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Three sanguine slices of dub techno from Glasgow-based wunder Conna Haraway. And featuring XENIA REAPER providing vibes and synths on the lush long elevation "Redirect" that sits on the record’s A side.

Shifted follows on from Spatial Fix; Conna’s first solo 12” in March ’25 that released on Theory Therapy. Where that EP was a dense and rich web of texture and atmosphere across the two long sides, this one focuses in on forms of propulsion and a patient, silvery endlessness.

A side track "Redirect" was cut from a longer Sunday night session with XENIA REAPER. Two laptops Ableton linked, chilling in the flat in Glasgow. The amazing synth line is all XENIA, everything else is Conna; looping the synth & bass for about an hour and bringing other elements in and out. The final tune is gorgeous, floating in the blissful ether before the sub and pulse kicks through. Eleven and a half minutes of enveloping pressure, refreshment and delight.

"Detach" and "Duration" both turn to a rediscovered love for 4x4 techno and an experiment in a more classic and subtle sound from the perspective of a producer who might be expected to take bigger emotive and experimental swings that follow the patterns of contemporary ambient and bass. The result is beautiful and delicate vectors of music, satisfyingly easy to slide into a set. Swung techno filled with detail and poise. Tunes that can scale and transform and sit in a sort of home listening club track zone. After hours nrg.

Written and performed entirely by ELLiS
D himself (aka Ellis Dickson) at Hackney Road studios with Shuta Shinoda (Hot Chip,
Jenny Beth), 'Spill' is a seven song jetstream ofrocket-fuelled, goth-tinged glam-punk,
infested with 21st century paranoia:
"The Spill EP is a not so subtle expression of conflict between personality and
character", Ellis explains, "An uneasy alliance of nervous apprehension and joyful
abandon. Throwing myself dramatically onto the funeral pyre one moment, only to get up
and frantically twist my limbs about the next."
The brainchild of drummer-turned-solo musician Ellis Dickson, ELLiS.D has garnered a
growing reputation in the past 12 months for a tireless touring schedule and
increasingly electric live shows, recently described as"one of the most exhilarating live
sets I've seen in months."byFar Out Magazine.
Backed by continuously shifting set of Brighton musicians - in addition to playing
drums across the world with Fat Dog andJohnny Borrell's Jealous Nostril project - his
solo show has performed with the likes ofRazorlight (at Brighton Dome and Eventim
Apollo) The Goa Express , Flip Top Head , Melts , Plantoid, Vinyl Williams , Youth
SectorandThe DSM IV.

In the final month of 2024, Meitei arrived in Beppu, a city long steeped in vapor, myth, and mineral memory. Invited to create onsen ambient music commemorating Beppu’s 100th anniversary, he immersed himself in the city’s geothermal psychogeography, where sound rises from the ground and time clings to mist.

Known for his Lost Japan (Shitsu-nihon) works, which channel forgotten eras into flickering auditory relics, Meitei took residence in the warehouse of Yamada Bessou, a century-old inn perched by the bay. Over two weeks, he listened intently to steam, to stone, to the atmosphere itself. The resulting work, Sen’nyū, traces the inner spirit of onsen culture. Like water finding its path, the music emerged with quiet inevitability, shaped by Meitei’s synesthetic sensibility and deep attunement to place.

Equipped with a microphone, he wandered Beppu’s sacred sites: Takegawara Onsen, Bouzu Jigoku, Hebin-yu, and the private baths of Yamada Bessou. There, he captured the breath of the springs, bubbling mud, hissing vents, wind against bamboo, and the murmurs of daily visitors. These field recordings became the sonic bedrock of Sen’nyū, an act of deep listening that attempts to render even the rising mist and shifting heat into sound.

Unfolding as a single, continuous piece, Sen’nyū drifts like fog through sulfur and stone. It traverses the veiled madness of Bouzu Jigoku, the spectral resonance of Yamada Bessou’s inner bath, and the hushed voices of Takegawara Onsen. It is a gesture of quiet reverence, for water’s patience, the land’s memory, and the hands that have bathed here for generations.

Where Meitei’s earlier works conveyed his personal impression of a fading Japan, Sen’nyū is grounded in tactile presence, music not imagined but encountered. Here, his practice moves closer to the spirit of kankyō ongaku, environmental music born from place, shaped by it, and inseparable from it.

As part of the project, Meitei conceived a two-day public sound installation inside Takegawara Onsen, culminating in a live performance. Bathers soaked in mineral-rich waters while submerged in sound, an embodied ritual of place, body, and listening.

Sen’nyū marks Meitei’s first full-length work centered entirely on onsen and opens a new chapter of his Lost Japan project under the expanded title 失日本百景 (One Hundred Lost Views of Japan), a series exploring extant sites of longing still quietly breathing within contemporary life. The album will be accompanied by Meitei’s first photo book, a visual document of his time in Beppu. A new layer is added to the world he has, until now, built only through sound.

