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Tyler Bates and Chelsea Wolfe's original score for X , featuring Chelsea Wolfe's single "Oui Oui Marie."

In der Symbolik von JENS LEKMAN ist Bewegung ein Mittel, um den Wahnsinn abzuwenden - oder sich ihm hinzugeben. Die Songs auf der ,An Argument With Myself"-EP befassen sich mit vielen Arten der Fortbewegung, sowohl klein als auch groß, warum er nach einfachen Vorgaben der Landkarte von Melbourne samt gesellschaftlicher Veränderung zurück in seine alte Heimat Göteborg zog. Der Titeltrack beginnt mit einer typischen LEKMAN Geschichte, in der er sich an einen innerlichen Disput auf dem Heimweg in Melbourne erinnert. ,Waiting For Kirsten" behandelt auf der Oberfläche die am Ende erfolglose Suche nach Kirsten Dunst während eines Filmdrehs in Göteborg, ist aber am Ende doch der Versuch, die komplizierte Beziehung zur eigenen Heimatstadt zu durchleuchten. Passend dazu liefert das von Bläsern dominierte ,New Directions" eine verrückte Straßenkarte mit Hinweisen dazu, wie man jeden anderen Ort als das Hier und jede andere Zeit als das Jetzt erreicht. Die Songs sind geistreich, wörtlich zu nehmen und an ihren Ort gebunden; sie alle sind unterwegs, um entweder verrückt zu werden oder sich seine Zurechnungsfähigkeit zu bewahren. Mit Hörnern, Flöten, Streichern und Arpeggio Gitarren bleibt JENS auch musikalisch in Bewegung. Am Ende wird ,An Argument With Myself" immer relaxter, angehaucht mit Reggae, so wie eine Musikbox, die langsam zur Ruhe kommt. Für einen Moment hört die Bewegung beinahe auf. Bis auf weiteres.

"Songs For Other People's Weddings" ist ein Begleitalbum zum gleichnamigen Buch von Jens Lekman und dem preisgekrönten Bestsellerautor David Levithan, das am 5. August 2025 über ABRAMS erscheint. Das Projekt wurde von der überraschenden Nebenkarriere des beliebten schwedischen Künstlers als Hochzeitssänger inspiriert, die zufällig zustande kam, nachdem Fans seinen Song "If You Ever Need A Stranger (To Sing At Your Wedding)" aus dem Jahr 2004 wörtlich nahmen und ihn einluden, auf ihren Hochzeiten aufzutreten. "Songs For Other People's Weddings" ist ein fiktives Werk über J, einen unglücklich verliebten Musiker, der nebenbei als Hochzeitssänger arbeitet. J trifft sich mit Paaren vor ihrem großen Tag, um mehr über die intimen, seltsamen Dinge zu erfahren, die sie zusammengebracht haben, um einen originellen Song zu schreiben, den er ihnen auf ihrer Hochzeit vorträgt. Aber trotz Js Vorliebe, die perfekten Worte für andere zu finden, scheint er nicht in der Lage zu sein, dasselbe für seine eigene Liebe zu seiner Freundin V. zu tun. Lekman bemerkt: "Die Idee, ein erzählerisches Konzeptalbum (eine Rockoper?) zu machen, fühlte sich verboten an. Was für mich normalerweise ein Zeichen dafür ist, dass ich auf dem richtigen Weg bin. Als ich mich mit dem Genre der narrativen Konzeptalben beschäftigte, wurde mir klar, dass eines meiner Lieblingsalben, Frank Sinatras "Watertown", genau das war - eine Platte, die eine chronologische Geschichte über die Länge einer LP erzählte. Da ich nie ein Fan von Musicals oder Rockopern war, diente mir dieses Album als Inspiration. Ich schrieb das Album, während das Buch noch in Arbeit war, und an einigen Stellen begann ich mir vorzustellen, was zwischen den Kapiteln des Buches geschah. Das Buch und das Album waren schließlich miteinander verflochten, gingen aber auch ihre eigenen Wege. Das Buch gab die Struktur der Geschichte vor, aber das Album schlich sich manchmal hinter die Kulissen. Geschichten aus den Liedern fanden ihren Weg in das Buch und umgekehrt." "Songs For Other People's Weddings" folgt der Beziehung von J und V und verändert sich musikalisch, während das Paar durch die Höhen und Tiefen der Liebe navigiert - wobei jede neue Hochzeit ihren eigenen klanglichen Hintergrund bietet. Das Album ist eine orchestrale, romantische Sammlung, die sich zwischen pastoralen Streichern, verträumtem Pop, sanftem Jazz-Saxophon und traurigen House-Beats bewegt. "Die Figur des J kann seine eigenen Emotionen nicht aus seinen Liedern heraushalten, und Jens unterstreicht dies auf eine Weise, die den Hörer immer wieder überrascht", sagt Levithan. "Oft wird er von Matilda Sargren begleitet, die Vs Gefühlen und Gedanken eine Stimme gibt. Ursprünglich sollte sie nur auf den Demos singen, aber als sie anfing, V zu singen, war es keine Frage, dass sie auf dem endgültigen Album zu hören sein würde. Wenn Jens und ich unsere Arbeit getan haben, erzählen der Roman und das Album beide Seiten von Js und Vs Geschichte - und die Spannung entsteht dadurch, wie diese Seiten zusammenpassen." Lekman fügt hinzu: "Auch wenn es in dieser Geschichte um eine Beziehung geht und darum, wie sie sich in den Beziehungen und Hochzeiten anderer widerspiegelt, denke ich, dass es vor allem eine Liebesgeschichte über Musik und ihren Wert in einer Zeit ist, in der sie von Tech-Unternehmen abgewertet und in Inhalte verwandelt wird. Ihre Fähigkeit, zu beruhigen und zu verbinden und ihre Rolle in den Übergangsmomenten unseres Lebens, wie zum Beispiel bei Hochzeiten. Es ist ein Liebeslied an Liebeslieder."

Belgian drummer and composer Jelle Van Giel presents All I Hear, the first full-length album of his new band, Close Distance.

