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Many of the greatest artists of all time found inspiration in their dreams... and pdqb is known to be an absolute pro when it comes to creatively exploiting the REM cycles.

Recently, for example, he dreamed of Gunnar, who had witnessed the rise and fall of electronic dance music, which had once held simple-minded creatures in its thrall. The beats had a peculiar effect on them, drawing them into euphoric trances. But Gunnar, allergic to its hypnotic frequencies, stood apart, unaffected. However, eventually, in a hidden enclave in the highlands of Reykjavík, he met Dr. Amara El-Amin, a neuroscientist fascinated by his unique immunity. Together, they discovered that Gunnar's resistance was a gift, offering insights into human consciousness and the power of music. With this knowledge, Gunnar inspired a global movement celebrating frequencies that resonate...differently. Though EDM had become a relic, Gunnar Oliasson remained a legend - a bad taste survivor who embraced a symphony of pure electrical potential, a language of circuits and oscillations beyond sound.

He woke with a jolt, the phantom music still echoing in his mind. He scribbled furiously, equations and diagrams mixing with strange, abstract notations. The dream, he knew, was a glimpse into a world where his inventions would dance, not just function.

For Synaptic Cliffs, it is an extraordinary honor to be able to offer you, dear listeners, the soundtrack of pdqb's world-changing dream: Four beautiful genre-defining Electrocognition tracks, embracing the depths of the human wetware. And three jaw-dropping sonic remodels from a human-like being called The Exaltics.

Doble Filo Records presents Double Sided Weapons EP – a dark and powerful force rising straight from the underground of Girona and Barcelona. This debut EP, released on Runas Distribution, is a testament to raw energy, built for those who crave anarchic sound.

This collaboration between Roto and Nulek, was born out of a need to release this unique sonic style to push the existing boundaries and question the status-quo of the establishment.

The electric bass lies at the heart of this release, its gritty textures and seismic low-end defining the identity of A2 and B1, while A1 and B2 deliver a more hypnotic blend—versatile and primed for any moment the selector chooses to ignite the dancefloor. The grooves build with measured intensity,
like a slow-burning fuse, before erupting into full force.

This EP is not for the masses. It is for those who refuse to settle for the ordinary and are tired of everything sounding the same—for listeners seeking something raw, unfiltered, and unapologetically intense.

Brand new Manchester imprint, 160 Street Recordings is excited to announce its first vinyl release, Evolutions EP, by the dynamic production duo of Response and Buda. With a reputation for carving out a distinctive uncompromising sound, the pair return with a gritty, dark collection of tracks that channel the deep, raw energy of early 90s Jungle and Jungle Techno.
Drawing influences from the breakbeat-driven sub-bass and atmospheric elements of that era, the Evolutions EP fuses heavy basslines, classic breaks, and dark, rave-inspired energy.
A1. Evolutions
The EP opens with the title track, ‘Evolutions’—a driving, atmospheric tune full of breakbeat intensity and underpinned by weighty sub bass. Kicking off with a memorable rave stab melody, the track builds with powerful percussion and a haunting, evolving soundscape that moves between light and dark.
A2. Fintons Dub
“Break, show ‘em something, but not too much….” ‘Fintons Dub’ brings a laid-back dubbed out groove, with a selection of classic breaks and a deep sub-bass foundation. An atmospheric pad and cinematic Kung Fu movie sample add depth to this cut, the breaks building gradually with delays as the track rolls out..
B1. Fintons Dub (Double 0 Remix)
No introduction is needed for Double 0, co-founder of legendary London club night Rupture and one of the pioneering figures of the original Hardcore Jungle Techno sound. His remix of ‘Fintons Dub’ takes the track back to his Doncaster warehouse roots, unleashing thunderous bass and breakbeat energy, a twisted mentasm and techno infused stabs. A true dancefloor weapon that embodies the true spirit of Jungle Techno.
B2. Acid Vein
Rounding off the e.p. is ‘Acid Vein’ a 303 led breakbeat bomb that infuses rolling breaks with a pounding sub bass and haunting jazz samples. Slower in tempo than the previous tracks and more reminiscent of the more formative years of rave, Acid Vein will also appeal to the wider breakbeat community.

Doris Brendel & Lee Dunham take an unexpected yet electrifying turn into the world of Blues with their latest album, Big Blue Sky. Known for her powerhouse vocals and genre-defying style, Brendel—who recently won the HRH Prog Angel Award 2024—delivers 13 beautifully crafted Blues tracks that blend raw emotion, soulful melodies, and top-tier musicianship. Featuring a stellar lineup, including Sam Brown (Hammond), Sam Blue (vocals), and Sam White (drums), Big Blue Sky is a masterclass in Blues with a contemporary twist. From classic blues ballads (‘Under the Covers’, ‘Red Letter Blues’) to the humour-infused ‘Slow Wi-Fi Weekend’ and soul-stirring duets (‘Is This the Last Time’), the album is a fresh and dynamic take on the genre. Produced by Lee Dunham, Big Blue Sky is available digitally, on CD, and on vinyl (featuring a special 9-track selection). Doris Brendel has performed with some of rock’s greats, including Fish (Marillion), Wishbone Ash, and Nils Lofgren, and was even invited to tour with Pink Floyd. With Big Blue Sky, she proves once again that she refuses to be boxed into a single genre, bringing her signature husky, bluesy vocals to a project that is both timeless and innovative.

