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"Psychedelia in White", das dritte Album des ehemaligen Nick Cave and the Bad Seeds-Mitglieds Mick Harvey und seiner langjährigen musikalischen Partnerin Amanda Acevedo, knüpft an ihr 2023 erschienenes Duett-Debüt Phantasmagoria in Blue an.

Das überwiegend aus Eigenkompositionen bestehende Album bewegt sich zwischen Mystik, Mythologie, Liebe und Verlust. Mit vielschichtigen Arrangements und opulenten Klangtexturen erkundet das Duo neue, experimentellere musikalische Räume. Traumartige Bilder und mythologische Motive verbinden sich mit einer persönlichen Botschaft der Hoffnung und der Sehnsucht nach einem Ausweg aus dem Chaos der Gegenwart.

Zu den Höhepunkten zählen „Perfect Storm“, entstanden in Zusammenarbeit mit dem kanadischen Komponisten Peter McNestry, „Song for Aurora“, eine Glam-Rock-Hommage an Marc Bolan und T. Rex, sowie „The Greatest Delight“, inspiriert von Acevedos Visionen von Schattenwesen und jenseitigen Liebenden.

DESCRIPTION
Lone Bison / Nick Bonell lives by the sea in Ramsgate. Mainly a guitar player and pedal freak, Nick bought a used Korg MS20 and fell in love with synths. As one half of Stuntmen, Nick released the sample-heavy single 'You're the Beat Find' on the groovy Tummy Touch label, which led to him scoring three Ford adverts in the U.S and a few pieces of well-used production music - which paid for more synths and pedals!
An album, 'Transistor Memory' and single 'Drugs' came out via Dom Martin's brilliant Polytechnic Youth records in 2021. "Wave Construction" was released by Castles in Space in Autumn 2023. An album for the CiS Subscription Library entitled "Mechanical and Electrical" was released in late 2024.
Nick Explains: "After recording "Transistor Memory", "Wave Construction" and "Mechanical and Electrical" pretty much back-to-back, I wanted to change my sound palette a little. I started programming my Hydrasynth Explorer in obsessive detail and was also drawn to using my voice, in a sampling kind of way at first. Sampling my voice then shifted into recording more straightforward vocals and writing proper songs again. "Rise Up" started as a field recording in my local park and then some wonky piano loops with a cheap mic – somehow a song arrived. I’ve always really liked really concise records, so I got interested in packing lots of synth textures into a three-minute pop song. As the record progressed, I did less leaning on vocoders and harmonisers and developed the courage to just do more up-front vocal mixes. Things like Maths and Minimal / Maximal are more groove-based and came from recording 20 minute drum tracks then jamming bass guitar over it then editing it all down and adding loads of synths. Oh, and there’s a bit of James Williamson era Stooges at the end of Minimal / Maximal – I was a bit nervous about playing garage rock guitar on a Castles in Space record but Colin told me I would be ‘fucking mental’ if I didn’t end the record with it."
Lone Bison's music is influenced by Krautrock, electronica, post-punk, soundtracks, a splosh of modern classical/minimalism and post-rock. He's a hot genius.
The album is preceded with "The Power" which will be available on streaming platforms as well as on our Bandcamp for those who want to listen or pre-order the album. There's a fantastic remix from MAPS included as well.

Die australischen Rockband Airbourne war noch nie dafür bekannt, klein zu denken. Auf ihrem
sechsten Studioalbum, der nach der Band selbst benannt ist, hat sie sich allerdings noch mal selbst übertroffen. Airbourne – ein Name, der zum Synonym für bombastischen, biergetränkten, gefährlichen und sexy Rock’n’Roll geworden ist. „Dieses Album vereint alles, wofür wir stehen, in einem einzigen Werk“, erklärt Ryan den Titel. „Es ist das beste Album, das wir überhaupt machen konnten.“

Zusammen mit dem starken Produktionsteam aus Brian Howes (der 2013 "Black Dog Barking" produziert hat) und dem Toningenieur Mike Fraser (der an „Breakin’ Outta Hell“ von 2016 und „No Guts. No Glory.“ von 2010 mitgearbeitet hat), machte sich die Band im Music Farm Studio im „Dschungel“ außerhalb von Byron Bay an die Arbeit. Der Komplex verfügt über das originale Neve-Mischpult aus den Alberts Studios, auf dem Bands wie AC/DC, Rose Tattoo und The Angels ihre wegweisenden frühen Alben aufgenommen haben.

Das Ganze präsentiert sich in einem sorgfältig gestalteten Paket, gemischt von Zakk Cervini (BMTH, Architects), das die Leidenschaft, das Feuer und die schweißgetränkte Gefahr einer Band auf dem Höhepunkt ihrer Kräfte einfängt, komplett mit Schlagzeug, das wie Kanonen knallt, und Gitarren, die wie Kreissägen schneiden.

„Alive After Death“ und „Send Me To Rock’N’Roll Heaven“ sind eine Hommage an die verstorbenen Idole der Band; letzterer Titel bezieht sich auf Lemmy, Doc Neeson von The Angels, John Bonham, Bon Scott, Little Richard und weitere. Joel schrieb den Text zum mitreißenden „Alive After Death“ eines Abends im Tourbus, als er darüber nachdachte, wie die Musik dieser Legenden sie unsterblich macht. An anderer Stelle gibt es Geschichten von unterwegs („Bogota“), Songs über Trotz und Nicht-Aufgeben („Last Man Standing“, „Hell’s Got No Vacancy“, „Gutsy“) und noch mehr Sex („Sky High“). Jetzt müssen Airbourne nur noch auf die Bühne zurückkehren, in der Gewissheit, dass sie ihr bestes Album aller Zeiten mitbringen.