All I Hear unfolds in ten chapters - nine on vinyl, with an additional track on CD. Each track depicts its own world. Some burst to life, driven by energy that draws you in and melodies that linger. Others take their time, emerging like landscapes through morning mist, shaped by shifting textures and quiet detail.

Subtle soundscapes and cinematic colors blend with improvisation and groove, creating an immersive listening experience that speaks to both head and heart. This is music that paints with sound, drawing the listener deep into the world of Close Distance: a quartet in which Jelle invites his fellow musicians Roeland Celis (guitar), Ewout Pierreux (piano/rhodes) and Yannick Peeters (double bass) to join him on his journey and sometimes lead the way.

Mutant, in partnership with Warner Records, are proud to present Z Berg’s beautiful and haunting original soundtrack to JT Mollner’s secret masterpiece Strange Darling. The less you know about Strange Darling before you see it, the better (forgive us for tip-toeing around context). But you can safely listen to Z Berg’s exceptional soundtrack safely without spoilers. Director JT Mollner and Z initially bonded over vintage single artist soundtracks as a days-gone tradition of filmmaking. But what they have produced together is evocative of New Hollywood, 70's-exploitation, right down to the soundtrack you want to have in your collection.

DARK BALADA is a nocturnal journey through hypnotic synths, blending melancholic darkwave with shimmering italo disco influences. An emotional tale suspended between desire, memory, and mystery.

Das von Kritiker:innen gefeierte niederländische Elektronik-Duo, Weval (bestehend aus Harm Coolen und Merijn Scholte Albers) ist mit seinem lang erwarteten neuen Album, „CHOROPHOBIA“, auf dem Ninja Tune-Sublabel Technicolour zurück!

Als es darum ging, ihr viertes Album, „CHOROPHOBIA“, zu produzieren, stellten sich Weval ihren Ängsten. Obwohl Harm Coolen und Merijn Scholte Albers seit ihrer 2013 veröffentlichten Debüt-EP, „Half Age“, in der Dance-Szene verankert sind und mit ihrer fünfköpfigen Band Festivalbühnen wie Nuits Sonores, Lowlands, Primavera, Best Kept Secret, Pukkelpop und DGTL Amsterdam bespielten, haben sie sich aktiv davon entfernt, als Floorfiller-Act bekannt zu sein. Doch als die beiden vor kurzem über den Begriff Chorophobie stolperten - was so viel bedeutet wie Angst vor dem Tanzen -, beschlossen sie, sich der Ironie hinzugeben und aus ihrer Komfortzone herauszukommen. „Bis zu diesem Zeitpunkt hatten wir immer mit einer ‚Zuhör‘-Mentalität an unseren Platten gearbeitet.“, sagt Harm über die Herangehensweise beim zweiten und dritten Weval-Album („The Weight“ von 2019 und „Remember“ von 2023), „und uns wurde klar, dass wir während unserer gesamten Reise als Produzenten Angst davor hatten, Tanzmusik zu machen.“.
Der Sprung ins kalte Wasser hat zu Wevals bisher extrovertiertesten Tracks geführt. Während sie diese neue Richtung bereits mit der groovigeren „Night Versions“-EP von 2024 für Technicolour angedeutet hatten, erforderte das Loslassen ihrer Hemmungen eine geduldige künstlerische Entwicklung. „Wir wollten uns auf eine Art und Weise engagieren, die sich noch immer befreiend und wahrhaftig anfühlt.“, erklärt Harm und fügt hinzu, dass die Bezeichnung als Dance-Album sich nicht nur wie eine Kehrtwende anfühlt, sondern sie auch von den Grenzen und Klischees bestimmter Kategorien befreit.

Nach dem ausgiebig gefeierten Meisterwerk ,Slave Ambient" (2011) erscheint nun zwei Jahre später - im März 2014 - das dritte Album der aus Philadelphia stammenden Band THE WAR ON DRUGS. "Lost in the Dreams" heißt das neue Glanzstück der Band um Adam Granduciel, deren Gründungsmitglied Kurt Vile mittlerweile solo unterwegs ist. Mit der Veröffentlichung des letzten Albums ,Slave Ambient" gelang der Band der langersehnte und verdiente Durchbruch. Daraufhin tourte die Band zwei Jahre lang von North Carolina bis New York City durch alle Rockclubs, spielte auf unzähligen Festivals und in Late Night-TV-Shows, die Amerika so zu bieten hat. Mit dieser Erfahrung im Gepäck tüftelte Granduciel gemeinsam mit dem Produzenten Jeff Zeigler (Lymbyc Systym, Kurt Vile u.a.) am neuen, dritten Album. Die Band komplett machen außerdem Dave Hartley (Bass) und Robbie Bennet (Piano u.a.), die auch im privatem Leben zu Granduciels engstem Umfeld gehören. Er sagt selbst zu seinem neuen Werk: ,Ich wollte, dass es ein Projekt unter Freunden wird. Jeder einzelne in der Band nimmt unser Projekt ernst. Davon handelt auch unser Album - Freundschaft, Erwachsen werden, das Leben leben und einander zu helfen." Diese persönliche und berufliche Weiterentwicklung ist auch im Sound der Band zu hören. Nicht zuletzt ist Granduciel nicht nur Kopf einer Indie-Rockband, sondern hat auch eine unverkennbare Stimme, um sich der Welt mitzuteilen.

Connection is the new ten song LP from Los Angeles powerhouse Orgone featuring collaborations with Cyril Neville, Kelly Finnigan, Pimps of Joytime, and more. The album is the inaugural release on 3 Palm Records, distributed by Colemine Records and Secretly Distribution. A spiritual follow up to fan favorite Bacano, Connection is gritty, lean, and tight soul and funk at its best. It explores the invisible threads that bind us all, spiritually, emotionally, and artistically. Much like the collage that adorns the cover, this hard hitting collection of songs illuminates the essence of Orgone: a musical pastiche of different vocalists, heavy riffs, vintage production, and a core rhythm section that never disappoints. The synergy created in these songs demonstrates that the whole is truly greater than the sum of all the individual parts and players.