Sen’nyū continues Meitei’s devotion to Japan as subject, while opening new terrain: both ritual and remembrance, an immersion into the mineral soul of Beppu.

Following the release of his fifth studio album ‘Magickal’ at the start of the year, Damian Lazarus now opens a new chapter in the project’s evolution with ‘Magickal Remixed (Part I)’, this first instalment of the two-part series features bold reimagining’s from Harry Romero, Jonathan Kaspar, THEMBA and Mëstiza, offering four fresh takes on standout cuts from the acclaimed long-player.

The package opens with Harry Romero’s ‘Raw Dog’ remix of ‘R U Dreaming?’, originally a deeply introspective cut featuring Canadian maestro Mathew Jonson. Here, the New York favourite dials up the low-end pressure and rhythmic weight, bringing raw tribal energy and heavyweight swing to the original’s dreamlike tones. Jonathan Kaspar’s ‘Sunrise Remix’ of ‘Falling Down’, Lazarus’ collaboration with TEED and A-Trak, comes next. Channelling radiant euphoria through rising pads and sweeping melodic phrasing, it leans into the emotional intensity of the original while transforming it into a full-blown moment of sunrise transcendence.

On the B Side THEMBA delivers striking remix of Damian Lazarus and Jem Cooke’s ‘Searchin’.
THEMBA’s remix builds on that foundation and takes it into expansive, Afro-infused club territory, layering hypnotic percussion, deep rolling grooves, and subtle atmospheric shifts that heighten the emotion and push the track into new late-night spaces. Closing out the release, Spanish duo Mëstiza return to reinterpret their collaboration with the Crosstown head honcho, ‘La Hija De Juan Simón’. Expanding on the track’s flamenco-inspired roots, they layer hand-played percussion, haunting vocal flourishes, and dense atmospheres into a hypnotic, slow-burning groove, bridging folklore and futurism in their unmistakable style.

Müne isn’t just a label—it’s a sonic language carved somewhere between the imagined and the real. Born from the fusion of the Japanese words 夢 (yume, “dream”) and 音 (oto, “sound”), Müne exists as a liminal space where emotion, memory, and sound design blur into something that feels. Less about genre, more about atmosphere. Less formula, more intuition.

The debut release capture that vision into four tracks shaped by hardware grit, dusty grooves, and moods that shift between tension and warmth.

A-side
Jose Daguerre sets the tone with Barbaria, a hypnotic loop-based workout with gritty low-end, dry drums, and a subtly evolving structure. It’s meditative, but with weight. Electro Reunión leans into stripped-down electro mechanics—tight sequencing, foggy FX, and a lingering sense of space. With Patricio Felip collab on the keyboard, both tracks feel tactile, intentional, and refreshingly unpolished.

B-side
Dani Labb brings Resfr0m, a broken-beat track that feels like it’s breathing—loose and raw, wrapped in textures that drift between dreamy and distorted. Finally, Veloz y Raptor by Juan Proeliis & Cohema closes this first release with a bouncy, dark cut full of kinetic energy, tape color, and playful detail.

MÜNE 001 is a declaration of intent: warm, human, and left-of-center. Built for deep listening and late-night systems.

Press Quotes:

Rock Hard 8.5/10: "...noch ausgereifter und dürften sich endgültig als eine feste Größe im britischen Prog Metal etablieren. Das Nebeneinander von modernen und traditionellen Elementen funktioniert ganz wunderbar... Eine der positivsten Überraschungen des Prog-Jahres 2025!"
"...even more mature and should finally establish themselves as a permanent fixture in British prog metal. The juxtaposition of modern and traditional elements works wonderfully... One of the most positive surprises of the prog year 2025!"

Metal Hammer 4.5/7: "Insofern gehört auch LEGACY zu den tiefschürfenden Statements einer modernen Band, die voll im Zeitgeist ist."
"In this respect, LEGACY is also one of the profound statements of a modern band that is fully in tune with the zeitgeist."

Legacy 13/15: "Diese Band ist manifestierte Kreativität, die dazu dient, den Geist mit Glück zu erfüllen. So viel Schönheit ist schon bemerkenswert. Dieses Werk ist wahrlich ein Vermächtnis, welches den Prog in ein neues Zeitalter führt und in der Musikwelt seine Spuren hinterlassen wird."
"This band is manifest creativity that serves to fill the spirit with happiness. Such beauty is truly remarkable. This work is truly a legacy that will lead prog metal into a new era and leave its mark on the music world."

eclipsed 8/10 (#2 in eclipsed Radar Top 20): "Die erzeugten Stimmungen - die mit den eine dystopische Zukunft beschreibenden Texten korrelieren - machen „Legacy" vielmehr zu einem Bauch-Album, das mit Atmosphäre punktet und einem bei jedem Durchlauf besser gefällt. ...Durchweg tolle Melodien, starker Gesang und abwechslungsreiche Gestaltung der Songs. ...Es ist ein moderner Kopfhörer-Traum, den Ihlo hier abgeliefert haben."
"The moods created—which correlate with the lyrics describing a dystopian future—make "Legacy" more of a gut-pumping album, one that scores with atmosphere and grows more likable with each listen. ...Consistently great melodies, strong vocals, and varied songwriting. ...It's a modern headphone dream that Ihlo have delivered here."