Emerging from the Minneapolis underground and heading straight towards the sky, IE arrive on Quindi with a full-length album of sparkling, sophisticated wonder. Touching on kosmische grandeur, Riley-esque cyclical patterns, lounge pop and dubbed out psychedelia, the five-piece allow their songs to unfurl with a natural, hypnotic elegance which can take many different forms.
There's a loose, live quality to the recordings IE's members commit to record, which reflects their steady presence gigging in Minneapolis and the surrounding area. Since putting out their first release in 2016, they've glided from drone and synth-led jam band ambience (2018's Pome) to strung out, stoner-tinted slowcore (on 2023's outstanding Junk Body). For Reverse Earth they strike a smoky note that wraps itself around your skull across extended run times that evolve with a meditative poise.
From the deceptively driving 4/4 thrum of the opening title track through 'Divination Bag's snaking tryptamine mantras on to 'Simplify's slow and smouldering indie-soul, IE's sound is bathed in a sumptuous warm glow that rounds out the lows and the mids, creating a nocturnal shroud in which their nebulous song structures can feel deliciously endless.
Meredith Gill's drums provide rolling and tumbling undercurrents for the slowly shifting phases of the instrumental players, as Michael Gallope and Travis Workman trade keyboard parts and Workman and Sam Molstad chop and pick at their six-strings. Atop the thrum of her bass, Mariel Oliviera's vocal adapts to the scenery, from a distant, dreamlike siren song on 'Reverse Earth' to a spoken word meditation on 'Babel'.
There's space in each track for every instrument to cut through and have its moment, from a spiralling key vamp to a chicken-scratch guitar flex. The gently twisting, head-feeding groove exercises of the first four tracks give way to a slow and powerful march on 'Dark Rome', closing the record on a noirish anti-ballad fit to peal out in the closing slot at Twin Peaks' Roadhouse (circa season three).
As much as the tracks teem with composition, musicianship, and production to savor, a sound like IE's has a soporific quality that soaks in unconsciously. It's an evocative portal where the band feel as if they could just play on each piece ad infinitum - where the time itself seems to dislodge from its moorings.

Berlin-based French-Irish multimedia artist Zoe Mc Pherson levels up on their third full-length "Pitch Blender", mangling years of experience DJing and performing live into a tight set of cybernetic soundsystem experiments that flicker between the rave and the art space.

Cast your mind back to February 2020 for a moment, when Mc Pherson released their last album "States of Fugue". The world seemed less tangled somehow, and yet Mc Pherson's precision-engineered fusion of exploratory sound design and visceral club pressure seemed to hint at a cataclysmic event none of us were really expecting. Only a few weeks after its release the world changed forever, and the majority of us were grounded - forced to consider our lives and the movement (or lack thereof) surrounding us. The philosophy of this extended time period is welded into the bones of "Pitch Blender", Mc Pherson's supple third album. They have learned plenty in the last two years, and infuse all of that anxiety and spiky emotionality into a spread of tracks that sound as powerful in headphones as they do over a well-tweaked soundsystem, soldering vocals, environmental recordings and instrumental flourishes to unpredictably pneumatic, cybernetic beats.

Anyone that's caught one of Mc Pherson's energetic live performances over the last few months will have an idea of what "Pitch Blender" is made of. They're an artist who's somehow able to match the raw energy of post-punk and no-wave music with the brain-altering potential of the best experimental club tracks, vocalizing an incongruous post-lockdown reality over beats that sound as if they're in a permanent state of flux. 'On Fire' splutters to life in a frenetic patter of drums that blur into oddly soothing hoover sounds, snaking lysergically towards a drop that's teased constantly, and never comes. We're forced to wait until 'The Spark' for that, fighting through choppy, pitch-mangled guitar and rolling beats until a gruesome kick drum forces its way through the psilocybin mists and heaving Bristol-inspired bass clonks. Backed up with just the inverted traces of recognizable breaks, this vigorous pulse lies at the heart of "Pitch Blender", the driving force that powers Mc Pherson's sound even when it's only hinted at.

'Blender' is the moment where Mc Pherson show their full hand, using crackling sound effects, ghost vocals and uneven rhythms to build a textural landscape that's so evocative you can almost taste it. Squealing modular synth effects sound like gameshow buzzers being triggered in another dimension and propel the track forward - it's club music, just about, but Mc Pherson's motivation is world-building, and their world is colorful, abstract, and dizzyingly surreal. "Obsolete user," their voice echoes over driving airlock kicks. But they take a swift left turn with 'Lamella', reducing the kinetic club rhythms to a longing simmer and letting loose with powerful vocals, intoning with robotic, gender-fluxed intensity. On 'Wait', New York City's clacking crosswalk signal - already an effective club track on its own - is transformed into a reminder to slow down, juxtaposed with booming sub-heavy kicks, acidic synths and effervescent percussion that rattles in time with the vibrations. It's foley rave, built for pure psychedelic intensity to blur the line between real life and sonic fiction.

One of the album's most galvanic tracks, 'Power Dynamics' curves a double-time rhythm around breathless HQ sound design squiggles until it hits a polyrhythmic crescendo, striking a queasy balance between rave hedonism and ritualistic hand drum energy. It all builds towards eerie closing track 'Outside' that acts as an important wind down, spotlighting Mc Pherson's ability to operate outside of the rhythmic spectrum, using cinematic scrapes and flickering neon synths to create music that's tense but never terrifying. The track feels like the end credits of a particularly bewildering movie - something between the cyberpunk dystopia of "Ghost in the Shell" and the vivid, sky-scraping beauty of "Koyaanisqatsi". Mc Pherson has managed something special with "Pitch Blender": mashing together genres with rare focus, and sharpening their engineering skills to a fine point, they've concocted an antidote to contemporary malaise - a wakeup call that's begging us to loosen our limbs and move.

FM Pause is back on ROW Records with wonky rhythms, rough textures and sounds that feel unstable yet precise. This 3-track EP is all about deconstructing sounds, exploring chaos, and discovering what emerges. An over-compressed, pulsating machine that builds itself up, glitches out and slowly self-destructs.

