. Die Lieder tragen Spuren zahlloser Leben in sich, und genau diese Verbindung macht sie zeitlos. Atmospharische Stucke wie "Luisne", das melancholische "Same Old Man" oder das historische "Dark Horse on the Wind" zeigen ihre Fahigkeit, Tradition, Geschichte und personliche Interpretation miteinander zu verweben. Ein weiterer Hohepunkt ist "Still I Love Him", das die Ambivalenz von Liebe und Leid beleuchtet und aus einer Geschichte emotionaler Abhangigkeit eine Erzahlung uber Starke und Selbstbestimmung macht. Auch "Bonnie Boy" und das abschließende Triptychon "Cailin Deas" kreisen um weibliche Autonomie, gesellschaftliche Erwartungen und den Wert personlicher Freiheit. So entsteht ein Album, das archaisch und zeitgenossisch zugleich wirkt. Mit großer Empathie, musikalischer Raffinesse und kunstlerischer Eigenstandigkeit macht Radie Peat die Stimmen vergangener Generationen horbar und schafft eine Sammlung von Liedern, die Trost, Erkenntnis und Verbundenheit vermitteln. "No Human Tongue Can Tell" ist damit weit mehr als eine Bewahrung von Tradition: Es ist deren lebendige Weiterentwicklung.

Ohio’s 156/Silence return with From a Distance, their crushing new full-length and first release for Pure Noise Records, arriving September 4. Produced by Josh Schroeder (King 810, Lorna Shore, The Plot In You), the album expands on the breakout success of People Watching with a darker, more cinematic approach that balances punishing heaviness, eerie atmosphere, and emotional depth. Featuring guest appearances from Mike Hranica (The Devil Wears Prada) and Alex Reade (Make Them Suffer), From a Distance pulls influence from horror, prestige television, and retro game soundtracks while moving seamlessly between hard rock, experimental textures, and the band’s chaotic mathcore roots. Atmospheric, unpredictable, and unbound by genre, From a Distance pushes 156/Silence further into their own lane while cementing them as one of heavy music’s most fearless rising acts.

Seit mehr als drei Jahrzehnten zahlt Jimi Tenor zu den eigenstandigsten Kunstlern der europaischen Musiklandschaft. Der finnische Komponist und Multiinstrumentalist bewegt sich seit jeher muhelos zwischen Jazz, Funk, elektronischer Musik, Afrobeat und experimentellem Pop, ohne sich stilistisch festlegen zu lassen. Mit Wormhole Mystic kehrt er nach einer Phase intensiver Arbeit mit der neu formierten Jimi Tenor Band zu einem Soloalbum zuruck. Ausgangspunkt der zwolf neuen Stucke waren Rhythmus-Loops, die auf Vintage-Drummachines der 1960er- und 1970er-Jahre entstanden und anschließend als Fundament fur die weiteren Kompositionen dienten. Gemeinsam mit Synthesizern, Flote, Saxofon und seiner charakteristischen Stimme entwickelt Tenor daraus ein Album, das vertraute Elemente seines Schaffens aufgreift und gleichzeitig neue Wege beschreitet. Wormhole Mystic unterstreicht eindrucksvoll die anhaltende kreative Neugier eines Kunstlers, dessen Werk bis heute in Bewegung geblieben ist.

Seit mehr als drei Jahrzehnten zahlt Jimi Tenor zu den eigenstandigsten Kunstlern der europaischen Musiklandschaft. Der finnische Komponist und Multiinstrumentalist bewegt sich seit jeher muhelos zwischen Jazz, Funk, elektronischer Musik, Afrobeat und experimentellem Pop, ohne sich stilistisch festlegen zu lassen. Mit Wormhole Mystic kehrt er nach einer Phase intensiver Arbeit mit der neu formierten Jimi Tenor Band zu einem Soloalbum zuruck. Ausgangspunkt der zwolf neuen Stucke waren Rhythmus-Loops, die auf Vintage-Drummachines der 1960er- und 1970er-Jahre entstanden und anschließend als Fundament fur die weiteren Kompositionen dienten. Gemeinsam mit Synthesizern, Flote, Saxofon und seiner charakteristischen Stimme entwickelt Tenor daraus ein Album, das vertraute Elemente seines Schaffens aufgreift und gleichzeitig neue Wege beschreitet. Wormhole Mystic unterstreicht eindrucksvoll die anhaltende kreative Neugier eines Kunstlers, dessen Werk bis heute in Bewegung geblieben ist.

ORUMA is a trio formed by Ola Rzepka (drums, zither, percussion), Artur Rumiński (electric guitar) and Mat Barski (electric guitar). At its foundation is the musical dialogue previously developed by Rumiński and Barski as a guitar duo and documented on the albums “On the Margin” and “At the Junction”. Their encounter with Ola Rzepka during Kraków’s Kakofonie series opened this music to a new sense of dynamics, pulse and
collective form.
ORUMA’s music exists at the intersection of free improvisation, noise, experimental postrock and post-kraut repetition. It avoids the conventional division between soloist and accompaniment. Instead, two electric guitars and drums gradually abandon their individual roles to form a single, constantly shifting sound organism — moving from silence, open space and isolated gestures towards dense masses of sound.
The trio’s debut album consists of five pieces: “Satellites”, “Stranger”, “This Mountain Is Alive”, “A Rough Plan For Nostalgia” and “Hyperborea”. Together, they form a coherent journey: from distant signals and the first moment of contact, through friction and increasing physical intensity, to an expansive fourteen-minute finale.