saitenkult.de 9/10: "Mit ´Legacy´ legen IHLO den Grundstein zu ihrem eigenen Vermächtnis. Ein Werk, das in die Zukunft strahlt und zugleich im Hier und Jetzt überwältigt."
"With 'Legacy,' IHLO lay the foundation for their own legacy. A work that radiates into the future and simultaneously overwhelms the here and now."

theprogspace 10/10: "Ihlo’s growth since their beginnings has been nothing short of spectacular, and to witness how far they’ve come is inspiring. After listening nonstop to ‘Legacy’, it is really hard for me to realize that it is just their second album (!). It is so well produced with its raw energy and depth. It is truly cementing their career, carving out a big bold name within the best of the best in the prog metal universe."

metal-heads.de: "Ein interessantes Prog-Werk haben IHLO da erschaffen."
"IHLO have created an interesting prog work."

moshpitpassion.de: "Manchmal hört man einen Song und weiß sofort: Das hier wird etwas Besonderes. Genau so wirkt „Replica“, die neue Single von IHLO. …macht deutlich, wie weit sich die Band seit ihrem Debüt entwickelt hat. Die Atmosphäre ist dicht, die Dynamikwechsel kommen plötzlich und hart, und der Breakdown bringt eine rohe Härte mit, wie man sie von IHLO in dieser Form noch nicht kannte. Und trotzdem bleibt alles stimmig, melodisch und emotional aufgeladen."
"Sometimes you hear a song and know immediately: This is going to be something special. That's exactly how "Replica," the new single from IHLO, feels. ...makes it clear how far the band has evolved since their debut. The atmosphere is dense, the dynamic shifts are sudden and harsh, and the breakdown brings a raw heaviness never before seen from IHLO. And yet everything remains coherent, melodic, and emotionally charged."


Press Quotes:

Rock Hard 8.5/10: "...noch ausgereifter und dürften sich endgültig als eine feste Größe im britischen Prog Metal etablieren. Das Nebeneinander von modernen und traditionellen Elementen funktioniert ganz wunderbar... Eine der positivsten Überraschungen des Prog-Jahres 2025!"
"...even more mature and should finally establish themselves as a permanent fixture in British prog metal. The juxtaposition of modern and traditional elements works wonderfully... One of the most positive surprises of the prog year 2025!"

Metal Hammer 4.5/7: "Insofern gehört auch LEGACY zu den tiefschürfenden Statements einer modernen Band, die voll im Zeitgeist ist."
"In this respect, LEGACY is also one of the profound statements of a modern band that is fully in tune with the zeitgeist."

Legacy 13/15: "Diese Band ist manifestierte Kreativität, die dazu dient, den Geist mit Glück zu erfüllen. So viel Schönheit ist schon bemerkenswert. Dieses Werk ist wahrlich ein Vermächtnis, welches den Prog in ein neues Zeitalter führt und in der Musikwelt seine Spuren hinterlassen wird."
"This band is manifest creativity that serves to fill the spirit with happiness. Such beauty is truly remarkable. This work is truly a legacy that will lead prog metal into a new era and leave its mark on the music world."

eclipsed 8/10 (#2 in eclipsed Radar Top 20): "Die erzeugten Stimmungen - die mit den eine dystopische Zukunft beschreibenden Texten korrelieren - machen „Legacy" vielmehr zu einem Bauch-Album, das mit Atmosphäre punktet und einem bei jedem Durchlauf besser gefällt. ...Durchweg tolle Melodien, starker Gesang und abwechslungsreiche Gestaltung der Songs. ...Es ist ein moderner Kopfhörer-Traum, den Ihlo hier abgeliefert haben."
"The moods created—which correlate with the lyrics describing a dystopian future—make "Legacy" more of a gut-pumping album, one that scores with atmosphere and grows more likable with each listen. ...Consistently great melodies, strong vocals, and varied songwriting. ...It's a modern headphone dream that Ihlo have delivered here."

saitenkult.de 9/10: "Mit ´Legacy´ legen IHLO den Grundstein zu ihrem eigenen Vermächtnis. Ein Werk, das in die Zukunft strahlt und zugleich im Hier und Jetzt überwältigt."
"With 'Legacy,' IHLO lay the foundation for their own legacy. A work that radiates into the future and simultaneously overwhelms the here and now."

theprogspace 10/10: "Ihlo’s growth since their beginnings has been nothing short of spectacular, and to witness how far they’ve come is inspiring. After listening nonstop to ‘Legacy’, it is really hard for me to realize that it is just their second album (!). It is so well produced with its raw energy and depth. It is truly cementing their career, carving out a big bold name within the best of the best in the prog metal universe."