Seit 2011 und mit sieben Alben hat das explosive Trio immer größere Erfolge gefeiert und sich Aufmerksamkeit und Anerkennung bei Rock-Fans und Jazz-Anhänger:innen gleichermaßen erarbeitet. Der Bandname lässt eventuell auf Jazz schließen, nur dass in der Besetzung vom Hedvig Mollestad Trio Klavier, Saxophon oder Trompete nicht auftauchen. Stattdessen: Gitarre, Schlagzeug, (Kontra-) Bass und Songs, die gerne mal die Melvins beschwören (Blood Witch). Jazz ist hier also in erster Linie Rock und keine Kammermusik. Mollestad lässt ihre Gitarre dabei unablässig und vom Overdrive getrieben jaulen, tänzelt die Skalen auf und ab, rifft sich durch die halsbrecherischsten Soli und spielt dennoch geerdet mit dem satten Groove von Schlagzeug und Bass. Nach arbeitsreichenJahren (solo, mit Weejuns, Soundtracks und Auftragsarbeiten) verspürte Mollestad den starken Drang, zum Kern zurückzukehren, der immer das Trio war, mit dem alles 2011 und dem starken Debütalbum Shoot! begann. Die Aufregung war groß, als es ins Studio ging, und da ein Großteil der Musik recht kompliziert ist, mit vielen kleinen Variationen und langen Strukturen, waren die Studio-Sessions extrem fokussiert und konzentriert. Hedvig betont, dass das Hauptziel des Trios darin besteht, immer Spaß zu haben, ob im Studio oder auf der Bühne, und diese Freude mit den Zuhörern zu teilen. Beim Hören von Bees In The Bonnet wird deutlich, wie sehr das Trio es vermisst hat, gemeinsam neue Musik zu machen, und dass sie sowohl als Songschreiber als auch als Musiker sehr gut sind. Frontfrau Hedvig Mollestad präsentiert sich hier nicht nur als Riffmeisterin, sondern auch als Sologitarristin, die den bereits angestellten Vergleichen mit Tony Iommi und Jimmy Page mehr als gerecht wird.

Blue Sky Vinyl. Teethe is a band from Texas. The members of Teethe met while attending the University of North Texas in Denton, TX, a small college town outside of Dallas with a fertile music scene. Before forming Teethe, its core members Boone Patrello, Grahm Robinson, Madeline Dowd, and Jordan Garrett all played in various other groups in Denton, releasing music under different pseudonyms. Patrello released solo music via his Dead Sullivan moniker, while Robinson released under MAH KEE OH. Patrello and Robinson linked up with Dowd to record an album for her project, Crisman, in 2019. They all eventually moved in together, leading the group to start recording more as a whole unit, and subsequently Teethe was born.Made over the course of 2020, Teethe's eponymous debut album is a collection of songs pieced together over time - a sonic collage of fragmented recordings and half finished tracks made whole in the midst of isolation. Initially self-released in November of 2020 with little fanfare, the album's warm, lo-fi aesthetic and slow, calming songs spread by word of mouth. Roughly one year later, at the top of 2022, the band returned with "Tag", a new single that caught the attention of slowcore fans and garnered shout outs from unlikely celebrities. Tours soon followed with Charlie Martin of Hovvdy, Momma, Milly, Waveform, and They Are Gutting A Body of Water. The band continued to record their own music, releasing another single, "Lucky," in the fall of 2022, and most recently partnered with Saddle Creek for their 7-inch series to release their newest single, "Moon," in October of 2023. Now spread between Dallas and Austin, the Texas band has recently signed with Winspear and will be re-issuing their self-titled debut LP this winter, along with a pressing of "Tag," "Lucky," and never before released b-side "Thanks" on 7-inch vinyl.

Ricardo Baez, a Milan-based DJ and producer, returns with his second single on Mule Musiq. Known for his regular party “Tropical Animal,” Baez launched a label of the same name and has released music on Toy Tonics and Live at Robert Johnson—the label of the renowned German club Robert Johnson. He continues to establish himself as one of the most promising artists in the scene. His latest release opens with a jazzy deep house track reminiscent of Larry Heard, followed by “Dark Room NRG,” a slowed-down take on '90s rave house. “Whisper Wood” reinterprets '90s Italian Balearic house with a modern touch, while “Animarara,” a highlight from his previous digital-only release, makes a return. The record closes with “The Life of Larry,” a cinematic breakbeat track. The variety showcased across the release speaks to the depth and range of Baez's musical vision.

Legendary shoegaze band Chapterhouse will share their first ever recordings on a new EP, White House Demos, released via Sonic Cathedral on May 9.The four tracks were laid down at The White House studio in Weston-super-Mare on January 15, 1989, when the band were only four gigs old. "They were the first songs we wrote as a band," says the band's singer and guitarist Stephen Patman. "At the time our live set consisted of Stooges and '60s garage-psych cover versions which we mixed with these original songs." The tracks weren't included on 2023's career-spanning Chronology boxset because they had been forgotten about - until the intervention of Slowdive guitarist Christian Savill. He and Patman worked together in an office in Reading as their respective bands were starting out and he says the demo remains "their best record"."When the boxset was released, Christian got in touch and reminded me of these demos and how much he loved them," says Stephen. "He was probably the first person I gave a cassette copy to. He still rehearses and records at The White House and was going in for a session the following week, so I asked if he could ask the owner/engineer Martin Nichols to check if he still had them in his archive. Thankfully he did." Of the four tracks that make up the EP, `Ecstasy' has appeared in various versions and permutations on Chapterhouse compilations over the years, but never in its full eight-minute glory; a much later version of `Guilt' was included on the band's 1991 debut album and shoegaze classic Whirlpool; a version of `Die Die Die' was also included with that album on a bonus 12", and remained part of the band's live set for a while. The stunning `See That Girl', however, has never been released before. With 36 years of distance, it sounds like something of a lost classic, and the White House Demos as a whole feel like a brief moment in time captured forever.

Following a trio of quick sell out, limited lathe cut 45 to kick off 2025, Feral Child now embark on a stash of more widely available full lengths (from the likes of Lake Ruth, The Jonny Halifax Invocation and Polypores amongst others). First up is a wonderful follow up to 2023’s “Refrains” 10” EP from Swedish band TAPE. “Refrains” figured in 2 or 3 notable UK stores’ end of year polls, noticeably Monorail in Glasgow where Stephen Pastel gave it a top 3 for 2023 nomination. “Preludes” is -if anything- even more majestic and acts as a superb follow up. The record is released 11th April on Feral Child as one time pressing 10” vinyl only release, featuring beautiful artwork once more from Peter Liversidge and the calligraphic hand of Klas Augustsson. The return of Swedish trio Tape has been reassuringly slow motion. They’ve always moved at their own pace, these three peripatetic musicians – brothers Andreas and Johan Berthling, and companion Tomas Hallonsten – though it’s been over a decade since their last full-length, 2014’s Casino. Not a disappearing act, rather a break for consideration, time to explore other avenues of creativity, perhaps… But their reappearance, with the Refrains 10”, was one of 2023’s most encouraging moments; doubly so, as it was proof they’d not lost their way, at all, in the intervening nine years. The Tape modus operandi is one of deceptive simplicity and artful innocence. On Preludes, a typically right, one-word Tape title, this means five wordless songs that move between fully fleshed out, lovingly tended folk threnodies – the beautiful opener, “Lights Out”, that spins webs via simple, hypnotically repeating guitar – and textural conceits that hover, appealingly, in a kind of no-place. “Naukluft Plateau” is lovingly dappled, with ruminative piano adrift on a cascading tonal waterfall. Then, feather-fall strums of guitar meet huffing harmonium and electronic scrum on the brief “Golden Gain”. Is there a more perfect song title for Tape than “Tangential Thoughts”? It sums up the way their music, nimble and dainty but also carefully tended, lends itself to the reverie, the meander, the anfractuous. The madeleine-like power of this song’s two-chord figure allows the music to take flight: rustling organ, oscillating cymbal, droplets of percussion, a spinney of sound. And Preludes slips away “On The Accordeon Bus”: there’s something lovely about the way that title collapses transit, articulation and bellows, reflected in the see-sawing sway and glitch-like rivulets of sound that course through the song. So, Preludes, then – alive to the moment, both gentle and sturdy. A copse of tone, and a most gorgeous wool-gathering.