STEELOVER is a Belgian Melodic Rock / Metal band. The band was formed in the early 80's by three friends living in Liege, Belgium, the guitarists Pat Freson & Mel Presti and the bassist Nick Gardi. In search of a drummer, they threw their sights on Rudy Lenners (Scorpions) upon his return from Germany, having left the famous German band Scorpions. Rudy proposed to contact Vince Cardillo, a singer who had already on the one hand good experience and on the other hand he already recorded an album in London, “It will fit perfectly” explained Rudy. They all felt the magic during the first rehearsal. In no time, Steelover recorded their first album "Glove Me” which was released under the Mausoleum label. This album sold over more than 400.000 copies of which more than 76,000 in Poland. They followed with a tour across different countries like The Netherlands, Germany, France and Belgium including Forest National opening for Bon Jovi and KISS. Vince decided to leave the band. Replaced by Dani Klein, the second album was recorded but never released. Dani left the band after a short time with Mel Presti to start a new band under the name Vaya Con Dios.
The band came back in 2017 with a new E.P. (including single "Wild and Free") mixed by the legendary producer and and mixing engineer Tommy Hansen.
In 2019, Rudy Lenners greeted the audience one last time before retiring from his musical career. Vince had returned to the band at this point…after the show Vince, Pat & Nick decided to continue the Steelover adventure and in 2022 released the album “Stainless” on the Escape music label (ESM368). This was a great metal album and fans old and new longed to hear more. It’s now 2026 and Steelover are back with a brand-new recording featuring 11 tracks of hard rock / heavy metal. The band are very much in the style of that 80’s metal sound, a sort of mixture of Scorpions and Saxon if you like. These new songs all hit the mark making “Devil’s Highway” an album that needs to be checked out…

raum…musik welcomes Jaffa Surfa back for its 121st release with ‘Tribal Diesel EP’, a four-tracker moving through progressive techno, industrial-tinged minimal, house and broken beat. Rather than treating these as fixed genres, Surfa reshapes them into something uncanny and unmistakably tribal, while keeping the groove firmly at the centre.

That approach is clearest on the A-side. “Diggers Diesel” has a ritual pull and, as the EP’s title suggests, finds Jaffa Surfa at his most tribal. Processed drums and splintered voices gradually lock into a hook while murky synths shift beneath them. “Lidl Sin” takes a leaner, slightly industrial but definitely understated route. Its reduced arrangement leaves enough room for each detail to register, with drums, synth stabs and sequenced lines appearing to exist in a state of constant mutation. On the b-side, “NGLZ” is the EP’s most direct house cut, driven by heavy low end, syncopated rhythms and flashes of phased samples. Breakbeat accents and old-school vocal fragments nod towards US house, though the track’s restless movement keeps it from settling into anything conventional. “Upstarz Galeri” closes on a wider screen, carrying traces of krautrock and decades-old sci-fi and cyberpunk soundtracks without ever feeling nostalgic. Airy and expansive, it pairs breakbeats and growling basslines with densely layered samples, giving its machine funk an unexpectedly emotional charge.

'Tribal Diesel EP' never overstates the contrast between its parts. Jaffa Surfa holds everything together through texture, rhythm and an almost cybernetic atmosphere. It is clearly built for the club, but carries enough personality and ambiguity to reward closer listening.

Die Gentrys, bekannt für ihren Hit „Keep On Dancing“ aus dem Jahr 1965, waren eine Garage-Rock-Band aus Memphis, die 1970 zu Sun Records wechselte, als das Label nach Nashville umzog. Diese Sammlung seltener Grooves und bisher unveröffentlichter, verschollener Titel aus dem Sun-Archiv präsentiert die Gentrys unter der Leitung des legendären WWE-Managers und TV-Stars Jimmy Hart, produziert vom Sohn des Visionärs Sam Phillips, Knox Phillips. „It’s Been So Long“ zeigt eine sanftere Seite der Band und verbindet Harmonien im Laurel-Canyon-Stil mit ihrem Memphis-Rock-Sound.

After orbiting the sun for six years, HMD returns in collaboration with Omformer to revisit and expand upon the enduring compositions from HMD002, Ascending and Distance, originally released in September 2020 (Late Lobster Theremin distribution). Since then, the search has been on for the right producers to breathe new life into these beloved pads and melodies. The remixers each build upon stems from Ascending and Distance, approaching the material with complete creative freedom.

Released spring 2019, HMD002 resonated through its airy, embracing, and intricately woven sound. In the years that followed, the release found its place within a rapidly evolving club music landscape, while Omformer also continued to shape their identity through releases on UTE.Rec and performances across the world.

HMD006 brings together a collection of forward-thinking artistic perspectives on today’s fast-tempo progressive club landscape, while remaining equally suited to afterparty sofa conversations or late-night kitchen burnouts. Each remix is soaked in rich, hopeful reinterpretation, combining inventive sample work, distinctive percussion, and the personal creative oddities of its four contributors.

Remixers

Alvar (Teo Bachs, Ekkel) — Co-founder of UTE.Rec
Mikkel Rev — One half of Omformer and producer on UTE.Rec
Human Space Machine — Nous’klaer Audio, De Lichting
Joachim Krüger — HMD Records

Inhibitions are to be checked at the door with the arrival of Farsa on Step Ball Chain. The inconspicuous (for now) Beirut based producer steps up for number 19 with an EP of intentional, timeless club music; deeply intimate, dynamic and understatedly sexy. Promiscuous Dubz is laced with an infectious bounce; that pure unadulterated groove which starts ground up and doesn’t stop til it hits you in the face and leaves you gathering your jaw. The 4 track record (+ exclusive bonus digital) features a bratty breakneck remix from label head(less) Roza T herself, rounding off a chic&freaky collection of introspective, stylish tracks for headphones or heads down in equal measures.

All tracks written, produced & mixed by Farsa in Beirut, Lebanon.
Mastered by Anne Taegert at Dubplates & Mastering.
Distributed by One Eye Witness.
Artwork by Dylan Batelic.

Kid Drama presents 'Machines and Other Things', his first full-length album for Metalheadz and a project shaped by instinct from a producer three decades deep into his craft.