I Against I by Bad Brains, released 9 August 2024.

Founded by Karigan and Organiks (The Roots Makers), The Earliers consists of 5 musicians and two singers. Sebah's voice will not go unnoticed, since he is part of a family of singers for whom soul is no longer a secret: a real pleasure for the ears! He has been singing for more than ten years in the emblematic French ska/reggae group "100Gr de Têtes". Musician from father to son also, Congo Lion is bringing a very rich background from his Congolese origins and a very tribal universe in his musical style. A perfect blend between the soul and early reggae period which makes the show of "The Earliers" a true tribute to the roots of reggae.

WYRD, the third full-length album by Crawling Chaos, is an anthology-based work built around a series of archetypes tied to the concept of destiny, fate, and becoming. In the Northern European culture these ideas are encapsulated in the term wyrd, as opposed to notions of free will and self-determination. The main theme is expanded and explored across the album's ten tracks following a narrative thread which unites some of the most fascinating female figures of classical mythology, European folklore, and history-from the Norse Norns to Macbeth's witches serving Hecate, from the Greco-Roman Furies to the fearsome Thessalian necromancers. As with Crawling Chaos' previous works, WYRD is full of literary quotes and easter eggs, offering subtle nods to the most curious among the listeners. Musically speaking, the album is uncompromising, heavy, and very dark.

Limited marbled vinyl. WYRD, the third full-length album by Crawling Chaos, is an anthology-based work built around a series of archetypes tied to the concept of destiny, fate, and becoming. In the Northern European culture these ideas are encapsulated in the term wyrd, as opposed to notions of free will and self-determination. The main theme is expanded and explored across the album's ten tracks following a narrative thread which unites some of the most fascinating female figures of classical mythology, European folklore, and history-from the Norse Norns to Macbeth's witches serving Hecate, from the Greco-Roman Furies to the fearsome Thessalian necromancers. As with Crawling Chaos' previous works, WYRD is full of literary quotes and easter eggs, offering subtle nods to the most curious among the listeners. Musically speaking, the album is uncompromising, heavy, and very dark.

Torn traverses the charnel realms of the grey area on his debut EP for DNO, ‘Taiga’. Steely beats and stony bass coalesce into chimeric rhythms across four enthralling constructions; techno and drum & bass seeping into each other like liquids in a solution, changing the very nature of both.

Opening with a solemn march shrouded in swathes of noise and jitter that blur the soundscape like the death throes of some unlucky video game character, ‘Wreak Havoc’ is an incessant builder. When it finally lets loose the chaos promised by its title, reinforced breakbeats rain down like great factory apparatus hammering out metal plates.

‘Whalebone’ is of a similarly industrial bent. Like a head full of rotor blades, it ripples with densely packed polyrhythms that rattle and whirr, new layers emerging from the churn to grab the consciousness before sinking back into the melee.

‘Taiga’, meanwhile, channelling the cold, ancient immensity of its boreal forest namesake, progresses at a plant-like pace — unhurried and purposeful. It's droning low-end seems to mask secrets, while a canopy of tangled percussion cuts angular shapes through the shadowy undergrowth.

And on ‘Stay’, the complex drumwork vibrates so rapidly around the track’s irradiated pads as to almost merge with them completely, rhythm and ambience becoming a singular hypnotic form.

A natural fit for DNO, Torn’s mystic machine music opens new pathways for the label’s darkling voyage through sound.

Rhythms of postmodern realism at the very bottom of the DNO.

Its no secret that Samiyam is a certified beathead and appreciated hiphop producer - we have been in touch with him since his self released Rap beats volume 1 CD (or actually since his contribution with FlyLo as Flyamsam on the Beat Dimensions compilation), and later took in further releases on Stones Throw, Brainfeeder, Poo-Bah, All City & Hyperdub . What we did not know is Sam got heavily into Death Metal for the past 5 years and is a big horror movie fan. (check the artwork here !)


On Death Metal, Sam mentioned 'I started revisiting some old shit and realized I really love it and there's so many cool bands I didn't even know about.. I started making some shit with drums, drum programming, and ideas inspired by some of the stuff I like and realized I should just make an album out of it."

So here it is - 13 beat takes, Metal style - put together by a man whose output is sparse but never dissapoints !

Limited edition US import

For many bands, having all their gear stolen would be catastrophic. For Third Ear Band, this unfortunate 1968 incident opened a portal to beneficial change. Leader/percussionist Glen Sweeney viewed the heist as a sign to alter Third Ear Band's approach, and they switched to exclusively using acoustic instruments. With electrified psychedelia in full bloom, Sweeney, Paul Minns (oboe, recorder, whistles, flutes) and Richard Coff (violin, viola) struck out on an individualistic path, blending Indian raga with chamber music – without plugging in.

Third Ear Band's 1969 debut album, Alchemy, established them as a solemn, powerful force in the global underground. On Alchemy, Sweeney laid down a steady pulse on hand drums, while Minns and Coff wove in melismatic patterns on oboe, recorder, violin and viola. This approach carried over to Third Ear Band's self-titled sophomore album, often called Elements due to its track titles being named after the four basic components of medieval European alchemists' doctrines.

On this 1970 LP, Third Ear Band sounded at once ancient and contemporary, yet they turned on the hippies with their epic, trance-inducing jams that suggested secret knowledge of infinity. Although Third Ear Band flourished during the West's countercultural zenith, they were peculiarly estranged from it on a sonic level. Even outré contemporaries such as Comus and Jan Dukes De Grey sounded like pop groups compared to TEB. Having no traditional front person or electric instruments, Third Ear Band forged a singular path that flowered most vividly on Elements.

The long songs here stream forth from their skilled hands, evoking a communal transcendence in sound – a hypnotic swirl that doesn't swing, but rather wafts and undulates with cloistered beauty. TEB's music exists in an eternal now, a perpetual wow. It is an ouroboros of organic textures, seemingly magicked into the air spontaneously, yet possessing a rigor that suggests long hours in the lab. Without electricity, it somehow burrowed deeper into your consciousness.