Unstoppable Fruity Brain Benders

Once regarded as an up-and-comer to watch, it’s fair to say that the past eighteen months have seen Dutch DJ/producer and live artist Locklead establish himself as one of the most in-demand artists emerging onto the global house stage. From his collaborative ‘Across Boundaries’ with close friend Chris Stussy to music via Dungeon Meat, Pilot, and Up The Stuss, the Utrecht-based talent has set his stall and is showing no signs of slowing. Adding to a first outing on sister label LOCUS two years ago, April welcomes a big debut appearance on FUSE as head honcho Enzo Siragusa invites him to the label for the first time to release his latest EP, ‘Kemickal Affairs’.
Opening the record, A1 ‘Zero’s Delight’ is a funk-fulled and spacey ride armed with resonant chords and swirling leads, while ‘State of Peace’ is a blissful ride through rich yet driving house spheres and showcases the second of two heavily requested anthems that have been go-to records for the likes of Stussy and Siragusa over recent months. The flip sees title cut ‘Kemickal Affairs’ open the b-side with authority, as bumping kicks and slinking grooves go to work beneath swirling synth lines and hazy tones, before wrapping things up with more modulated goodness and off-kilter vocal snippets on the chunky and trippy ‘Morning Krew’ - expect this to come out to play in those weird and wonky early-hours afters!

DJ Feedback:

Laurent Garnier - Very cool Ep

Jamie Jones (Hot Creations / Paradise) - Feeling this.

Joseph Capriati (REDIMENSION) - nice, will try soon. thanks !

Seth Troxler (Circoloco / Lost Souls Of Saturn) - lov

Paul Woolford / Special Request - State Of Peace is a killer house record, lovely chords and groove, thanks!!

Stacey Pullen (Blackflag Recordings / Transmat) - COOL THANKS!

Chris Stussy (Up The Stuss) - already on heavy rotation for the last couple of months, absolute heat!!

Rossi. (HOMEGROWN. / NO ART / LOCUS) - Immense music :)

Die irische Musikerin Maria Somerville kündigt ihr zweites Album "Luster" für den 25. April an. Es ist zugleich ihr Debüt bei 4AD. Mit dem Announcement erscheint die Single "Garden". Der Track taucht ihre sirenenhaften Vocals in einen Sound aus schwirrendem Feedback, luftiger Percussion und nostalgischen Gitarren, der Erinnerungen an die klassische 4AD-Phase heraufbeschwört. Bereits im letzten Jahr war der hypnotische Shoegaze-Track "Projections" erschienen, mit dem Somerville eine erste Spur in Richtung des Sounds ihres kommenden Albums gelegt hatte. Somerville wuchs im ländlichen County Galway an der bergigen und rauen irischen Westküste auf. Sie zog später nach Dublin, wo sie an ihrem Signature-Sound arbeitete: atmosphärischem Dreampop, der von der Landschaft ihrer Jugend geprägt bleibt. Die ätherischen Gitarrenklänge, spärlichen Rhythmen und elektronischen Ambient-Sounds hielt sie erstmals auf dem 2019 selbst veröffentlichten Album "All My People" fest, einem Werk, das knietief in Nostalgie und Sehnsucht watet. Erst als sie nach Connemara zurückkehrte, in ein Haus nicht weit von dem, in dem sie aufwuchs - und von wo aus man einen der größten Seen des Landes, den Lough Corrib, überblicken konnte - begann Somerville mit der Arbeit an Musik, die schließlich zum neuen Album "Luster" werden sollte. Während ihr DIY-Debüt Erinnerungen und Melancholie in nebligen Slowcore hüllte, zeigen die zwölf neuen Tracks eine Künstlerin, die sich des Weges, den sie eingeschlagen hat, viel sicherer ist. "I can see more clearly than I could before. I know now what"s true for me", singt sie passend in "Trip". Gestärkt durch die neue, alte Umgebung und ermutigt durch ihre Community, entwickelte Somerville wieder kreative Energien. Der Boden erwies sich im wahrsten Sinne als fruchtbar, als sie in lockeren Wohnzimmer-Sessions erste Demos aufnahm, die später u. a. mit J. Colleran und Ian Lynch (Lankum) ausgearbeitet und schließlich vom New Yorker Engineer Gabriel Schuman (Oneohtrix Point Never, Princess Nokia, David Byrne) gemixt wurden. Eine gewisse Popularität erreichte Somerville auch durch ihre "Early Bird Show" auf NTS Radio, wo sie seit 2021 zwei Mal die Woche ein Morgenprogramm hostet, in dem sie Musik zwischen Shoegaze und traditionellem irischen Folk vorstellt. Im selben Jahr unterschrieb sie ihren Vertrag bei 4AD, wo sie bislang zwei Compilation-Beiträge veröffentlichte und mit ihren Labelmates Dry Cleaning auf Tour ging. 2025 wird sie mit Band Shows auf der ganzen Welt spielen, darunter auch Konzerte in Deutschland.