Initially conceived through the lens of the classic Headz sound, the album only found its true identity once Kid Drama stopped looking backwards and allowed his own Autonomic influences to take hold. Slowing the tempo and focusing on groove rather than function, he built a body of work unconcerned with club trends, instead prioritising atmosphere, texture and progression.

Written sequentially rather than assembled from a large pool of tracks, 'Machines and Other Things' captures a distinct moment in time. Across the album, layers of tape saturation, analogue processing, noise and environmental detail sit alongside melancholic melodies and intricate rhythms, creating a sound that feels tactile and deeply immersive.

Also featuring collaborations with Goldie, dBridge, Loxy and LaMeduza, 'Machines and Other Things' finds Kid Drama drawing on the past without being defined by it, delivering a body of work that feels unmistakably his own.

K S R brings together the raw tension of Red Rooms and the hypnotic drive of Flits. Two distinct visions. One essential record. Direct and immersive. KSRX004 is made for selectors who want impact without compromise.

Spanish producer Notzing joins Alpenglühen with Vermiström, a four-track EP exploring the deeper edges of experimental dance music.
Over the past few years, Notzing has established himself as one of the most compelling voices in Spain's underground techno scene. His sound is stripped back yet immersive, built from hypnotic drones, stretched loops, and subtle rhythmic developments that gradually pull the listener into a trance-like state.
With Vermiström, each of the four tracks unfolds organically, evolving with patience and precision. Intricate, unconventional rhythms intertwine with long-form sequences and richly processed textures, creating a constantly shifting sonic landscape.
What truly defines this EP, however, is its profound sense of depth and its unmistakable dub aesthetic. Every element occupies its own carefully crafted space: textured atmospheres, meticulously sculpted percussion, and syncopated sequences that seem to exist at two different tempos simultaneously. Creative use of delays and spatial effects subtly references the language of Jamaican dub, while an exceptional level of sound design and mixing gives the record remarkable clarity and dynamic range.
Rather than revealing everything at once, Vermiström unfolds gradually. Each listen brings new details to the surface, as subtle shifts in texture, rhythm and space slowly reshape the music from within.

Mikkel Rev returns to A Strangely Isolated Place with Evocation, his third full-length album shaped deep within the forests of Norway. 
Since Mikkel’s debut, The Art of Levitation first arrived on ASIP in 2023, Mikkel has been quietly building his own corner of the label’s catalog. Last year's Journey Beyond expanded that vision further, revealing an artist increasingly comfortable balancing the emotional pull of early trance with a more reflective, ambient-leaning approach. While his work elsewhere naturally gravitates towards the dance floor through his own collective, Ute Recordings and other club-focused outlets, his ASIP releases have always evolved differently. Beginning with a larger body of material that’s gradually shaped together, each album seeks to find a narrative without a dancefloor in place; one that moves naturally between momentum and stillness, carrying something of the spirit found in those early-'90s records that drifted effortlessly between peak-time energy and the quiet hours in room two. 
Long-form compositions like "Step Inside" and "MRI" favor gradual development over immediate impact, while "Dream Sand" introduces shimmering rhythms that subtly shift the album's momentum and pace. The piano-led "The Infinite" offers a definitive nod to the enduring emotional pull of classic trance before "Sanitorium" closes the record with one of Mikkel's most restrained and affecting pieces to date.
Evocation continues Mikkel Rev's remarkable run on ASIP, extending a catalog where echoes of trance's formative years find new expression through the communal energy and natural surroundings of the Nordic forest gatherings that have become an integral part of his world.
Ventral Is Golden returns on artwork duties, with Lupo handling the mastering and cut. Released on August 28th as a gatefold double LP on dusty purple smoke and digital.

012 proudly presents 01211, a release marking the first-ever collaboration between Claudio PRC and CONCEPTUAL. A long-anticipated meeting of two like-minded artists, Syklit unfolds as a shared exploration of depth, restraint, and sonic research, supported by a masterful revisit by Marcal.

Built around the concept of cycles as continuous motion and transformation, Syklit develops through three original cuts that function as interconnected chapters of a single narrative. Hypnotic structures, stripped-back grooves, and carefully sculpted sound design define the EP. It blends techno sensibilities with an introspective, atmospheric approach. On top of that, Marcal delivers a striking reimagining of Sykli I, merging raw tribal energy with cutting-edge, sci-fi-driven sound design to unleash a relentless groove made for peak-time, late-night sessions.

The result is a cohesive and powerful release, equally suited for immersive listening and deep, forward-thinking dancefloors, celebrating a meaningful first-time collaboration and uncompromising shared sonic visions.

After making waves in the underground with their first release, psychedelic techno explorations from Winkles, A Sky Full Of Numbers head to the shoreline with a five tracker of misty electronica from Japan’s The Rituals, the new collaboration between Tasoko and DOLTZ. Across acclaimed releases on Explore, Bitta, and Delsin, the duo have separately explored deep techno, ambient, acid house and IDM, showcasing innovative sound design and spacious, understated grooves. For AFSON, the duo apply their unique point of view at a lower tempo, pulling away from the peak time to deliver a shadowy journey through dewy electronics.
Opening transmission 503M feels like tuning into a damaged frequency somewhere beyond the cloud line. Misty lead synths slither through blown circuitry while buzzing sequences and short-circuiting percussion crackle against purring bass pressure below.
There’s an eerie electricity in the atmosphere, as if the track’s been exposed to too much heat and left glowing softly in the dark. From the opening bars, The Rituals instantly establish their ability to make techno feel both mechanical and hallucinatory.
Ugan sees the duo descend deeper into the haze. Reverb-drenched synth motifs hover like distant lights through thick fog while a propulsive dub bassline locks into loose electro-funk rhythms beneath. There are echoes of hauntological electronics and early IDM experiments here, but The Rituals avoid nostalgia entirely, steering the track instead towards something crepuscular and alive.
Stepping out of the shadows, Broken Frog Lamp pushes forward on a rolling rhythmic framework as melodies slowly force their way through layers of sea mist and static interference. Atmospheric without losing momentum, the track balances submerged emotional weight with hypnotic forward motion.
The mood softens but never dissipates on Salty Air, a damp and dewy excursion into dubbed-out psychedelia. Rainfall ambience, skittering stone percussion and swelling pads fold around sliding sub bass and filtered stabs, while jazzy cymbals and syncopated hats gently pull the track forward, as the condensation clings to the hardware.
Closing cut “Night, Castle, Reflection” drifts into darker territories, where redlining drums and pulsing low-end pressure throb beneath thick layers of saturated texture. Woozy synth work smears against tightly controlled rhythms, creating an immersive and slightly uneasy atmosphere that closes the EP at its most introspective point.
Taken as a whole, the EP transports you into the midnight hour, when the comforting embrace of stillness can easily nudge you towards hallucination, dissolving the boundaries between dream state and dancefloor hypnosis.