– Dave Segal (excerpt from the liner notes)

Tech-Nology was launched in 2003 specifically to make records with the artist Bjorn Svin. Bjorn was the first Danish artist who made underground crossover into commercial hit territory via "Mer Strom" - but still keeping respect in the "real" music world for his enthusiasm, non-compromising style, persona, and sweaty live performance skills - his musical understanding and need to explore new directions took the crowd on a personal musical journey from jazz and classical musicians to early electronic pioneers - but always in a tone of his own. Bjorn always felt a need to escape norms, to grow and not to repeat, but investigate and create. The first record on Tech-Nology was born under the alias - El Far: Couples of lonely dancers. "Bjorn is maybe the most talented electronic producer ever in Denmark" and he was celebrated as a wonder kid by the media back in the 90's. An insider with new knowledge of Bjorn told us: "Yeah I think its good music.. It's not for everyone I must add, but it's definitely quality music for those who dig this sound.. sometimes a bit too deep.. which kind of works against it, cause you really need to listen to it.. you cannot just skip through it, cause then you don't really grasp the soul of it.. so this is what makes it more difficult to sell - but if a guy like this was a bigger name he would sell much better.."

We love Bjorn and we agree - We have tried to sell Bjorn and his music for over 2 decades now - But you can't capture Bjorn, you can't own him - he is only making music for himself - and you can get on the ride if you want to, but don't expect all the rides to be fun - sometimes it hurts! Bjorn is difficult to sell, but we don't think Bjorn really would like to sell much better if he had the option to do a more commercial approach to his music - because Bjorn is about not selling out, he's a purist at heart, making music documents for the few. Bjorn is bigger than superficial success and streaming numbers. He made jingles for Nokia, toured and played Roskilde's main stage, the biggest Festival in Denmark, but he still doesn't care... and that is important if you want to make interesting music that last for the future. When Bjorn met Mester Jakobsen, label boss of Tech-Nology, he has been releasing on numerous underground labels, made the jump to a major label, and everything more or less turned out as a big disappointment, so Bjorn presented a completely experimental album to the Tech-Nology label under the moniker Prinz Ezo - The Body Offset. We loved it then - we still love it now - and a truly collectors item and a secret DJ tool.

Today, Bjorn is still breaking all habits and rules, still doing the same thing - just in new ways, but he has gained insight on another level, adding even more nuances and textures to his post-genre compositions.

Welcome to the second album by Prinz Ezo on Tech-Nology: KURIER Why Kurier? Because Bjorn left to explore the Berlin Underground, shortly after the first two releases on Tech-Nology - he left his roots to search for a bigger meaning, a bigger understanding, to compose real mature sounds and understanding his skills, at the point where you understand why you have to cross borders, still incognito, doing smuggler-sounds, always in transit - between cities, between cultures, between worlds, time and space. Not Restless nor rootless, just forever on the move, always discovering new landscapes! But now Bjorn is settling down - accordingly with the music - to find - not inner peace, but to be completely in balance with the music inside of him. Prinz Ezo is raw, narrative, minimalistic electronic storytelling that refuses to freeze. Tension builds and releases - feel the energy and the drama for the last 2 decades if you dare to take the journey?

Almost twenty years after the first Prinz Ezo album, it has now been possible to make the music for those who never arrived.

Tech-Nology was launched in 2003 specifically to make records with the artist Bjorn Svin. Bjorn was the first Danish artist who made underground crossover into commercial hit territory via "Mer Strom" - but still keeping respect in the "real" music world for his enthusiasm, non-compromising style, persona, and sweaty live performance skills - his musical understanding and need to explore new directions took the crowd on a personal musical journey from jazz and classical musicians to early electronic pioneers - but always in a tone of his own. Bjorn always felt a need to escape norms, to grow and not to repeat, but investigate and create. The first record on Tech-Nology was born under the alias - El Far: Couples of lonely dancers. "Bjorn is maybe the most talented electronic producer ever in Denmark" and he was celebrated as a wonder kid by the media back in the 90's. An insider with new knowledge of Bjorn told us: "Yeah I think its good music.. It's not for everyone I must add, but it's definitely quality music for those who dig this sound.. sometimes a bit too deep.. which kind of works against it, cause you really need to listen to it.. you cannot just skip through it, cause then you don't really grasp the soul of it.. so this is what makes it more difficult to sell - but if a guy like this was a bigger name he would sell much better.."

We love Bjorn and we agree - We have tried to sell Bjorn and his music for over 2 decades now - But you can't capture Bjorn, you can't own him - he is only making music for himself - and you can get on the ride if you want to, but don't expect all the rides to be fun - sometimes it hurts! Bjorn is difficult to sell, but we don't think Bjorn really would like to sell much better if he had the option to do a more commercial approach to his music - because Bjorn is about not selling out, he's a purist at heart, making music documents for the few. Bjorn is bigger than superficial success and streaming numbers. He made jingles for Nokia, toured and played Roskilde's main stage, the biggest Festival in Denmark, but he still doesn't care... and that is important if you want to make interesting music that last for the future. When Bjorn met Mester Jakobsen, label boss of Tech-Nology, he has been releasing on numerous underground labels, made the jump to a major label, and everything more or less turned out as a big disappointment, so Bjorn presented a completely experimental album to the Tech-Nology label under the moniker Prinz Ezo - The Body Offset. We loved it then - we still love it now - and a truly collectors item and a secret DJ tool.

Today, Bjorn is still breaking all habits and rules, still doing the same thing - just in new ways, but he has gained insight on another level, adding even more nuances and textures to his post-genre compositions.

Welcome to the second album by Prinz Ezo on Tech-Nology: KURIER Why Kurier? Because Bjorn left to explore the Berlin Underground, shortly after the first two releases on Tech-Nology - he left his roots to search for a bigger meaning, a bigger understanding, to compose real mature sounds and understanding his skills, at the point where you understand why you have to cross borders, still incognito, doing smuggler-sounds, always in transit - between cities, between cultures, between worlds, time and space. Not Restless nor rootless, just forever on the move, always discovering new landscapes! But now Bjorn is settling down - accordingly with the music - to find - not inner peace, but to be completely in balance with the music inside of him. Prinz Ezo is raw, narrative, minimalistic electronic storytelling that refuses to freeze. Tension builds and releases - feel the energy and the drama for the last 2 decades if you dare to take the journey?