Mudd has been trying to sign this for well over a year now, orginally only available on cd from Blackbelt's album on Full Pupp, it's been given the 12'' release with both original and ambient mixes. The original is a slow chugging house monster, softened by beautiful pads and synths that drop in and out but never let the pace die. The ambient mix is a late night headphone winner which you can easily get lost into. Another winner from Claremont 56.

Deep house fans can rarely go wrong with the work of Praising mainstay Frank Rodger. He's on a good run of late and now he keeps the going with a return to Seasons Limited that again taps into his signature and timeless sound. A side 'Deep Squares' is one of those long and winding sounds that slowly but surely seduces you and sinks you into its deep, evocative groves. 'Sandton Skys' then brings heavy kicks and subtle pad work while rickety percussion brings off-balance goodness. The highlight might well come last with 'Come Together', which is playful and louche, smartly sampled and underpinned by a dusty deep house vibe.

RAWAX presents A&A aka Anton Kubikov & Artem Rudakov - Blue Transfer Box EP
This beautiful warm and groovy, Detroit influenced piece of art

Nico Lahs makes a triumphant comeback on Local Talk with a new release.

Those who favour the slower and more gritty house are in luck. Signals In Outer Space is yet another testament of Nico Lahs' ability to make house that doesn't belong to one style but rather cross several different ones with creativity and confidence.

Speaking of not belonging to one style, Marcellus Pittman delivers a remix that is unique and true to his sound.

Together Nico Lahs and Marcellus create a house 12" that is 100% Local Talk.

Celebrate a decade of Turnover's iconic sophomore album Peripheral Vision with this Deluxe Anniversary Edition. This Ripple 3LP box set includes Peripheral Vision in full alongside two bonus tracks ("Humblest Pleasures" and "Change Irreversible") on disc one. Disc two features a completely instrumental version of Peripheral Vision's original eleven songs. Disc three features newly-recorded alternate versions of 6 Turnover songs from the era recorded with original producer Will Yip at Studio 4. Packaged in a slip-case set, this deluxe edition features a 24" poster and 12" x 12" book with lyrics, liner notes, archival photos and an interview with the band reflecting on a decade of Peripheral Vision. Released on May 4th, 2015 via Run For Cover Records, Turnover's second album Peripheral Vision is widely regarded as an essential body of the work in the band's discography, maturing its sound into a shoegaze-inflected post-punk direction following the band's 2013 debut record Magnolia. Described as "a tour de force" by Kerrang!, the album set the stage for an extensive and prolific touring history over the past decade and three subsequent albums, including their most recent LP, 2022's Myself in the Way. - Deluxe 3xLP Box Set Celebrating 10 years of Peripheral Vision - Three disc set includes original album, 2 bonus tracks, full instrumental album & 6 alternative versions of album-era songs - Updated packaging includes belly-band, jumbo lyric poster and 12"x12" book with archival photos, tour dates & an interview with the band - Limited edition of 5000 copies

Process of Elimination explores sickness as a teacher for anti-capitalist modes of being; a rewilding of the self. The product of an attempt to be indestructible, this sickness has an unknown diagnosis. The only route to determine the indeterminable is via a process of elimination. Eliminate the noise so it may quieten and make space for listening to what whispers underneath, allowing a return to the present moment. Slowness and queerness as technologies, questions as answers and mysticism as a path to healing when science alone does not suffice.

London-based multidisciplinary artist El Hardwick’s sophomore album follows their experience of becoming chronically ill after years of treating their body like a machine. El explains: “After failing to receive a diagnosis, which is only given via a lengthy process of elimination, I instead turned to autonomous modes of healing rooted in mysticism and herbalism; putting aside the need to be defined. My journey towards accepting my disability is told in parallel to my coming-out as trans. I also see my non-binary identity as a process of elimination: I am neither gender, both, in-between. It is through rewilding myself from capitalism and gender normativity that I learn how to connect to my body and the earth; no longer allowing either’s energy to be extracted from. The less I sought answers, language, metrics and analysis, the more peace I found.”

Heated compilation of 81-1990 rarities.

"Club Méduse’s Charles Bals joins forces with Norman Gervais of Bayetë fame to deliver a 10-track melange of languorous seaside serenades and beach-kissed AOR slow burners/bangers.

Each song evokes wave glimmer and synthetic textures on this first drop by Beirut-via-Saint Tropez label Pocket of Light, one for the listener that’s crossed the last frontier of the registry and needs just a little more.

Is it the Baleares or the Caribbean? Is it hopeful anguish or mature happiness? And with captains like this, does it matter at all…?”

Celebrate a decade of Turnover's iconic sophomore album Peripheral Vision with this 10 Year Anniversary Edition. Retaining the album's iconic cover art, the packaging has been completely overhauled to include a new lyric poster & printed photo inner sleeve. This special limited edition also includes two bonus tracks from the era - "Humblest Pleasures" and "Change Irreversible." Released on May 4th, 2015 via Run For Cover Records, Turnover's second album Peripheral Vision is widely regarded as an essential body of the work in the band's discography, maturing its sound into a shoegaze-inflected post-punk direction following the band's 2013 debut record Magnolia. Described as "a tour de force" by Kerrang!, the album set the stage for an extensive and prolific touring history over the past decade and three subsequent albums, including their most recent LP, 2022's Myself in the Way. - Updated vinyl packing - new jacket, inner-sleeve, lyric poster - 2 Bonus tracks from "Humblest Pleasures" EP

Celebrate a decade of Turnover's iconic sophomore album Peripheral Vision with this 10 Year Anniversary Edition. Retaining the album's iconic cover art, the packaging has been completely overhauled to include a new lyric poster & printed photo inner sleeve. This special limited edition also includes two bonus tracks from the era - "Humblest Pleasures" and "Change Irreversible." Released on May 4th, 2015 via Run For Cover Records, Turnover's second album Peripheral Vision is widely regarded as an essential body of the work in the band's discography, maturing its sound into a shoegaze-inflected post-punk direction following the band's 2013 debut record Magnolia. Described as "a tour de force" by Kerrang!, the album set the stage for an extensive and prolific touring history over the past decade and three subsequent albums, including their most recent LP, 2022's Myself in the Way. - Updated vinyl packing - new jacket, inner-sleeve, lyric poster - 2 Bonus tracks from "Humblest Pleasures" EP

Das verträumte Debütalbum der neuen texanischen Welle des amerikanischen Krautrocks. Aufgenommen 1996, bewegt sich "The Fun Of Watching Fireworks" zwischen zwischen Lo-Fi und Living Stereo. Mit hypnotischen Chemtrails, Ampex 456 Polyfaserstaub und subtropisches Ozon, während die Farfisa aufgewärmt wird. Remastered von den Originalbändern, als Erinnerung daran, wie das Leben in den früheren Zeiten gewesen ist. Unbefugte sind willkommen.