Ondrǣdan is the second aesthetic proposal by Sediments’ owners Pajaro Dune. This work is the result of a deep artistic experimentation and a thorough compositional refinement. Some of these materials have been distlilling in the studio for almost a decade of sound engineering and constant debate to make the experience much more profound.

From old English language, ondrǣdan it is a direct reference to our most primordial fears. Both an emotional yearning and a postapocalyptic kubriesque tale, the five works of this record capture five shades of rhythm and mood, where ambient, dub and downtempo meet in immersive narrative experiences. All them crowned with the luxurious sculptural artwork by Blanco Anyò who forces us look beyond the visceral to intuit the transcendent.

Pajaro Dune is the product that combines the creative minds of Jaime Romero aka Estrato Aurora and David Ortolà aka Syoqh aka d_o_ppelgaenger. More than half a life producing together from València, their multifaceted approach crystallizes in renowned works for Alpenglühen, Grabaciones Perpendiculares, The Monkey Bar, Eleve Music and now their own label.

|| We
become more from what is left,
deliver else than just the now,
build sound stories for the then. ||

Radiating Cellular Lime Headlight

LP includes double-sided print insert. Thorn Wych makes instruments from tree branches; bowed strings, flutes and percussion that she runs through a chain of loopers, pitch bending glitches and delay pedals. Strange songs sung in tongues, mashed up chewed and spat out. As the adder weaves her way through the dirt and mycelium hum, we play in the mud and converse with insects. 'Aesthesis' is Thorn Wych's debut LP that she recorded and mixed herself at home, often performing long improvised pieces, then later editing them down, cutting and pasting and overlaying other instruments. This album takes inspiration from such works as 'The Secret Book of John', the 1940 film 'The Thief of Bagdad', and Lata Mangeshkar's 'Meera Bhajans'. She dedicates her work to the Divine Mother Asherah, Holy Spirit, Guardian of the Tree of Life.

"Northern Electronics presents ’The Vanity Project’, the new LP by Vanity Productions.
Like a fractured reflection, images appear distorted and incomplete. A series of fragments revealing influences, methods, and decisions where life and work remain inseparable. Moving through the residual noise of contemporary media space, Christian Stadsgaard draws from social media remnants, dark web transmissions, and untreated human sound.
These elements are processed through noise electronics and tape manipulation, collapsing source and signal. ’The Vanity Project’ is constructed as a dense, uneven surface. A collage of found sound, environmental interference, and emotional residue. The result carries Vanity Productions’ characteristic melancholy, Nordic restraint, and accumulated debt, forming a quiet but insistent tale of romance and reflection from the source.”
Album credits:
All music recorded by Christian Stadsgaard in Copenhagen, Denmark 2025
Mixed by Christian Stadsgaard and Malthe Fischer
Mastered by Giuseppe Tillieci at EnissLab, Rome
Photos by Christian Stadsgaard
Collage by Anthony Linell
Sound contributions by Shredded Nerve, Jackson-Pratt, Ashley C, Hannes Norrvide, Malthe Fischer, Daniel Svanberg Bøtcher, Vagn Olsson, Yuri Umemoto, Lise Westzynthius, Qiuyao Ning, Peter Peter, Government Alpha and Merzbow – A big thank you to everyone involved.
“The Vanity Project” was kindly supported by KODA kultur, Copenhagen.

Acid Pauli returns to the curious world of Gwar Is Not The Answer (originally released 2006 on Smaul) with a carefully remastered re-release that includes two new remixes from Jonathan Kaspar and Acid Pauli. The title track unfolds at an unhurried pace, weaving loose acid traces through warm percussion and off-centre melodic fragments that seem to appear and dissolve before settling into place. It drifts forward with a quiet sense of momentum, balancing eccentric textures with a groove that remains firmly grounded throughout. With his new remix Jonathan Kaspar takes the original into leaner territory, sharpening its contours and drawing out its tension while preserving the peculiar character at its core. His remix stretches the track into a more focused club framework where rolling low-end pressure meets finely tuned rhythmic movement, allowing small details to carry unexpected weight. On the flip Acid Pauli revisits the track from a different angle. The remix opens up the source material into a spacious and fluid arrangement where shimmering tones circle around a deep pulse and subtle harmonic shifts gradually reveal themselves over time. Together the three versions explore different dimensions of the same musical language, moving between psychedelic house, understated dancefloor functionality and the kind of idiosyncratic storytelling that has long defined Acid Pauli's work.

The next WOLF Music EP is here, and once again it comes courtesy of a new addition to the label roster. New York-based DJ and producer DJ Alone Again is a natural fit for what we do at WOLF, delivering a sound that hits that sweet spot where deep meets soulful, with the raw, understated energy of the authentic New York underground running through every track.

With a growing catalogue of original productions and edits, DJ Alone Again has released music through labels including YORE Records, House Salad Music, Dobro, Fantin Zoo Records, and Dealt With Records. His musical roots extend beyond house, too. Earlier work with the band Vain Pursuit, alongside a wealth of SoundCloud mixes and underground edits, reveals an artist with a deep appreciation for melody, songwriting and the emotional side of dance music.