Almost twenty years after the first Prinz Ezo album, it has now been possible to make the music for those who never arrived.

Neal Francis meldet sich zurück und veröffentlicht mit 'Return To Zero' sein drittes Album.

'Return To Zero' lässt Rock ’n’ Roll und 70er-Disco-Vibes zu einem einzigartigen analogen Sound verschmelzen. Mit treibenden Gitarrenriffs und üppigen Grooves zeigt er seine bisher ambitionierteste Seite.

Oath’s latest release features renowned producer Kreggo, founder of Art-Aud and Secret Rave, known for his genre-defying sound and deeply atmospheric productions. Active since 2014, Kreggo’s music spans IDM, Acid, Breaks, Bass, and Techno, continually evolving with each release. His label Art-Aud is celebrated for its forward-thinking output. His new EP ‘Altro Mood’ includes three original tracks and a remix by Gilb’R, blending energetic rhythms with rich, emotive layers. Tracks like ‘Sensor’, ‘Labi Inside’, and ‘Obabi’ explore intricate sonic textures, while ‘Taylor Bottle’ and Gilb’R’s remix add further depth. The EP showcases Kreggo’s signature warmth, innovation, and ever-expanding sonic world.

It’s been ten years since Drew Lustman aka FaltyDL last released on Planet Mu. In the meantime he's been running his own label Blueberry Records, been in-house producer for Mykki Blanco and has become a dad. The best things come out of play and it was Drew’s relationship with his young daughter that switched on this playful side of his music. The album in question, ‘Neurotica,’ expresses Drew’s fun in creating such energetic pieces people will want to move to. It's a dizzying sugar-rush at a high-speed bounce; the music is fresh and inviting and most important of all, joyful."Summer of ’24, we were in Catalonia. My girl, our young daughter, the old folks. Days by the village pool, afternoons on the dirtbike. At night, I made salads. Simple things. Good things. One afternoon, lying back, phone in hand, I saw a friend post a GRWM. The music behind it stopped me. A song grabbed hold. The track was ‘Secret’ by Mietze Conte, which is fast-paced euro-pop dance music, like soft fluffy gabber with childlike vocals. I hunted down the full version. Played it again. And again. Twenty times over the next few days. It unlocked something. The best music does that. Like the first time I heard Burial. Had to know what was happening under the surface. That time, it led to ‘Love Is A Liability’ in 2009. This time, it led to ‘Neurotica.’“ “I started to record, getting down fast, bright, sugar-rush sounds. 185 to 200 BPM. I wrote them quick—half a day per track. In between, I slowed things down. Gave space for breath. Mike Paradinas helped shape the album, his ear guiding the flow. I tested the tracks. Played them for kids barely out of diapers and grown folks who still move like they are. It worked, on all ages. I kept it simple. Only two rules: keep it moving and don’t look at my phone. Cut the vocals like I used to.” ‘Neurotica’ is FaltyDL with his mojo refreshed, a new life squared, do yourself a favour, crack a smile and feel the joy.

Swampmeat is the project of Dan Finnemore, former co-frontman of cult US rock & roll act Low Cut Connie (as recommended by the likes of Rolling Stone, KEXP, and - yes - Barack Obama), not to mention his role as behind the drums of PNKSLM's own The Castillians, as well as being a former member of the notorious Black Mekon. A long-time homeown secret in his native Birmingham, Swampmeat is now ready to step out of the shadows - over ten years after the project took its first steps. "Gin & Tonic" is a collection of country-fied rock and roll, straddling the edge between country, punk and rock and roll, with great songs and melodies.

The follow up the successful ‘Gary Crowley’s Lost 80s’ released in 2019
“I count myself incredibly lucky when I think back to my 1980’s. A lot of those bands and artists that
resonated with me during that time are featured on this, our sequel to our first Lost 80s collection, which we
have inspiringly titled “GC Lost 80s Two”!
I must be honest and say as soon as I delivered the track listing for the first compilation, I already had a
selection in mind for a sequel (if ever I was asked by those cool folks at Demon). Thankfully, they asked...and
this is it.” Gary Crowley
21 tracks compiled and themed by Gary Crowley side-by-side. Many of these tracks are rare and hard to find,
the better-known artists appearing represented by some of their lesser-known (‘lost’) tracks.
Presented on 2 x 180g Clear Heavyweight vinyl, includes an introduction and track-by-track notes by Gary
Crowley, plus memories of the era from Mick Talbot (The Style Council) and more.
“Expect a selection of not only the bigger names with some of their ‘lost’ gems, but also a raft of lesserknown artists. Many of the latter came nowhere near the mainstream but most certainly (IMHO) deserve
another chance to shine under the spotlight. It was such a diverse and eclectic time for music, hopefully this
box set mirrors that.” Gary Crowley


b a2. Working Week – Venceremos (We Will Win) 7” version





h b2. Working Week – Venceremos (We Will Win) 7” version









r c6. World’s Famous Supreme Team – Hey! DJ 7” version
[s] d1. General Public - Tenderness [Special Dance Mix]
[t] d2. Colourbox featuring Lorita Grahame– Baby I Love You So [12” Version]
[12” Remix]

Originally released in 1978 on Americom Records. Officially reissued for the first time with love by Celestial Echo Records.

Some records just have that magic. A vibe that pulls you in from the first note and doesn’t let go. Phylliss Bailey’s 1978 cult classic Phylliss is one of those records—a hidden gem of modern soul and disco that’s been doing the rounds for decades in underground scenes, on dancefloors, and among collectors who know. It’s been whispered about in the right circles, bootlegged and then bootlegged again—but never given a proper reissue… Until now.