metal-heads.de: "Ein interessantes Prog-Werk haben IHLO da erschaffen."
"IHLO have created an interesting prog work."

moshpitpassion.de: "Manchmal hört man einen Song und weiß sofort: Das hier wird etwas Besonderes. Genau so wirkt „Replica“, die neue Single von IHLO. …macht deutlich, wie weit sich die Band seit ihrem Debüt entwickelt hat. Die Atmosphäre ist dicht, die Dynamikwechsel kommen plötzlich und hart, und der Breakdown bringt eine rohe Härte mit, wie man sie von IHLO in dieser Form noch nicht kannte. Und trotzdem bleibt alles stimmig, melodisch und emotional aufgeladen."
"Sometimes you hear a song and know immediately: This is going to be something special. That's exactly how "Replica," the new single from IHLO, feels. ...makes it clear how far the band has evolved since their debut. The atmosphere is dense, the dynamic shifts are sudden and harsh, and the breakdown brings a raw heaviness never before seen from IHLO. And yet everything remains coherent, melodic, and emotionally charged.

Press Quotes:

Rock Hard 8.5/10: "...noch ausgereifter und dürften sich endgültig als eine feste Größe im britischen Prog Metal etablieren. Das Nebeneinander von modernen und traditionellen Elementen funktioniert ganz wunderbar... Eine der positivsten Überraschungen des Prog-Jahres 2025!"
"...even more mature and should finally establish themselves as a permanent fixture in British prog metal. The juxtaposition of modern and traditional elements works wonderfully... One of the most positive surprises of the prog year 2025!"

Metal Hammer 4.5/7: "Insofern gehört auch LEGACY zu den tiefschürfenden Statements einer modernen Band, die voll im Zeitgeist ist."
"In this respect, LEGACY is also one of the profound statements of a modern band that is fully in tune with the zeitgeist."

Legacy 13/15: "Diese Band ist manifestierte Kreativität, die dazu dient, den Geist mit Glück zu erfüllen. So viel Schönheit ist schon bemerkenswert. Dieses Werk ist wahrlich ein Vermächtnis, welches den Prog in ein neues Zeitalter führt und in der Musikwelt seine Spuren hinterlassen wird."
"This band is manifest creativity that serves to fill the spirit with happiness. Such beauty is truly remarkable. This work is truly a legacy that will lead prog metal into a new era and leave its mark on the music world."

eclipsed 8/10 (#2 in eclipsed Radar Top 20): "Die erzeugten Stimmungen - die mit den eine dystopische Zukunft beschreibenden Texten korrelieren - machen „Legacy" vielmehr zu einem Bauch-Album, das mit Atmosphäre punktet und einem bei jedem Durchlauf besser gefällt. ...Durchweg tolle Melodien, starker Gesang und abwechslungsreiche Gestaltung der Songs. ...Es ist ein moderner Kopfhörer-Traum, den Ihlo hier abgeliefert haben."
"The moods created—which correlate with the lyrics describing a dystopian future—make "Legacy" more of a gut-pumping album, one that scores with atmosphere and grows more likable with each listen. ...Consistently great melodies, strong vocals, and varied songwriting. ...It's a modern headphone dream that Ihlo have delivered here."

saitenkult.de 9/10: "Mit ´Legacy´ legen IHLO den Grundstein zu ihrem eigenen Vermächtnis. Ein Werk, das in die Zukunft strahlt und zugleich im Hier und Jetzt überwältigt."
"With 'Legacy,' IHLO lay the foundation for their own legacy. A work that radiates into the future and simultaneously overwhelms the here and now."

theprogspace 10/10: "Ihlo’s growth since their beginnings has been nothing short of spectacular, and to witness how far they’ve come is inspiring. After listening nonstop to ‘Legacy’, it is really hard for me to realize that it is just their second album (!). It is so well produced with its raw energy and depth. It is truly cementing their career, carving out a big bold name within the best of the best in the prog metal universe."

metal-heads.de: "Ein interessantes Prog-Werk haben IHLO da erschaffen."
"IHLO have created an interesting prog work."

moshpitpassion.de: "Manchmal hört man einen Song und weiß sofort: Das hier wird etwas Besonderes. Genau so wirkt „Replica“, die neue Single von IHLO. …macht deutlich, wie weit sich die Band seit ihrem Debüt entwickelt hat. Die Atmosphäre ist dicht, die Dynamikwechsel kommen plötzlich und hart, und der Breakdown bringt eine rohe Härte mit, wie man sie von IHLO in dieser Form noch nicht kannte. Und trotzdem bleibt alles stimmig, melodisch und emotional aufgeladen."
"Sometimes you hear a song and know immediately: This is going to be something special. That's exactly how "Replica," the new single from IHLO, feels. ...makes it clear how far the band has evolved since their debut. The atmosphere is dense, the dynamic shifts are sudden and harsh, and the breakdown brings a raw heaviness never before seen from IHLO. And yet everything remains coherent, melodic, and emotionally charged."