Ola Rzepka
Drummer, pianist, composer and performer. She graduated from the Karol Szymanowski Academy of Music in Katowice, where she studied at the Faculty of Composition, Interpretation, Education and Jazz. She was also a scholarship student at the Rhythmic Music Conservatory in Copenhagen, studying piano and percussion. She teaches piano improvisation at the Wojciech Kilar State Music School Complex in Katowice and runs her own music lessons and workshops. As a composer, she collaborates with acclaimed theatre directors in Poland, Germany and Switzerland. Her musical collaborators have included Raphael Rogiński and Antoni “Ziut” Gralak. She has performed her original music at numerous avant-garde, popular, jazz, improvised and contemporary music festivals across Poland and Europe. In Jazz Forum magazine’s 2024 Jazz Top critics’ poll, she was named among Poland’s leading drummers.

Artur Rumiński
Guitarist and member of bands including Furia, Thaw and ARRM. He also composes and improvises under his own name and performs in the experimental duo Marmur, which he co-founded with Macio Moretti. He has released several solo albums on labels including Antenna Non Grata, Gusstaff Records, Zoharum and Szara Reneta.

Mat Barski
Guitarist associated with the Kraków and Tricity music scenes. His projects include the duo Ekotonika, the Rumiński / Barski duo. He has released albums through Gusstaff Records and Antenna Non Grata. Alongside music, he works in motion design and visual postproduction. He is a member of the Kraków-based Skład Solny Association, where he coorganises concerts and exhibitions.

Chef’s Kiss Radio Vol. 1: Ibiza versammelt zehn handverlesene Tracks auf einer stilvollen 12"-Compilation von Spaghetti Moretti Records. Mit Beiträgen von Mia Moretti, Myd, Kapote & ALOT, Radio Slave, Heidi Lawden, Cesária Évora, Uffie und weiteren Künstler:innen verbindet die Sammlung House, elektronische Sounds und unverwechselbares Ibiza-Feeling.

Entstanden aus der Chef's Kiss Radio-Residency im Nocturna Ibiza, vereint das Album exklusive Originale und hochkarätige Remixe zu einem perfekten Soundtrack für endlose Sommertage und lange Nächte. Die limitierte Vinyl-Edition macht diese Veröffentlichung zugleich zu einem attraktiven Sammlerstück für DJs, Vinyl-Fans und Liebhaber moderner Clubmusik.

Sean Thompson hat mehr als ein Jahrzehnt damit verbracht, sich zu einem der vielseitigsten Gitarristen in Nashville zu entwickeln. Derzeit ist er als Gitarrist für Margo Price auf Tour, und sein flinkes, lyrisches Spiel hat Bands unter der Leitung von Erin Rae sowie einer ganzen Reihe von Größen der ,Music City" geprägt. Außerdem ist er neben Rich Ruth und Spencer Cullum ein Drittel des kosmischen Trios Shrunken Elvis, dessen gefeiertes, selbstbetiteltes Debütalbum 2025 bei Western Vinyl erschien. Mit ,Inner Principles", seinem ersten rein instrumentalen Album, bündelt Thompson all diese Instinkte zu etwas, das sich wie ein echtes neues Kapitel anfühlt. Es ist ein Jazz-Fusion-Album im reichhaltigsten Sinne des Wortes: virtuos, aber schnörkellos, experimentierfreudig und stilistisch von einem Titel zum nächsten unruhig. Die acht Stücke bewegen sich mühelos zwischen ECM-artiger Weite im Geiste von John Abercrombie, rauchigem Akustik-Picking, lockeren Late-Night-Boogies und eleganten Post-Rock-Abenteuern, mit Synthesizern, die hin und wieder in Richtung Jan-Hammer-Territorium blitzen. Man könnte meinen, ein Großteil dieser Musik stamme aus dem Jahr 1978 oder 1983, und genau diese Zeitlosigkeit ist der springende Punkt. Thompson spielt ein rasantes Spiel namens ,Finde den Einfluss" und zieht dann weiter, ohne sich jemals lange genug an einem Ort niederzulassen, um wie eine Hommage zu klingen. Im Kern ist das Album ein Trio aus Thompson, Eric Slick am Schlagzeug und Alec Newman am Bass, ergänzt durch eine Handvoll bewährter Mitstreiter: Jake Davis, der produzierte, als Tontechniker fungierte, abmischte und Synthesizer beisteuerte; sein ,Shrunken Elvis"-Bandkollege Rich Ruth an der Gitarre; sowie Jo Schornikow am Keyboard. Dieses Zusammenspiel des Ensembles ist das Herzstück der Platte, und trotz aller technischen Meisterschaft ruht sich ,Inner Principles" nie auf seinem Können aus. Jeder Track strahlt echtes Gefühl aus, vom weitläufigen, treibenden ,Underwater Way" bis zum zarten ,Waltz For Mama". Thompson hat ,Inner Principles" digital in Eigenregie veröffentlicht und das Material live beim BigEars-Festival vorgestellt. Western Vinyl presst es nun zum ersten Mal auf Vinyl und verschafft damit einem der stillen, aber unverzichtbaren Musiker Nashvilles sein bisher umfassendstes Statement.