Celestial Echo Records proudly presents the first official reissue of Phylliss, a record that’s as essential today as it was back then. Originally released on the independent Americom label, the LP flew under the radar in its day but has since become a secret weapon for DJs with a taste for the modern soul & disco sound.

Phylliss Bailey’s voice is pure class—gliding over lush arrangements, tight rhythm sections, and dreamy strings with ease. Whether she’s riding the groove on dancefloor bombs like 'Focus' and 'Release Me' or slowing it down on the smouldering 'Feeling Of Love,' Bailey brings emotional weight and undeniable swagger to every track.

Fully remastered and officially licensed, it brings Phylliss into the light where it belongs. With a reimagined sleeve and labels (to distinguish from some shady copies going around!). This record is looking and sounding better than ever.

Celestial Echo Records is a label devoted to the soulful and the timeless. Based in London and run by miche & Stu Clark, the imprint has been steadily carving out a reputation among collectors and DJs for high-quality, lovingly curated reissues of rare modern soul, boogie, and disco. With each release, they shine a light on overlooked gems that still resonate deeply in today’s clubs and dancefloors. Phylliss is the next jewel in their growing catalogue of essential rediscoveries.

DAYBREAKERS are back from their first dive into the Music Station catalogue and hop from New Jersey to land in Germany’s Black Forest region for 002, more specifically they arrive into a basement in Freiburg.

In 2008, Rainer Trüby started on an album that ended up getting lost due to a crashed macbook. Two tracks were saved from this lost album and see the light of day 17 years later. After playing one of these tracks “Schoko-Bolla” in the woods at “Root Down With Love” at We Out Here 2024, miche and Rainer decided it was finally time to take this secret weapon for a full release.

The A Side is “Schoko-Bolla” features a looping brazilian vocal from an all time great, building gently into a real groove and the B side, a deeper than deep house track with latin elements. House deeper than the Neckar river, perfect for any dancefloor.

Don't miss out, buy or cry.

"Impala", das sagenumwobene zweite, ursprünglich 1998 erschienene und längst vergriffene Songs:Ohia Album wird im August von Secret Canadian auf Vinyl neu aufgelegt. Diese Veröffentlichung enthält ein neu gemastertes Demo von "Tess", ursprünglich während der Aufnahmesessions für "Impala" aufgenommen. ,Lorain, Ohio; es ist ein schwieriger Ort zum Aufwachsen. Entweder man entkommt oder nicht. Angesichts der Industrie, die es dort gibt (oder gab) - das Stahlwerk, das Ford-Werk und die Werft - ist die Mischung der Menschen wie keine andere. Eines ist jedoch sicher, es ist eine Arbeiterstadt durch und durch. Was hat das mit einer neuen Veröffentlichung von Songs: Ohia zu tun? Nun, Jason - der Hauptverantwortliche für Songs, wuchs wie ich in diesem gottverlassenen Loch einer Stadt auf und so sehr man die Stadt auch verlassen kann, sie verlässt dich nie. "Impala" ist ein weiterer Beweis für das Songwriting-Talent von Jason Molina. Die hier enthaltenen Tracks bieten einen Einblick in die die Seele eines Mannes, der versucht die Dämonen des Lebens und des Verlusts auszutreiben. Das ist nichts, was man vortäuschen kann. Das kommt davon, wenn man mit dem Wissen aufwächst, dass die Fabriken, in denen deine Eltern gearbeitet haben, keine Option für dich sind und dass deine einzige wirkliche Option ist, zu versuchen, auszusteigen (leichter gesagt als getan). Die auf Jason und Geof Comings reduzierten Tracks auf "Impala" sind die spärlichsten und strukturiertesten Stücke, die die Band bisher veröffentlicht hat. Eine der ehrlichsten und stärksten Veröffentlichungen von Songs:Ohia.

Wer ROME seit der 20-jährigen Bandgeschichte verfolgt, wird nicht bestreiten können: Jerome Reuter ist immer für eine Überraschung gut. Sicher ist der Folk Noir, die düstere Liedermacherkunst mit Akustikgitarre und melancholischen Vocals, seine kreative Basis und Kontinuität. Doch immer wieder finden sich auf seinen Alben atmosphärische Ambienttracks – filmmusikartige Collage und Vertonungen der Konzeptthemen, die ROMEs Ursprung in der Post-Industrial-Culture belegen. Und immer wieder überschreitet er souverän die Grenze zu anderen Genres wie dem Post Punk und dem dunklen Elektropop. Statt luziden Akustikakkorden treten dann noisige, kalte Elemente ins Zentrum, martialische Samples, analoge Synthieklänge und programmierte Beats, die auch auf dem Szenedancefloor nicht stören würden.

„Terres de Sang“ ist nun anlässlich des 20-jährigen Bandjubiläums eine Kollektion von Songs und Instrumentals, die in diesen Versionen noch nicht erhältlich sind, sei es live oder in Remixen. Dazu kommen jene typischen ROME-Klangkollagen, die man von den Intros der Livekonzerte kennt. „Terres de Sang“ ist ein Füllhorn der unterschiedlichen Stile, Themen und Stimmungen, die ROME seit zwei Dekaden kennzeichnen. Daraus ergibt sich kein eigenständiges neues Album, aber ein ebenso spannendes wie unterhaltsames Kaleidoskop der unerschöpflichen Kreativität Jerome Reuters, das dem ROME-Sammler aus dem Herzen spricht. Darunter finden sich auch alternative Liveversionen von beliebten ROME-Hits wie „Das Feuerordal“, „Blighter“ und „Secret Germany“.

Erhältlich als:
- 2CD Digipak
- Schwarzes, 180 Gramm schweres 12“ Doppel-Vinyl, Extra audiophiler Tonträger von hoher Qualität - deutsche Pressung, Gatefold-Klappverpackung, Mehrfarbig bedruckte Innenhüllen, Limitiert auf 500 Exemplare

ATA Records is pleased to announce the release of Early Works 2: Funk, Soul & Afro Rarities From The Archive, a compilation of tracks recorded in the fledgling days of the label paired with some rediscovered treasures from more recent years. While the majority of the album is previously unreleased material several tracks have appeared on different formats.