Press Quotes:

Rock Hard 8.5/10: "...noch ausgereifter und dürften sich endgültig als eine feste Größe im britischen Prog Metal etablieren. Das Nebeneinander von modernen und traditionellen Elementen funktioniert ganz wunderbar... Eine der positivsten Überraschungen des Prog-Jahres 2025!"
"...even more mature and should finally establish themselves as a permanent fixture in British prog metal. The juxtaposition of modern and traditional elements works wonderfully... One of the most positive surprises of the prog year 2025!"

Metal Hammer 4.5/7: "Insofern gehört auch LEGACY zu den tiefschürfenden Statements einer modernen Band, die voll im Zeitgeist ist."
"In this respect, LEGACY is also one of the profound statements of a modern band that is fully in tune with the zeitgeist."

Legacy 13/15: "Diese Band ist manifestierte Kreativität, die dazu dient, den Geist mit Glück zu erfüllen. So viel Schönheit ist schon bemerkenswert. Dieses Werk ist wahrlich ein Vermächtnis, welches den Prog in ein neues Zeitalter führt und in der Musikwelt seine Spuren hinterlassen wird."
"This band is manifest creativity that serves to fill the spirit with happiness. Such beauty is truly remarkable. This work is truly a legacy that will lead prog metal into a new era and leave its mark on the music world."

eclipsed 8/10 (#2 in eclipsed Radar Top 20): "Die erzeugten Stimmungen - die mit den eine dystopische Zukunft beschreibenden Texten korrelieren - machen „Legacy" vielmehr zu einem Bauch-Album, das mit Atmosphäre punktet und einem bei jedem Durchlauf besser gefällt. ...Durchweg tolle Melodien, starker Gesang und abwechslungsreiche Gestaltung der Songs. ...Es ist ein moderner Kopfhörer-Traum, den Ihlo hier abgeliefert haben."
"The moods created—which correlate with the lyrics describing a dystopian future—make "Legacy" more of a gut-pumping album, one that scores with atmosphere and grows more likable with each listen. ...Consistently great melodies, strong vocals, and varied songwriting. ...It's a modern headphone dream that Ihlo have delivered here."

saitenkult.de 9/10: "Mit ´Legacy´ legen IHLO den Grundstein zu ihrem eigenen Vermächtnis. Ein Werk, das in die Zukunft strahlt und zugleich im Hier und Jetzt überwältigt."
"With 'Legacy,' IHLO lay the foundation for their own legacy. A work that radiates into the future and simultaneously overwhelms the here and now."

theprogspace 10/10: "Ihlo’s growth since their beginnings has been nothing short of spectacular, and to witness how far they’ve come is inspiring. After listening nonstop to ‘Legacy’, it is really hard for me to realize that it is just their second album (!). It is so well produced with its raw energy and depth. It is truly cementing their career, carving out a big bold name within the best of the best in the prog metal universe."

metal-heads.de: "Ein interessantes Prog-Werk haben IHLO da erschaffen."
"IHLO have created an interesting prog work."

moshpitpassion.de: "Manchmal hört man einen Song und weiß sofort: Das hier wird etwas Besonderes. Genau so wirkt „Replica“, die neue Single von IHLO. …macht deutlich, wie weit sich die Band seit ihrem Debüt entwickelt hat. Die Atmosphäre ist dicht, die Dynamikwechsel kommen plötzlich und hart, und der Breakdown bringt eine rohe Härte mit, wie man sie von IHLO in dieser Form noch nicht kannte. Und trotzdem bleibt alles stimmig, melodisch und emotional aufgeladen."
"Sometimes you hear a song and know immediately: This is going to be something special. That's exactly how "Replica," the new single from IHLO, feels. ...makes it clear how far the band has evolved since their debut. The atmosphere is dense, the dynamic shifts are sudden and harsh, and the breakdown brings a raw heaviness never before seen from IHLO. And yet everything remains coherent, melodic, and emotionally charged.

Unmistakable are the sonic experiments of Spanish alchemist ORBE; with this fresh release on Token. ORBE's iconically viscous textures and impactful percussion weasel their way into 'Ascender' for a deeper release on Kr!z's label. Thick, brooding atmospheres drive these tracks into stories of pursuit and escape throughout its four tracks.

A slick, pulsating low end in 'Flashback' stands out as a first impression for an imposing EP. Electric leads zip by for maximum psychosis; he's known for his uncompromising dissonance and drive. A staple of the Spanish scene, ORBE bites down hard on deep and hypnotic techno to resonate through concrete warehouses. This jagged edge to club music continues through 'W9Y' - a more drum-forward cut with noisy transitions and breathable synthwork. Sharper stabs occupy this space as opposed to the track's predecessor and tension is maintained with a lingering pad in the background. A meditative conclusion for the A side, ORBE quickly shifts his attention in the titletrack 'Ascender'. Emphasizing tone and tune on the kick, the lead comes with confrontation. Rolling through shifting hats, the producer brings boiling tension through minimal arrangement and the weight of his sound design - a skillset only the most seasoned artists can claim. To close things out, 'Break Nation' does just that - cutting off the traditional four/four rhythm and instead presenting itself as a bass stepper. With ORBE's classic unison packed synths, this dweller presents a whole other perspective on 'Ascender'. A hybrid of influences and yet still destined for the techno dancefloor, this breath of fresh air serves as deep dive into the subconscious for an eyes-closed experience.