Opening the EP is ‘Freedom of House’, a sublime take on the classic NYC-meets-Chicago deep house sound. Warm, soulful and hypnotic chords sit at the heart of the track, surrounded by intricate, skippy percussion and a deep, driving bassline. Carefully placed female vocal snippets drift in and out of the groove, while a spoken-word ode to the freedom and self-expression that house music offers provides the track with its emotional centre. It’s a celebration of movement, individuality and that unspoken connection forged on the dancefloor.

On the A2, ‘State of Flux’ keeps those warm, evocative chords front and centre, building an infectious groove around an instantly memorable melody courtesy of the vibes. Subtle synth strings add depth and atmosphere, bringing a touch of late-night melancholy to the arrangement, while the rhythm rolls steadily underneath. Everything is expertly layered without ever feeling crowded, giving the chords, melody and percussion room to breathe whilst pulling the listener deeper into the track.

‘Horizontal Patterns’ takes the winning formula of ‘State of Flux’, adding a beautifully understated vocal hook that sums this track up perfectly: deep in the groove.

Closing out the EP is ‘In Your Orbit’, a serene, dream house number with a deeply hypnotic edge. Ethereal flute lines drift through the arrangement, weaving around vocal phrases that seem to lift the consciousness somewhere beyond the dancefloor. There’s a sense of weightlessness and escape in the arrangement, but the dance floor pulse courtesy of the warm chord stabs never lets you float too far away. Dreamy yet deeply rooted, it’s a meeting point between introspection and movement; music to lose yourself in.

If this EP had landed on Guidance 30 years ago, it would probably be changing hands for a small fortune on Discogs by now.

Instant classic material.

The 1993 split point between pop punk and emo is no better illustrated than by
Garden Variety’s self-titled debut. While Billy and Bivouac flirted with the mainstream, this Long Island trio proposed at the post-hardcore prom. Muscular octave guitar chug with a side of late night zine work at the local diner. Backbeat heartbreak, hold the FX. Thank Charles Maggio for your favorite record next time you see him at the Paramus mall.

The 1993 split point between pop punk and emo is no better illustrated than by
Garden Variety’s self-titled debut. While Billy and Bivouac flirted with the mainstream, this Long Island trio proposed at the post-hardcore prom. Muscular octave guitar chug with a side of late night zine work at the local diner. Backbeat heartbreak, hold the FX. Thank Charles Maggio for your favorite record next time you see him at the Paramus mall.

For close to a decade, B’licious has been best known as the voice ofThe Heliocentrics, the London psych jazz and funk collective whose collaborators include Madlib, Mulatu Astatke, DJ Shadow, Gaslamp Killer and Lloyd Miller, with stages taking her to Glastonbury, Roskilde and Worldwide festivals alongside artists including Marshall Allen and Bilal. Her appearance on Strut Records’‘Nuclear War’, a tribute to Sun Ra also featuring Marshall Allen, Knoel Scott and Bilal, is the latest marker of a body of work built over years on some of the most respected stages in UK jazz and soul. Following her 2022 solo EPSurrender, ‘Apple’ is the lead single from her debut full-length album,Serpent Dreams.

‘Apple’ was co-produced byDan Smith of The Noisettesand engineered bySie Medway-Smith, whose credits include Björk, Depeche Mode, Gang of Four and Massive Attack. On the flip side,SLICKnBOBBY— known for chest-rattling basslines and immersive, dubbed-out rhythms — deliver a live reworking that shows off their skills perfectly, drawing on a background that includes performing alongside Wally Badarou and frequent collaborations with Liam Bailey and Greentea Peng.

The most beautiful thing we’ve ever released?

It is virtually impossible to describe with mere words how emotionally powerful this work of art is. Just listen. Listen, listen, listen...

A blissed-out 80-minute epic, Hatchback's Phaser For The Ocean, Chorus For The Moon is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Moving, hypnotic and deeply meditative, it's FFO Mike Brooks, Deuter, Klaus Weiss, Innovative Communication, Harmonia, Cluster, Ashra's New Age of Earth, Stomu Yamashta, Haruka Nakamura, Yoshimura, Hosono, the works.

A record truly deserving of the deluxe Be With treatment, the vinyl was specially cut at Abbey Road Studios whilst the original stunning artwork has been pleasingly expanded. Now, an eye-catching holographic-foil layer moon is set against the original tones, wrapped up in a sumptuous double-gatefold jacket.

Soaked in Californian consciousness and limited to a run of just 500 copies for the world, this release is a treasured balm like no other for these troubled times.

Hatchback is the atmospheric, melodious ambient alias of California-based artist Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs.

"When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like Quadrophenia and The Lamb Lies Down on Broadway, as well as epic pieces that took up an entire side of a record: Pink Floyd’s Echoes, Yes’ Close To The Edge, Klaus Schulze’s Nowhere Now Here, Miles Davis' Shhh/Peaceful and He Loved Him Madly. In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title - Yes’ Tales From Topographic Oceans and Tangerine Dream’s Zeit being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural - if indulgent - goal. From there, each new piece followed sequentially. Four songs. My fourth album." - Sam Grawe

Phaser For The Ocean Chorus For The Moon is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI. These are songs for the sunrise and the sunset - and every colour in between.

Sex Magick Wizards is a Norwegian-Sámi quartet blending psychedelic rock, free improvisation and joik into hypnotic, ritualistic soundscapes. For years they have stormed Europe's underground and experimental music scenes, earning acclaim for intense and unpredictable live performances. The double album Suola ja Noaidi (The Thief and the Shaman) draws on themes of colonisation, weaponised religion and Sámi resilience. Working from this cultural material, Sex Magick Wizards have created a double album combining traditional joik elements with their signature experimental rock sound and freeform avant-garde improvisation. By combining fragments of Northern Sámi from the original poem with new lyrics in both English and Northern Sámi and focusing more heavily on vocals, the band creates a highly distinctive sonic language rarely heard within experimental rock. The album also contains a new interpretation of an old traditional joik from guitarist/singer/joiker Viktor Bomstad's childhood home, Ivgorássa.