This is a rare chance for listeners to experience the birth of the ATA's enduring concept and recording techniques from the comfort of their own home.

In 2020 label founder and musician Neil Innes decided to destroy the studio he had spent 14-years building, destroy it and rebuild it from the ground up.

Once the studio began to take shape again and Innes was finally able to take a breath he began rooting through the label's archives, pulling out reels that had been propping up tables, holding open doors and generally lurking in nooks and crannies for years.

His trip down memory uncovered a wealth of dusty musical treasures and also got him thinking about tracks from newer artists, nuggets to compliment the archive gold.

Along with the first airings of tracks by The Harmony Society, The Disarrays this 11track comp includes appearances by studio favourites: The Magnificent Tape Band, The Sorcerers, The Mandatory Eight, Ivan Von Engleberger's Asteroid and long time collaborator Chris Dawkins (recording under Earl Dawkins).Also on the comp is Joe Tatton's Bang Bang Boogaloo, previously only released on 7 inch and greatly desired by record diggers everywhere.

ROMEs viertes Studioalbum „Flowers from Exile“, ursprünglich 2009 veröffentlicht, nimmt zweifellos einen ganz besonderen Ehrenplatz in ROMEs umfangreichen Gesamtwerk ein und ist bis dato eines der wichtigsten wie auch beliebtesten Alben der Band. Als der damalige Co-Produzent und Tontechniker Patrick Damiani - der zudem als Musiker und Arrangeur an dem Album beteiligt war - Frontmann Jerome Reuter darauf ansprach, die Originalspuren auszugraben und die Aufnahmen in neuem Gewand aufzuarbeiten, war die Versuchung verständlicherweise sehr groß, das Meisterwerk mit frischen Ohren und aktualisierter Technik neu zu entdecken.

Viele Jahre nach den ursprünglichen Sessions waren Reuter und Damiani über die räumliche Tiefe der Aufnahmen und der klanglichen Breite des einst aufgenommenen Materials erstaunt. Sie erkannten, dass diese wegweisenden Aufnahmen aus den Anfangsjahren von ROME mit einem neuen Ansatz und aktualisierten Mischtechniken zu etwas wahrhaft Einzigartigem ausgebaut werden könnte. Mit großer Ehrfurcht und allem gebotenen Respekt vor dem Album und dessen ursprünglichen Sound, näherten sich beide Schritt für Schritt an den Klassiker heran und hoben in minuziöser Kleinstarbeit die einzelnen Originalspuren aus dem Sand der Zeit. So entstand nach monatelanger, detailversessener Arbeit „Flowers from Exile – Revisited“, welches den magischen Moment in der Frühgeschichte der Band zu neuer Größe (wieder-)erblühen lässt, ohne dabei die Essenz des fulminanten Originalwerks aus den Augen zu verlieren.

Die zwölf Songs des Albums entführen den Hörer auf eine atemberaubende Reise über ideologische Gräben hinweg, in die Zeit des Spanischen Bürgerkriegs und dessen Folgen - auch für einen Teil von Reuters Familie.

Erhältlich als:
- Digipak
- Schwarzes, 180 Gramm schweres 12“ Vinyl, Extra audiophiler Tonträger von hoher Qualität - deutsche Pressung, Stabile Kastentasche, Innenhülle mit allen Songtexten, Limitiert auf 500 Exemplare

Thank You For Using GTL is a 2020 album from vaunted Los Angeles rapper, Drakeo the Ruler. The album contains verses recorded entirely through phone service from GTL while Drakeo the Ruler was incarcerated at Men’s Central Jail in Los Angeles, California. The album focuses on topics such as the targeting of rap and rappers by the US criminal justice system, the prison-industrial complex, incarceration, capitalism, and the gray area between what’s real versus fiction in hip-hop. Lauded by Pitchfork as “Likely the greatest rap album ever recorded from jail,” and included at number 32 on their 50 Best Albums of 2020, the album serves as an interesting moment in hip-hop, further cementing Drakeo the Ruler as one of LA’s most beloved rap luminaries. For the very first time, for any album, on any format, Drakeo’s music will be available on vinyl for fans. Pressed on Green & Blue A Side B Side vinyl and limited to 1700 copies.

Tough Love brings to vinyl for the first time April Magazine's Sunday Music For An Overpass, a nine track collection originally issued on cassette in vanishingly small number by Paisley Shirt in 2021. The kind of mythical recording you might have once needed to know the band to own. Alas, no longer... Can the universe have two centres? Because if it's not Gothenburg it's San Francisco... It's impossible for me to think about what's going on in that particular part of the west coast right now without immediately being drawn to April Magazine, a comparatively loosely assembled three (sometimes four) piece centred around artist/musician Peter Hurley, who seem to simultaneously operate at both the heart and the margins of the current Bay Area underground. On the one hand they share members with many other bands, their guitarist/singer runs a gallery that functions as some kind of focal point/social space, and Cindy even have a song named after them. On the other hand, their music is resolutely lo-fi and invariably couched in a mysterious haze, the live footage available online seems to suggest that they sound slightly different each time they play, and there are reports they have dozens of songs (possibly albums?) that have not and may never be released, hidden inside their own private universe. On its initial release, Sunday Music For An Overpass was an early attempt to drag the group a little closer into the light, yet inevitably made them feel as endearingly enigmatic as ever. Typically, this vinyl reissue some four years later only goes part way in clearing that alluring fog. April Magazine channel the greats - Spacemen 3, The Pastels, early B&S, Mary Chain, Rainy Day/Opal/Mazzy et al - but submerge their obvious melodic capabilities within seemingly infinite spray can hiss, as if the songs are being pulled backwards through some vortex to the past. Half of these tracks are instrumentals, and it's in those moments that the band are perhaps at their most expressive, suggesting a very inviting melancholy that can't quite be figured out. Though the LP remasters the original recordings and is a little cleaner sounding as a result, no secret is being given away. The appeal is that the more you hear from them, the less you really know, and all the better for it. Maybe, then, it's that April Magazine are here to show there is no centre to the universe, that instead it's always just off to the side...