Signals Aligned stands as a sonic testament to the intersection of science, spirituality, and the vast unknown. Inspired by pioneering theories on the nature of anomalous phenomena, viewing them not as extraterrestrial but as a complex, multidimensional enigma.

There’s a consistent theme of “discovery through distortion.” Truth is often obscured by layers of misinformation, disinformation, and misperception. The music plays with the concept of clarity and distortion, revealing hidden textures beneath shifting layers of sound.

The sound palette is vast and ethereal, incorporating elements of noise, shimmering synths, and organic textures. There’s a sense of both wonder and unease that mirrors theories on the strange and unexplainable.

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.

Stripping away excess layers, Dispossessed lives up to its title. The band went into Causa Sui's Jonas Munk's studio on the last day of February 2025. In an a priori session, the first note played together since 2023's Dens - the conclusion of a trilogy and a live album all in less than a year. Has something shifted during the silence? Added aggression? Faster tempo? Darker ambiance? The feeling of losing time? Or is it simply the listener who's world has tilted? In a fast paced world, Edena Gardens shows us how to resist and tune to our own inner chord. Edena Gardens deals in subtle shifts that can only be summoned from something played for the first time. From the sludgy blasts of opener Hiraeth to the droning ambience of 10-minute ender Aftenstjerne. As always, the band travels far yet stays in the same internal realm. The band's own Jakob Skott has made minor edits to cut a record from hours of free improvisation, and every dubbed ambience has been culled directly from the material recorded that day, bringing into play the band's gestalt in a way that shows their both outer and inner workings: Dispossessed. Edena Gardens is: Jakob Skott: Drums (Causa Sui) Nicklas Sorensen: Guitar (Papir) Martin Rude: Baritone guitar & Bass (London Odense Ensemble)

Composed, Arranged, and Conducted by: Norio Maeda

Has there ever been a soundtrack so thrilling and beautiful? This is the pinnacle of cine-jazz, crafted by the master Norio Maeda.

Released in 1971, Shadow Of The Highway is a suspense-action film produced and starring Jiro Tamiya, and directed by Jun Fukuda.
True to its tagline—“A sports car tearing vertically through Japan, from Kagoshima to Hokkaido”—the film features a Mitsubishi Galant GTO racing
across the country. Often compared to the American New Cinema classic Vanishing Point, it stands as a Japanese road movie gem.

The music was composed by the legendary Norio Maeda. His piano corners with elegance, the vibraphone dashes forward with flair, the bass charges
ahead with power, and the drums shift gears with precision. Motion and stillness, obsession and desire, joy and sorrow—thrilling performances and
beautiful melodies elevate the film to new heights.

As a soundtrack, it is exceptional. But even more, it represents an extraordinary level of quality for Japanese jazz in 1971. The performances are so
remarkable that it’s unfortunate the exact personnel remain unidentified. However, it has long been rumored that the musicians may have been associated
with Takeshi Inomata’s Sound Limited—or possibly The Third.

Text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

2025er Pressung in 5 Spoke Cornetto - Black and Transparent Vinyl! Die südkalifornischen Hardrock Veteranen von FU MANCHU veröffentlichen ihre neues Album ,Gigantoid" auf At The Dojo, dem eigenen Label der Band. Nach fast 25 Jahren Bandgeschichte und nach der Split 7" mit ihren Freunden von MOAB im letzten Jahr sowie ,Signs Of Infinite Power" von 2009 kehren die Mannen um Scott Hill mit ihrem ersten Album seit sage und schreibe fast fünf Jahren zurück. Aufgenommen mit Andrew Giacumakis, dem Sänger/Gitarrist der oben genannten MOAB, in seinem Studio im kalifornischen Simi Valley, ist das Album primitiver, roher und zerfuzzter als seine Vorgänger. ,Wir haben für dieses Album 17 Songs geschrieben und haben daraus final neun Songs destilliert", erklärt Hill. "Wir wollten ursprünglich etwas später dieses Jahr einen Teil 2 rauszubringen, haben dann aber angefangen, mit diesen Songs für unser 25. Bandjubiläum im Jahr 2015 zu planen."

Flags Are Walls is the latest release from an enigmatic electronic duo based in Barcelona. "Universal Comfort"

The album explores the boundaries of contemporary electronic music, blending synthetic and organic sounds, layering analogue and digital sources, where abstract and concrete elements shift in and out of focus.