For 10 years, the Austin, Texas- based experimental avant- pop/ electronic musician, born Roger Sellers, has been creating atmospheric soundscapes brimming with layers, texture, and deep emotional resonance. On his fourth and most immersive album to date, 'Filters', Sellers picks up where he left us on 2023's mournful yet popminded 'Temporary Time'. With its elegantly constructed melodies, silken synth-work, a sprinkle of field recordings, and an upbeat yet blissful blend of piano and percussion, Filters finds Sellers entering a new phase of existence as he works through the grief around losing his father and into a place of acceptance.

More than 25 years after the start of collaboration with Acid Mothers Temple mastermind Makoto Kawabata (including the INUI series and the classic Kawabata/Youngs release) comes the first proper VHF LP by the prolific quintet. One of an occasional series of “minimalism” inspired LPs by the group, “In A Not C” is a not a barely changing drone, but a wild ride with the band in full flight, rushing along in a glorious swirl of psychedelic madness. Like the band’s well-known 2001 version of Terry Riley’s “In C,” the group uses a small cell of repeating sound as a jumping off point and then gradually revs up to maximum velocity. The current AMT lineup has produced a series of fun and unique variants on the band’s longstanding signatures, with the addition of vocalist/guitarist Jyonson Tsu and drummer Satoshima Nani providing a lightness and nimbleness of touch that resets the context of the band’s usual blazing electric guitar and burbling synth. Both sides here build to a multi-layered crescendo, with loops of Tsu’s gentle vocals competing with frenetic drums, whistling electronics, and guitar that alternates trebly feedback and soft arpeggios. Cut by Golden, pressed in Chicago at Smashed, first pressing on clear vinyl.

The deluxe 10th anniversary edition of case/lang/veirs features the new track "Accidental Tattoo" and twelve never-before-released live recordings alongside the original studio album from supergroup of singer-songwriters Neko Case, kd lang and Laura Veirs. Released in 2016, case/lang/veirs is a true collaboration between three phenomenal, self-driven artists: "the strongest voices in their field - lang the full-voiced seductress, Case the hurricane, and Veirs the wry storyteller" (Pitchfork). The women wrote all 14 songs and shared lead vocals equally, sometimes even within the same track. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. "There"s a generosity of spirit to case/lang/veirs," NPR praised upon the album"s release, "a worthy extension of three tremendous catalogs, in which three great singer-songwriters sound enhanced and invigorated by the challenge of living up to each other"s legacies." They worked over two and a half years in Portland, Oregon, where lang and Veirs both live, sometimes in lang"s loft with a view of Mount St. Helens, others in Veirs" dining room or backyard studio. The album was written from the ground up without any real plan beyond a desire to make music together and a faith that it would reveal itself. They produced the album with Tucker Martine, at his Portland studio in November 2015.

The deluxe 10th anniversary edition of case/lang/veirs features the new track "Accidental Tattoo" and twelve never-before-released live recordings alongside the original studio album from supergroup of singer-songwriters Neko Case, kd lang and Laura Veirs. Released in 2016, case/lang/veirs is a true collaboration between three phenomenal, self-driven artists: "the strongest voices in their field - lang the full-voiced seductress, Case the hurricane, and Veirs the wry storyteller" (Pitchfork). The women wrote all 14 songs and shared lead vocals equally, sometimes even within the same track. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. "There"s a generosity of spirit to case/lang/veirs," NPR praised upon the album"s release, "a worthy extension of three tremendous catalogs, in which three great singer-songwriters sound enhanced and invigorated by the challenge of living up to each other"s legacies." They worked over two and a half years in Portland, Oregon, where lang and Veirs both live, sometimes in lang"s loft with a view of Mount St. Helens, others in Veirs" dining room or backyard studio. The album was written from the ground up without any real plan beyond a desire to make music together and a faith that it would reveal itself. They produced the album with Tucker Martine, at his Portland studio in November 2015.

Jennifer Herremas Black Bananas melden sich mit "Bad Bunch" zurück - dem ersten Album der Band seit "Electric Brick Wall" aus dem Jahr 2014 und Herremas erster Veröffentlichung seit "White Stuff" von Royal Trux (2019). Das Album erscheint bei Fire Records und markiert die lang erwartete Rückkehr von Herremas ikonischem Gesang an der Seite ihrer langjährigen Mitstreiter Brian McKinley und Kurt Midness. Von Royal Trux über RTX bis hin zu Black Bananas - Jennifer Herremas Schaffen hat sich nie wirklich in separate Phasen unterteilt, sondern sich stets weiterentwickelt. Wie Pitchfork feststellte, sind Black Bananas "RTX aus einem Paralleluniversum", das Einflüsse aus Synth-Pop, Hip-Hop, French-Touch-House und Dancehall in ihren ganz eigenen, einzigartigen Sound einfließen lässt. Ursprünglich vor über 20 Jahren unter dem Namen RTX gegründet, haben sich Herrema, McKinley und Midness zu einem dynamisch verbundenen, schrägen Kollektiv entwickelt. Auf "Bad Bunch" präsentiert das Trio einen spacigen, jazzigen Rock-Groove, geprägt von Improvisation und neuen Aufnahmetechniken, die im Laufe des letzten Jahrzehnts entwickelt wurden. Das Album entstand vor mehr als zehn Jahren und nahm über verschiedene, zeitlich nicht zusammenhängende Phasen hinweg Gestalt an, unterbrochen durch die Royal-Trux-Reunion und die Turbulenzen der Pandemie. Das Ergebnis ist ein Album, das die innovativen Tendenzen von Black Bananas noch weiter vorantreibt und dabei unverkennbar ihr eigener Stil bleibt.