Farbiges "Too Tired Too Shine" VInyl. Das verträumte Debütalbum der neuen texanischen Welle des amerikanischen Krautrocks. Aufgenommen 1996, bewegt sich "The Fun Of Watching Fireworks" zwischen zwischen Lo-Fi und Living Stereo. Mit hypnotischen Chemtrails, Ampex 456 Polyfaserstaub und subtropisches Ozon, während die Farfisa aufgewärmt wird. Remastered von den Originalbändern, als Erinnerung daran, wie das Leben in den früheren Zeiten gewesen ist. Unbefugte sind willkommen.

Roberta’s latest missive showcases her ability to craft a more immersive and jazz-forward EP while staying true to her reliable leaning towards a more heady sound. Each track is an exercise in balancing the interplay between those two spaces. Your Power reveals a new complexity to her sound while evoking the sentimentality of her earlier productions. The EP closes out with a slow jam house groove that elevates as much as it captivates with its emotional melody and winding synths creating the perfect outro to her latest work, which implies her evolution as an artist is still slowly revealing itself.

»Carpet Of Fallen Leaves« is an introduction to the folk-pop world of Eddie Marcon. It follows in the footsteps of other collections of Japanese artists on Morr Music, such as yumbo, Andersens, and the »Minna Miteru« compilations. »Carpet Of Fallen Leaves« draws together songs from Eddie Marcon’s twenty-two-year history, including fragile, yet rich in melody material, collected from a prodigious run of limited edition, self-released CD-Rs.

Eddie Marcon is the project of Eddie Corman and Jules Marcon, who met through their involvement in Japan’s underground music scene. Eddie was a member of noise-rock duo Coa, while both Eddie and Marcon were part of psych-rock collective LSD-March. Forming in 2001, Eddie Marcon’s sound is markedly different from these groups, though they do, at times, share a sense of psychedelic dislocation, through the gentle, limpid pace of their songs. But with Eddie Marcon, melody and gentleness is at the music’s core.

They’ve long marked out their own, unique territory within a worldwide community of psych-folk and folk-pop artists; sharing their music through a subterranean network of colleagues and friends, they count groups like The Pastels and The Notwist as their fans, and Eddie has collaborated with the likes of Shintaro Sakamoto, and Aki Tsuyuko (in Tondekebana, and with Marcon and Ippei Matsui in the quartet Wasurerogusa). Eddie Marcon have also recently worked with drummer Ikuro Takahashi, who’s played with groups such as Fushitsusha, Maher Shalal Hash Baz, and Nagisa Ni Te.

Across the songs on »Carpet Of Fallen Leaves«, Eddie Marcon’s songs are performed by Eddie on guitar, organ and vocals, and Marcon on bass; they’re variously joined by Takahashi, Yojiro Tatekawa (drums), Tomoko Kageyama (vibraphone), Yasuhisa Mizutani (flute), Madoka Asakura (vocals), and Ztom Motoyama (pedal steel). The arrangements are pared back to best serve the core of each song, and the playing is gorgeous – fluent but not showy; capable of great intricacy, but aware that simplicity is key to direct communication.

Songs like »Mayonaka No Ongaku« stretch their limbs languidly, the music shivering with beauty as guitar and cymbal drift across Eddie’s poised vocal delivery. »Tora To Lion« began as an improvisation, but it’s become a firm favourite of the group’s fans: as Eddie says, »it has become a very important song for us, to the extent that it can be said to be our representative song.«

Perhaps the most moving thing about »Carpet Of Fallen Leaves«, though, is the way it captures the subtle yet significant moments of everydayness that ask for our attention. »Shoujo«, a song for a beloved cat who passed away, possesses rare emotional resonance. »At the end of the song,« Eddie remembers, »I wanted to have her throat rumbling endlessly.« When the song was cut, a television voice appeared behind the purring, saying ›thank you‹. »For us, it felt like words from Poco-chan, and tears came to our eyes.«

Ben McElroy is a folk/experimental/ambient artist based in the UK. He has released prolific albums since his 2016 debut ‘Bird Stone’ for whitelabrecs. Notable releases since then include 2018s ‘The Word Cricket Made Her Happy’ for Eilean Rec and 2022s ‘How I Learnt to Disengage From The pack’ on The Slow Music Movement (which was folk album of the month in the Guardian).

«This album evolved from long improvisations on pump organ and cello. I really wanted to play the instruments as a form of therapeutic release, a kind of stimming, paying more attention to this than the Appollonian aspects of the music. So scrape and repetition… anger and using the bow/keys to really try to gnaw into deep, old brain feelings.
I often start things with improvisations, but then tidy, smooth things out… I wanted to keep that aspect to the minimum here.. there is some, but where possible I’ve kept the squeaks, the noises, the mistakes.
The project took on another dimension when I received some funding from PRS Foundation, allowing me to bring more artists (Debbie Armour on vocals, Elinor Rowlands on spoken word and Nick Jonah Davis on guitar). Where possibly, these collaborations were also improvised, in the moment and left a little raw.
The funding also allowed me to create an accompanying film ‘Widdershins & Deosil.’ Shot with filmmaker Benjamin Wigley on 16mm film in Derbyshire, it is an abstract story of magic and puppetry using elements of the album as soundtrack.» - Ben McElroy

Forms is the debut release from Naturalisten. Behind this name is Rado, one of the founders of the Unknown Species collective. They’ve put together some great underground parties in London through the years, giving space to new talents and sounds, and blissfully ignoring trends and fads.
Rado’s colourful and imaginative take on deep techno shines through all the six tracks here. Fans of the sounds we often hear on the likes of Delsin, Nous’Klaer Audio, Spazio Disponibile, Bitta, Animalia, are likely to find plenty to love here. Starting with the subtlety of “Release The Tension”; passing through the swampy “Against The Tide”, the bleepy minimal drum’n’bass of “Woodpecker”, the acid deepness of “Aves Acid”; and landing on the early-morning atmospheres of “Canopy Dreams”, which we find very much reminiscent of some exquisite James Holden moments from a time long gone.