Boundaries are not only physical-shaping how we experience time and space-but also emotional, framing the sense of place we attach to them. The tracks play with these flimsy, and uncertain intersections, exploring expression and perception through evolving, haunting and diffused sonic landscapes.

NECHTO returns with its second 12” vinyl compilation, continuing the mission of presenting forward-thinking techno from both rising talents and trusted names. Each of the six tracks adds a unique voice to the raw and honest collection.
Mecha opens the record with “All My Love”, a hypnotic debut techno track shaped by years in drum and bass. Contakt follows with “Peak Jam”, a one-take hardware jam built around the warmth of a signature synth. “16th Symphony” by Human Safari is a jazz-influenced cut intended for special moments in a DJ set. Unspent delivers “Moog Gorning”, a track that shifts from percussive 4x4 to broken rhythm, carrying deep personal emotion. ARGIE’s “Strangers” captures the tension of connection and distance with layered percussion and melody. Franz Jäger closes with “Get Simon to sync”, a rave-influenced hybrid track designed for peak-time impact.
With contributions from the UK, Poland, Malta, France, the Netherlands, and Sweden, this compilation once again highlights NECHTO’s dedication to showcasing both emerging and established artists while pushing the boundaries of modern techno.

"Paloma mensajera" (featuring members of New Juggler Sound / Laghonia) shows the shift that was taking place within Peruvian rock away from psych and hard rock which had predominated during the early 70s. The style adopted by Grupo Amigos (and other bands and artists during this period) highlights the influence of soft rock, UK, US and Latin American folk rock and, above all, the desire to keep the melodic greatness of The Beatles alive. This reissue includes bonus tracks and extensive liner notes. DESCRIPTION "Paloma mensajera" (featuring members of New Juggler Sound / Laghonia) shows the shift that was taking place within Peruvian rock away from psych and hard rock which had predominated during the early 70s. The style adopted by Grupo Amigos (and other bands and artists during this period) highlights the influence of soft rock, UK, US and Latin American folk rock and, above all, the desire to keep the melodic greatness of The Beatles alive. The positive reception albums by artists such as We All Together, Telegraph Avenue and Zulu garnered between 1972 and 1975, marked a change of paradigm and in preferences within the Peruvian rock scene. Eclecticism gained new ground, to the detriment of the sectarian and orthodox, while melody grew more present and visible, moving away from the progressive experimentation that typified underground Peruvian rock up to the beginning of the 70s. For their first single on MAG, included on this reissue, the band adopted a formula in which Beatles harmonies converged symmetrically with folk motifs. 'Dirty Girl' was a hit on the radio. A full album followed but only a fairly small number of copies of the album were pressed, which seems to have been the main reason for omitting it from the historical accounts of Peruvian rock music from the late 90s onwards. In "Paloma mensajera" all compositions were penned by the group, after several years during which cover versions were a staple. Some of the musical resources that the band had at their disposal in terms of composition and arrangements are striking and even surprising, considering that they were a debut band, whose members were under the age of 20. The arrangements included the clever use of a Moog synthesizer which had just arrived at the MAG studio. The success achieved by the Beatles tribute performances played by the members of Grupo Amigos for decades have eclipsed the songs that Edmundo, Andrés Da Ros and Simón Ames composed with youthful enthusiasm and energy between 1972 and 1973 to the point where they have almost been forgotten. This re-release of "Paloma mensajera" should help rectify this major injustice. It includes bonus tracks and extensive liner notes.

Brbko, one of the UK underground’s most enigmatic artists, shares his debut album ‘BRAK VS. BRAK’ via acclaimed label Scenic Route. The release is accompanied by new focus track ‘JOGA 07’ a bold, introspective moment marking a turning point in the project’s emotional arc.

BRAK VS. BRAK is a genre-fluid meditation on life, death, and duality, using the afterlife as a metaphor for ego, rebirth, and reflection. Its title nods to an episode of Samurai Jack, where the hero confronts a darker version of himself, a fitting metaphor for Brbko’s own exploration of internal conflict. “It’s about realizing that your demons aren’t always from outside,” he says. “Sometimes they’re of your own making.”

Written across Manchester, Lewisham, Paris, and New York, the album moves through raw vulnerability and surreal visions. It opens with ‘BONSAM 2’ a raw intro tackling power, appropriation, and immortality, before ‘POWER OF 6’ reflects on clout and connection. The title track pits Brbko against his own shadow, while ‘BUZZ LIGHTYEAR’ distills ego and isolation into a dreamy freestyle. ‘DARK CLARITY’ offers bittersweet closure through minimalist production and vivid intimacy. The mood shifts with ‘JOGA 07’, where faith and lightness emerge as redemption.

Manchester-born and Lewisham-based, Brbko has quietly shaped UK underground music: from pirate radio and stage curation to collaborations with Alice Glass, Zed Bias, and Andrew Aged. GQ calls him “an essential part of underground music,” while Dazed praises him as “a stir in the contemporary grime scene.”

With ‘BRAK VS. BRAK’, Brbko delivers his most personal and expansive work to date.