Jennifer Herremas Black Bananas melden sich mit "Bad Bunch" zurück - dem ersten Album der Band seit "Electric Brick Wall" aus dem Jahr 2014 und Herremas erster Veröffentlichung seit "White Stuff" von Royal Trux (2019). Das Album erscheint bei Fire Records und markiert die lang erwartete Rückkehr von Herremas ikonischem Gesang an der Seite ihrer langjährigen Mitstreiter Brian McKinley und Kurt Midness. Von Royal Trux über RTX bis hin zu Black Bananas - Jennifer Herremas Schaffen hat sich nie wirklich in separate Phasen unterteilt, sondern sich stets weiterentwickelt. Wie Pitchfork feststellte, sind Black Bananas "RTX aus einem Paralleluniversum", das Einflüsse aus Synth-Pop, Hip-Hop, French-Touch-House und Dancehall in ihren ganz eigenen, einzigartigen Sound einfließen lässt. Ursprünglich vor über 20 Jahren unter dem Namen RTX gegründet, haben sich Herrema, McKinley und Midness zu einem dynamisch verbundenen, schrägen Kollektiv entwickelt. Auf "Bad Bunch" präsentiert das Trio einen spacigen, jazzigen Rock-Groove, geprägt von Improvisation und neuen Aufnahmetechniken, die im Laufe des letzten Jahrzehnts entwickelt wurden. Das Album entstand vor mehr als zehn Jahren und nahm über verschiedene, zeitlich nicht zusammenhängende Phasen hinweg Gestalt an, unterbrochen durch die Royal-Trux-Reunion und die Turbulenzen der Pandemie. Das Ergebnis ist ein Album, das die innovativen Tendenzen von Black Bananas noch weiter vorantreibt und dabei unverkennbar ihr eigener Stil bleibt.

Die schwedische Künstlerin Sibille Attar kehrt mit ,Amor Fati" zurück, ihrem ersten englischsprachigen Album seit fünf Jahren. Attar, die bereits von Pitchfork, Stereogum, The Line of Best Fit, Clash und BrooklynVegan gelobt wurde, hat sich als eine der faszinierendsten und von Kritikern am meisten gefeierten Stimmen des alternativen Pop in Schweden etabliert. ,Amor Fati" - äußerst unabhängig und komplett in Eigenregie produziert - begann als Versuch, ein reines Liebesalbum zu schaffen - offenherzig, euphorisch und ungekünstelt. Doch während sich die Songs entfalten, beginnen sich emotionale Gewissheiten zu verschieben. Das Album, das in Schweden, Belgien, Deutschland und den Vereinigten Staaten entstanden ist, beschäftigt sich mit Intimität, Sehnsucht, Vertrauen und den seltsamen Wegen, auf denen sich Liebe im Laufe der Zeit neu formt. Es beginnt euphorisch, wird schnell kompliziert und weigert sich, sich für irgendjemanden der Einfachheit halber zu vereinfachen - vielleicht weniger beruhigend, aber dafür umso lebendiger. "madly wide-eyed, swooning songs" - Pitchfork "leaps out of the speakers so vibrantly that the band seems to be playing in the same room with you" - Stereogum "a masterpiece in artistic misery" - The Line of Best Fit "mournful and absolutely gorgeous" - BrooklynVegan ENG Swedish artist Sibille Attar returns with Amor Fati, her first album in English in five years. Previously praised by Pitchfork, Stereogum, The Line of Best Fit, Clash, and BrooklynVegan, Attar has established herself as one of Sweden's most fascinating and critically acclaimed voices in alternative pop. Fiercely independent and entirely self-produced, Amor Fati began as an attempt to make a pure love album -open-hearted, euphoric, and unguarded. But as the songs unfold, emotional certainties begin to shift. Written across Sweden, Belgium, Germany, and the United States, the album explores intimacy, longing, trust, and the strange ways love reshapes itself over time. It begins in euphoria, gets complicated fast, and refuses to simplify itself for anyone's convenience - less reassuring, perhaps, but far more alive. "madly wide-eyed, swooning songs" - Pitchfork "leaps out of the speakers so vibrantly that the band seems to be playing in the same room with you" - Stereogum "a masterpiece in artistic misery" - The Line of Best Fit "mournful and absolutely gorgeous" - BrooklynVegan

CODA is proud to present the premiere vinyl release of Atli Örvarsson's award-winning score for the first season of Apple TV+'s SILO. The score earned an Emmy nomination and won the BAFTA Television Craft Award for Original Music, establishing it as one of the most celebrated television scores of recent years.

This definitive 2LP edition is pressed at 45RPM on Blue-in-Green Color-in-Color vinyl and is limited to 700 copies, Featuring a stunning lenticular cover, with artwork by Sara Deck and design and layout by Alan Hynes, as well as exclusive liner notes from both Atli Örvarsson and SILO creator Graham Yost.

Die Schweizer One-Woman-Elektro-Punk-Sensation TARANJA WU ist sowas wie das Bindeglied zwischen Suicide, Ian Svenonius, Sedlmeir und Voodoo Rhythm"s Beat-Man - und doch ganz anders und ganz eigen. In der einen Hand die Gitarre, in der anderen ein gut geladenes Mass an Haltung, mit der sie ihren Tarif durchgibt. Ihre Abrechnung feiert sie mit punkig-scheppernden Gitarren, sägenden Synthesizern und unerbittlichem Gehämmer. Dazwischen ertönen Signale, als hätte jemand das Weltall angezapft und beschlossen, es tanzbar zu machen. Ihr zweites Album ALL MESSED UP ist ein Trip durch kontrollierte Abstürze, ein Album wie ein schöner Fehler: süß genug, um näherzukommen, scharf genug, um zu bleiben, serviert mit einem Lachen, das man nicht ganz einordnen kann. Ein Tanz in surrealen Bildern und ein Cocktail aus musikalischem Wahnsinn, der ebenso süchtig macht wie beunruhigend ist. Und das alles garniert "With a Dash of Trash". Klingt ungemütlich? Ist es auch, aber höllisch tanzbar.