The final touch to an already beautiful body of work is added by Forest Drive West with his remix of the opening track “Release The Tension”. His reinterpretation slowly creeps in and wraps you up in a wave of low frequencies, before blossoming into an epic outro.

Early support for this release came from Sunju Hargun, Sybil, Aaron J, Benedikt Frey, among others.

Mannequin Pussy"s music feels like a resilient and galvanizing shout that demands to be heard. Across four albums, the Philadelphia rock band that consists of Colins "Bear" Regisford (bass, vocals), Kaleen Reading (drums, percussion), Maxine Steen (guitar, synths), and Marisa Dabice (guitar, vocals) has made cathartic tunes about despairing times. "There"s just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act ," says Dabice. "The ethos of this band has always been to bring people together." Their new album, I Got Heaven, which is out March 1 via Epitaph Records, is the band"s most fully realized recording yet. Over ten ambitious tracks which abruptly turn from searing punk to inviting alternative pop, the album is deeply concerned with desire, the power in being alone, and how to live in an unfeeling and unkind world. It"s a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive. Following the 2019 release of their critically acclaimed third album Patience, Mannequin Pussy returned in 2021 for their EP Perfect. They toured that release relentlessly and added guitarist Maxine Steen to the band"s official lineup. The band changed their entire creative formula, choosing to write together in the studio in Los Angeles with producer John Congleton , over slowly crafting tracks at home.

Following the much-lauded trio of meditations, from Woo, Davis Galvin and Graintable, that launched the series, "Cosmos" continues the label's gentle exploration of music to accompany moments of nurture and patience. This composition from E Ruscha V, once again mirrors the quiet and satisfying tending of the season ahead, creating space for contemplation and the witnessing of gradual transformation.

A multi-disciplinary artist rooted in Los Angeles, E Ruscha V approaches instruments as living entities, each with their own organic character. On Cosmos, his synthesizers breathe and pulse with natural rhythms, creating textures that emerge and recede like early morning mist in a garden. Echoing his work as a visual artist and much like gardening itself, there’s an innate understanding of when to tend and when to let things just be and evolve.

‘Cosmos’ follows a path that Ruscha began exploring with his 2018 release, "Who Are You", on Beats In Space and continued through recent works like ‘Green Mirror’ under his alias Secret Circuit and ambient pieces for the "Slow Show" performances. Each project has been a cultivation season that invites listeners to pause, observe, and connect with cycles of natural
emergence.

His work in both galleries and performance spaces – including MOCA Los Angeles, Lafayette Anticipation in Paris, and LUMA Arles – reflects this understanding of how the environment shapes experience.

A synthesis of where space, sound, and organic movement find their natural home.

Celebrate a decade of Turnover's iconic sophomore album Peripheral Vision with this 10 Year Anniversary Edition. Retaining the album's iconic cover art, the packaging has been completely overhauled to include a new lyric poster & printed photo inner sleeve. This special limited edition also includes two bonus tracks from the era - "Humblest Pleasures" and "Change Irreversible." Released on May 4th, 2015 via Run For Cover Records, Turnover's second album Peripheral Vision is widely regarded as an essential body of the work in the band's discography, maturing its sound into a shoegaze-inflected post-punk direction following the band's 2013 debut record Magnolia. Described as "a tour de force" by Kerrang!, the album set the stage for an extensive and prolific touring history over the past decade and three subsequent albums, including their most recent LP, 2022's Myself in the Way. - Updated vinyl packing - new jacket, inner-sleeve, lyric poster - 2 Bonus tracks from "Humblest Pleasures" EP

Following his appearance on _NRV001, Dragomir returns with his solo debut for the label—a deep and driving four-tracker, backed by two standout remixes from Lizz. ‘Elisabeth’ sets the tone with a tense, stripped groove that slowly uncoils across the A1, while ‘Freaks’ rides a more playful, shifty rhythm laced with micro stabs and broken vocal hints. On the flip, Lizz reshapes ‘Elisabeth’ into two distinct versions—first with the ‘Straight Remix,’ a sharp and focused reinterpretation made for the peak hours, then closing out with the ‘Disconnected Remix,’ which takes a moodier, more deconstructed approach.

Virginia Beach's Turnover has never been a band afraid of telling the truth. The emotional honesty poured out over a number of anthemic releases has been a proven formula of success for the band, but on their sophomore LP Peripheral Vision, the band treads into deeper water. Working again with Magnolia producer Will Yip (Title Fight, Circa Survive), Turnover's latest record shows a band maturing to create their best effort: an ethereal, reverb-drenched soundscape blending elements of hazy dream pop and the delicate emo rock of yesteryear. Songs like "Hello Euphoria" and "Like Slow Disappearing" highlight the new calmer, more subdued approach to songwriting, matched by Austin Getz's somber, confessional lyrics that echo throughout songs as if his words were haunting every measure. Peripheral Vision solidifies the idea that Turnover is a band with its finger on the pulse of its generation: growing and learning with every release, but never failing to provide a relatable, cathartic experience for anyone listening.

One of the UK’s most exciting breakout stars of the past decade, Rebecca Lucy Taylor AKA Self Esteem emerged from cult favourite status to mainstream hero following the huge success of her empowering, truth-telling 2021 single ‘I Do This All The Time’. The song resonated intensely as a perfect example of Taylor’s affectionately termed ‘trojan horse’ or ‘salad and chips’ approach, fearlessly packing important, emotive messages into witty, resonant pop music.

Self Esteem’s wildly acclaimed second album Prioritise Pleasure quickly followed, tackling the hypocrisies and joys found in her experiences of modern day womanhood across dating, friendship, comparison culture, self love, women’s safety and sexual assault and much more. Prioritise Pleasure received Mercury Prize, BRIT Award, Sky Arts and NME Award nominations, was crowned The Guardian and Sunday Times Culture’s Album of the Year, and ‘I Do This All The Time’ was also named The Guardian’s #1 song of 2021.