odh Teri is back with a brand-new chapter.
The Return of Neela Devi kicks off a vinyl-only series where the iconic characters from Deep In India finally take center stage. With the Sampadan era behind us, a bold new sound is rising.
Leading the way is Neela Devi herself, across three genre-spanning tracks that cover everything from vintage disco to spaced-out synths and slow-burning indie dance. There’s something here for every kind of listener – the groover, the dreamer, and the deep digger.
We open with “Maalgaadi 54” – a relentless disco heater drenched in ’70s glam, trippy layers, and hands-in-the-air energy.
Next comes “Cosmic Dirt” – dusty, mysterious, and dripping with attitude. Think desert synths, dark disco grooves, and a mood straight out of an Indian spaghetti western.
Closing the record is “Beauty Blues” – a dubby slow-burner that gently builds before locking into a bouncing, blissed-out groove. A cheeky take on a classic that’ll leave you smiling from start to finish.Those who dig a little deeper into the wax will uncover a secret locked groove Visually, the record is a stunner. The artwork is helmed by Soju Aduckathil, with creative direction by Manoj Kurian, the visionary behind Masala Movement.
Marking the sixth release on the Masala Movement label, this vinyl-only beauty is just the beginning – with plenty more surprises lined up for 2025.
The new era has arrived. Ready to dive in?

Nihilistic Easyrider ist das geistige Kind von Narrow Head-Frontmann Jacob Duarte - aber täuschen Sie sich nicht, er geht nicht solo. DELUXE EDITION ist eine Art Mixtape, eine Sammlung von Songs, die zu verschiedenen Zeitpunkten in Duartes Karriere geschrieben wurden. Diese Songs umfassen ein breites Spektrum an stilistischen Referenzen, von zuckersüßem Y2K-Emo und jungem, dummen und poplastigem Punk Punk bis hin zu sowjetischem Fuzz-getriebenem Alt und reinem Evan Dando-Core Vers-Refrain-Vers-Refrain-fertig Pop-Rock. Zum Leben erweckt von einer Reihe von Charakteren, darunter Narrow Head-Schlagzeuger Carson Wilcox, Produzent (und ehemaliger Tourkollege) Graham Hunt und Features von Momma's Allegra Weingarten und Ella Friedman, bietet dieses Debütalbum dennoch meisterhaft ausgefeilten und mit Hooks gespickten Interpretationen von Duartes charakteristischer Songwriting-Ästhetik. Diese Songs waten in derselben Unordnung aus romantischen Fehlschlägen und verbrannten Gehirnsynapsen, die langjährige Narrow Head-Hörer kennen und lieben gelernt haben, nur aus einer anderen, neuen Perspektive. Duartes Geschichten über Einsamkeit, Vorfreude und die verworrenen Komplexitäten des Lebens in Songs wie ,Getaway Plan" und ,Well Kept Secret" werden von einer lebendigen Begleitband aus dröhnenden Synthesizer-Klängen, Bar-Piano-Stichen, rasselnden Akustikgitarren und tribal-tat-codierter Record-Scratch-Ästhetik umrahmt, die subtil sowohl an die härtesten Momente von Incubus als auch an die sanftesten von Deftones anknüpft. Mit DELUXE EDITION liefert Duarte uns tagebuchartige Vignetten eines Lebens in ständiger Bewegung und bietet einen eher introspektiven Einblick in die Gedankenwelt eines Songwriters, dessen Leben sich um die Bühne dreht, aber letztlich anderswo stattfindet. Für Jacob sind "die Songs von Nihilistic Easyrider näher an der Musik, die ich schon immer machen wollte, als ich aufwuchs, sagt er, "ein persönliches Tagebuch des Erwachsenwerdens durch Musik."

With ,We Do It Out of Love," acclaimed harmonica player Alex Rossi delivers a heartfelt and masterfully crafted tribute to jazz legend Toots Thielemans - one of the most influential voices ever to grace the chromatic harmonica. This album features a carefully curated selection of pieces that reflect the full emotional and musical range of Thielemans' legacy - lyrical, virtuosic, and deeply moving. Highlights include the evocative ,Waltz for Sonny," the tender ,I Do It for Your Love," and Pat Metheny's rhythmically vibrant ,Better Days Ahead" - all reimagined with fresh arrangements that honor the original spirit. Alex Rossi captures the essence of Toots' sound while adding his own voice, bridging past and present with stylistic sensitivity and precision. He is joined by a stellar lineup of internationally acclaimed harmonica players: Antonio Serrano, Gabriel Grossi, Grégoire Maret, Franco Luciani and Olivier Ker Ourio - each bringing their unique sound and deep respect for Toots' musical heritage. ,We Do It Out of Love" is more than just a tribute - it's a global celebration of the instrument Toots Thielemans elevated to poetic heights. A soulful, resonant homage filled with admiration, artistry, and, above all, love.

Red/Black marbled vinyl. With ,We Do It Out of Love," acclaimed harmonica player Alex Rossi delivers a heartfelt and masterfully crafted tribute to jazz legend Toots Thielemans - one of the most influential voices ever to grace the chromatic harmonica. This album features a carefully curated selection of pieces that reflect the full emotional and musical range of Thielemans' legacy - lyrical, virtuosic, and deeply moving. Highlights include the evocative ,Waltz for Sonny," the tender ,I Do It for Your Love," and Pat Metheny's rhythmically vibrant ,Better Days Ahead" - all reimagined with fresh arrangements that honor the original spirit. Alex Rossi captures the essence of Toots' sound while adding his own voice, bridging past and present with stylistic sensitivity and precision. He is joined by a stellar lineup of internationally acclaimed harmonica players: Antonio Serrano, Gabriel Grossi, Grégoire Maret, Franco Luciani and Olivier Ker Ourio - each bringing their unique sound and deep respect for Toots' musical heritage. ,We Do It Out of Love" is more than just a tribute - it's a global celebration of the instrument Toots Thielemans elevated to poetic heights. A soulful, resonant homage filled with admiration, artistry, and, above all, love.