Sofie Royer - laut *The Guardian* "einer der faszinierendsten und unterschätzten Popstars Europas, mit fesselnder Stimme und einem eigenwilligen, aristokratischen Glamour" - meldet sich mit einem neuen Album zurück! ,before/after" ist das vierte Studioalbum der österreichisch-iranischen Künstlerin. Es steckt voller Electro-Pop-Ohrwürmer und wurde gemeinsam mit Matt Cohn (SZA, The Weeknd), Jorgen Odegard (Sabrina Carpenter) und Eli Hirsch (Suki Waterhouse) produziert. Nach der Veröffentlichung dreier gefeierter Alben haben sich Songwriting und Produktion der Wiener Musikerin weiterentwickelt: Sie sind komplexer und ausgefeilter geworden, ihre Texte schärfer und humorvoller. *before/after* ist ihr bislang prägnantestes Werk. Es setzt sich mit den Schattenseiten des Künstlerlebens auseinander und verwebt die eigene Selbstreflexion mit kultureller Zeitkritik. Auch wenn sich Sofie von der Lo-Fi-Produzentin zur ernstzunehmenden Popmusikerin gewandelt hat - die bereits als Support-Act für Lana Del Rey, Air und LCD Soundsystem auftrat -, fühlt sie sich nach wie vor nirgendwo so recht zugehörig. Sie nimmt bei ihrer Kritik an der Musikbranche kein Blatt vor den Mund - "Ich bin zu sehr Pop für die Kunstwelt und zu sehr Indie-Liebling für den Mainstream" -, doch am härtesten geht sie mit sich selbst ins Gericht. In zwölf eingängigen Popsongs geht Royer der Frage nach, ob die Konflikte zwischen Vergangenheit und Zukunft nicht eigentlich Kämpfe mit dem eigenen Ich sind. "Wir befinden uns in einem ständigen Kampf zwischen dem Vorher` und dem Nachher`, wir beschäftigen uns intensiv mit diesen beiden zeitlichen Zuständen. Doch indem wir in ihnen gefangen bleiben, stehen wir uns oft selbst am meisten im Weg. Letztlich heißt es im Zustand des Vorher/Nachher immer: Du gegen dich selbst." Für Freunde von Suki Waterhouse, Lykke Li, Smerz, CMAT

Brixton Heights Records proudly presents the brand new single “Sweet Things”, a radiant lovers reggae release that blends classic roots, soulful warmth and contemporary finesse into a timeless feel‑good anthem.

Fronted by the legendary Keith Coley from The Silvertones, this masterfully crafted track features a heavyweight lineup of musicians and producers: Mafia & Fluxy on drums and bass, The Ital Horns on brass, Gavin Tate-Lovery on Saxophone and Gaudi on Piano and backing vocals, co-production and mixing. The track delivers a smooth, romantic groove rooted in classic Jamaican sound while feeling fresh and modern, making it equally at home on sound systems, radio playlists and summer sessions.

The Silvertones’ vocals remain rich, melodic and instantly recognisable, carrying the emotional warmth that has long defined their sound. The arrangement is layered with a bubbling organ, deep bass and tasteful percussions, guitars and keyboard, making The Brixton Heights Orchestra come together to create an irresistible groove.

Mixed and co‑produced by Gaudi at Metatron Studio in London (UK) and mastered at Anchor Studios in Kingston, Jamaica, “Sweet Things” is a celebration of romance, rhythm and authenticity.

In the B‑side the Brixton Heights Orchestra shines through in a full instrumental version of “Sweet Things”. The brass section takes centre stage throughout, weaving into the fabric of the song soaring trumpet lines, expressive saxophone melodies and rich trombone passages.

With the vocal removed, Gaudi shifts the focus on brass work, rhythm section and layered instrumentation, creating a continuum of different phrases, solos and riffs, carefully carved together into a reggae-jazz theme that executes in a cohesive and coherent way.

Sister Hazel is the American alternative rock band from Gainesville, Florida, onsisting of band members Ken Block, lead vocals/guitar, Andrew Copeland, guitar/vocals, Ryan Newell, lead guitar, Jett Beres, bass, and Mark Trojanowski on drums.

The band’s name pays tribute to Sister Hazel Williams, a beloved local missionary known for her unwavering compassion and community work....Somewhere More Familiar is the second studio album by Sister Hazel, the title of the album comes from a lyric in the song “We’ll Find It”, and was released in 1997.

Anchoring the album is the band’s song “All for You (which is Sister Hazel's biggest hit to date, hitting #11 on the Billboard Hot 100. Meanwhile “We'll Find It” found a second life on the soundtrack of the 2001 film The Wedding Planner, starring Jennifer Lopez and Matthew McConaughey.

…Somewhere More Familiar finally arrives in its debut vinyl pressing and includes an insert with lyrics.

The darkest, filthiest alleys of old Philadelphia, DEVIL MASTER arise once more to corrupt the children of light. Between tours and festival appearances, the masters of devilry wrote their third full-length, Bloody Dreams. Punkier, with a psychedelic lean, yet festooned with a feral black metal aura, the album gleams from the abyss. Engineered by Davis M. Shubs and Grammy-nominated engineer Eric Bogacz, Bloody Dreams dances darkly. Tracks “You Worms' Vain Delusions” to “Death Anthem,” “Sex with Succubus,” and the decaying bonnet of “Farewell Waltz to Unfortune's Palace” lead the charge, while guests include Mirai Kawashima (Sigh), former drummer Chris Ulsh (Power Trip), and Ur Èmdr Œrvn (Arkha Sva) enhance DEVIL MASTER's supernatural power. There is no shadow without light...Bloody Dreams invites you into and out of the abyss. Short: The darkest, filthiest alleys of old Philadelphia, DEVIL MASTER arise once more to corrupt the children of light with their new album, Bloody Dreams. FFO: Venom, GISM, Celtic Frost, Midnight, Discharge, Christian Death