Quite the opposite of an overnight success, Taylor spent a decade as one half of indie duo Slow Club before adopting the pop star persona she’d always dreamed of. She released her first Self Esteem album Compliments Please in 2019, featuring fan favourite singles ‘The Best’, ‘Girl Crush’ and more.

Gathering a passionate and vast legion of fans ever since, Taylor has appeared on The Graham Norton Show, Celebrity Gogglebox, Friday Night Live & Taskmaster, performed three times on Jools Holland including the NYE Hootenanny, graced the covers of magazines from Grazia to NME to Sunday Times Style, and is one of a handful of artists to have been playlisted across BBC Radio 1, 2 and 6 Music simultaneously.

Having reached new heights of acclaim, Taylor continued to grow, diversify, and create in 2024. Branching out into the world of acting, Taylor starred in a regular role in the Sky series SMOTHERED before completing a run playing Sally Bowles in the multiple Olivier Award-winning production of 'Cabaret at the Kit Kat Club' in London's West End. Starring alongside Jake Shears (Scissor Sisters) as Emcee, the pair’s time on stage was extended due to popular demand and showcased the sheer range of talent in Taylor’s repertoire. Last year’s releases ‘Big Man’ and ‘Love Second Music First’ followed a collaboration with Becky Hill on her song ‘True Colours’.

Die Emo-Rocker Heart Attack Man aus Cleveland, Ohio, präsentieren ihr viertes Album "Joyride The Pale Horse". Die Band befindet sich derzeit auf einem Höhenflug nach ihrer bisher erfolgreichsten Veröffentlichung, dem Vorgängeralbum "Freak of Nature" aus dem Jahr 2023, dessen Titeltrack bislang über 2.2 Millionen Mal auf Spotify gestreamt wurde.

m Herbst 2022 reiste Jerome Reuter, der luxemburgische Singer-Songwriter und Kreativkopf von ROME, erneut auf die grüne Insel, um dort einige entspannte Wochen mit seinen irischen Freunden zu verbringen. Wie nicht anders zu erwarten war, wurde viel getrunken und gelacht. Es entstanden aber auch Songs. Und am Ende der Reise erblickte eine weitere, faszinierende "Dublin Session" das Licht der Welt.

Wurden die Tracks der ersten Dublin Session noch im legendären "Sonic Studio" in der irischen Hauptstadt aufgenommen, zog man sich für die zweite Session bewusst in die grünen Hügel von Wexford County zurück, um in Brian Brodys "Ballycale Studio" vollkommen ungestört und ganz ohne Zeitdruck musizieren zu können. Alle daraus entstanden Lieder der "Dublin Session II" sind unveröffentlichte Neukompositionen, denen Dank renommierter, irischer Musiker der landestypische Folk-Sound innewohnt.

Auf "The Dublin Session II" verbindet sich auf fast schon ganz natürliche und vor allem sehr harmonische Art und Weise ROMEs ureigener Stil aus Proto-Folk mit dem Klang des Traditional Irish Folk. Hierfür rekrutierte Co-Produzent, langjähriger Freund und musikalischer Mitstreiter Brian Brody (Rack & Ruin) kurzerhand das Who-is-Who irischer Musiker wie Ronan O Snodaigh (Dead Can Dance, Kíla) am Bodhran, Eoin O Cionnaith (Van Morrison, Christy Moore) an den Uilleann Pipes, Matthew Hanaphy am Banjo und den Tin Whistles, Goshia Gasior auf der Violine und Andy Slowey am Bass.

Unter den Kompositionen befinden sich Lieder wie das eingängige, fast tanzbare "Hold the Line" oder das bitter-böse "The Tsarist Army", die einen Kontrapunkt zu melancholischeren Kompositionen wie "My White Rose" und "Muse of Fire" setzen. Nicht unbeeinflusst vom Kriegsgeschehen in Europa und den Zeichen der Zeit entstand so ein multilinguales Kleinod mit Liedtexten auf Französisch ("La Peau Dernière"), Deutsch ("An der Landwehr"), Englisch und Gälisch ("Eirigh Anois!" u.a.).

Totgeglaubte leben bekanntlich länger und so stellt man mit ROME fest: Der europäische Geist ist wohlauf!

In the year since it was first released on Hell Yeah, Aura Safari and Jimi Tenor's Sensory Blending has become a cult modern classic. To celebrate its conquering of Balearic heads and jazz funk hearts everywhere, it now arrives on green transparent vinyl.

The album came about after a chance meeting when Finnish musician Jimi Tenor was playing a Hell Yeah party in Perugia. He had some free time so was hooked up with local collective Aura Safari. It was the first time they had ever met but that didn't stop magic from happening in the studio and giving rise to this lush, rich, life-affirming album.

Tenor is no stranger to collaboration. He has previously worked with Japanese master Calm, regularly plays with Cold Diamond & Mink and has explored psychedelic space-jazz-funk fusion over more than 25 albums and 45 EPs. Right now he is in a rich vein of form, continuing to tour the world and drop cosmic soul voyages on a regal basis.

A year on this album still stands up and has crossed over int several different scenes thanks to high profile plays from plenty of tastemakers. Aura Safari musicians Lorenzo Francioli, Ruggero Bonucci, Nicola Pitassio and the production team were all on top form and truly cemented their reputation as a collective to watch.

'Bodily Synesthesia' is the seductive opener with steamy sax notes and gentle grooves that are topped by aloof vocal whispers. 'Lunar Wind' is another slow and steamy mix of jazzy keys and soulful vocal hooks, 'Bewitched By The Sea' is a more tropical and percussive number with majestic melodies and 'My Bluebell' picks up the pace with jazz-funk grooves and hustling chords. 'Last Waltz In Perugia' has freeform sax lines soaring over meticulous drums that ebb and flow and 'Gimlet' brings a playful, samba-tinged rhythm and sunny flute leads straight from South America. There's a laidback, carefree mood to 'It's Too Easy To Love You' while 'Your Magic Touch' is a dancey number that exudes melodic joy, and 'Indigo' closes in dramatic fashion with a conversational sax that sticks long in the memory.

Sensory Blending is the soundtrack to a steamy summer vacation up amongst the stars.