Nu-hardcore quintet, Bodyweb, are the sound of someone’s nervous system on the verge of breakdown—hyperactive, tormented and unflinchingly vulnerable. Born out of the Leeds hardcore scene, they’re a shape-shifting alloy of jagged emotion and precision chaos. What began as late-night jams between Louis Hardy (Higher Power, Big Cheese, Fate) and Ben Jones (Pest Control) eventually mutated into train_wreck_simulation, a debut EP filled with frantic breakdowns and nu-metal swag that felt like the soundtrack to a digital exorcism. The final piece of the puzzle came from Hardy’s estranged childhood friend, pq. His twisted samples and synthetic textures are haunted and disturbed, injecting cyberpunk soul into hardcore flesh. Contorting through several iterations in the following years, the band absorbed Luke Thompson (Stiff Meds) on drums, filmmaker Tom Hobson on guitar and Naomi Macleod (Empire State Bastard) on bass, and laid down their first collective offering. deadwired is due out on Flatspot Records later this year. Bodyweb's second EP is a violent thesis on connection and pain that sends Hardy’s unfiltered vocals through heaven and hell. Four overstimulating tracks run a gamut of styles and influences from Slipknot to Björk, constantly lane-switching between dizzying heaviness, ambient soundscapes and brain-burrowing hooks. Entirely self-produced, deadwired upgrades the sonic formula laid down on the last record and raises the question: what else could exist in Bodyweb’s twisted roadmap? Nothing seems impossible. What seems important, however, is retaining the rawness in a style that can often turn sterile. “We still wanted it to sound very human. It had to be well produced but not cold and lifeless.” shares Hardy. “We didn’t use a click track. All guitars were real amps with microphones. We tried to make everything as real and raw as possible, we recorded using all the same gear we use when playing live too to really capture the energy of how it feels when we jam together." ‘Deadwired’ is a snapshot of violent implosion. Four ADHD-fuelled transmissions from the edge of spiritual collapse. It drags metallic hardcore through glitched-out ambience to confront ego death, generational trauma, and the violence of being alive. On stage, Bodyweb don’t just perform, they purge. Raucous live electronics meld with digitally contorted guitars. Breakbeats meet breakdowns—no backing track in sight. Bodyweb enable a collective catharsis. Mosh, dance, dive, scream, heal. A physical therapy session screamed into the void.

Gastr del Sol"s second album returns at last to the vinyl format - its first physical manifestation in well over a decade. Once again, a drop of the needle may ignite any number of queries, summed simply in one: What IS this music? Such is the potent energy of Crookt, Crackt, or Fly, retaining its otherworldly qualities some 32 years and countless musical movements since. Crookt, Crackt, or Fly expands upon The Serpentine Similar"s minimalist stance in unexpected ways, imposing further austerity in the soundscape but for an unpredictable expansive quantity periodically overflowing, waves of blood sluicing through the elevator doors. This is partially due to a change within the group dynamic: the departure of bassist Ken "Bundy" Brown and the arrival of a new partner for guitarist and singer David Grubbs - guitarist and sound fuckerer Jim O"Rourke. O"Rourke"s initial work with Gastr involved editing and recomposing recordings of the Grubbs-Brown-&-sometimes-John-McEntire lineup, producing an utterly outré collage of cut-ups and other types of tape processing. This became the "20 Songs Less" single, after which he was invited to play with the group. It was a time of flux; Brown recalls playing a Gastr show at the Metro around this time featuring himself, John McEntire, Grubbs and O"Rourke - and one of the pieces played was a Tortoise song! Throughout these shifts, Gastr del Sol"s music was never less than fully considered and composed, even in moments redolent with the suggestion of the random and the non-sequitur. Grubbs and O"Rourke made no attempt to replicate Serpentine"s arrangement of thick, scaly drones and hypnotic song-visions in their own partnership, finding Crookt, Crackt,"s sound instead in spiny, gamelan-like interactions between their (mostly acoustic) guitars, played precisely in and out of formation with bright, fleet-fingered abandon. O"Rourke"s fondness for field recordings and his capacity for tape manipulation intersected with Grubbs" sensibilities, edifying his evolving song style: written with increased sharpness and sly surreal humor, sung closer to silence. Halfway into "Work from Smoke", the sudden collapse of the sound-walls around us signals Crookt, Crackt"s major departure. From the thicket of guitars, a swell of drones and free-jazz squeals, made up of bass clarinet, vibraphone and organ, pulls the listener into an entirely other acoustic space. "Every Five Miles" derails in similarly tactile fashion: a guitar duet boils up thunderously, then fragments and spirals apart. As a free electric guitar part crops up, improbably holding the center, the acoustic space around it continues to disintegrate in ambient stereo. A wedding of folk music idioms to classical, improvised and modern compositional modes (including Gastr"s own formative post-punk mode), Crookt, Crackt, or Fly is a song-based reality steadily giving way to its alternative alchemies playing out within.