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The Norwegian progressive collective, 35 Tapes, returns with their fourth studio album Veil on Life. It's a six-track record that pushes the band into a more powerful, riT-driven register while preserving their signature analogue warmth and modern clarity. Recorded at Frydenlund Studio ( Oslo, Norway) - the same environment that shaped their previous album Fabric of Time - the album leans further into the band's audiophile instincts, with a wide dynamic range, bold low end, punchy drums and immersive stereo imaging, whilst remaining grounded in tactile vintage hardware. Songwriting is tight and meaningful, favouring memorable hooks and grooves that sit comfortably alongside the song's cinematic passages.

If we're talking about great and underrated pop-rock albums from the 1980s, Different Light by The Bangles is an essential mention!

The all-female power pop group had already attracted quite a lot of attention with their very catchy debut album "All Over the Place". None other than Prince took notice and decided to give them his newly written song "Manic Monday". It became the groups first worldwide hit. Fortunately, the whole album was filled with potential hits, resulting in a multi-platinum status in the US, UK, Canada, Australia and New Zealand.

The 12-track set Different Light spawned five charting singles, including the aforementioned “Manic Monday” and “If She Knew What She Wants”, “Walking Down Your Street”, “Following” and their monster hit “Walk Like An Egyptian”.

Different Light is available on black vinyl and includes an insert.

Hill Collective strike out with Fire In Orbit, their first release for Batov Records and the Brighton ensemble’s most focused and expansive studio statement to date. Rooted in spiritual jazz but unafraid of the natural looseness, humour and raw edges that arise when imaginative musicians collaborate, Fire In Orbit captures a band working collectively, instinctively and with space to breathe.

Der Ursprung des Albums "Cellophane Memories" von Chrystabell und David Lynch geht auf eine Vision zurück, die David bei einem nächtlichen Spaziergang durch einen Wald mit hohen Bäumen hatte, über deren Wipfeln er ein helles Licht sah. Wie er sich erinnert, verwandelte sich das Licht in den Klang von Chrystabells Stimme und offenbarte ihm ein Geheimnis. Aus diesen geheimnisvollen Konvergenzen von Licht und Klang, Tag und Nacht, Sternenhimmel und schwarzem Wald hat sich die Zusammenarbeit von Chrystabell und David entwickelt. Für "Cellophane Memories" sind die beiden durch verschiedene Portale gereist. Passend dazu spielen viele der Songs in Märchenwäldern, auf Berggipfeln, in Schwimmlöchern, auf dämmrigen Autobahnen und in dunklen Schlafzimmern. Dies sind die Orte der Einsamkeit und der Romantik, die Art von erhabenen Landschaften, in denen Menschen oft allein auf der Suche nach einem verirrten Liebhaber unterwegs sind. Aber es sind auch gestaltlose Atmosphären_von Farben, Wetter und Atem: blauer und weißer Himmel, rote Rosen, sich verdunkelnde Gewitterwolken, wirbelnde Winde und Sommerdüfte, die den Reisenden schnell in die übernatürlichen Empfindungen anderer Welten eintauchen lassen. Die Zeit ist in den Liedern von Chrystabell und David Lynch ein wankelmütiges Geschöpf. Die Figuren sind kaum mehr als schräge Skizzen der alltäglichen Melodramen der Zeit: Menschen kommen und gehen als Fremde, Fremde stürzen in Verzweiflung und Liebe, Liebende trennen sich an der Kreuzung und finden im Traum wieder zusammen. In dieser Quantenmatinee des täglichen Lebens ist jede Figur sowohl Star als auch Statist im Hintergrund. Zeitliche Irrungen und Wirrungen tauchen immer wieder in Chrystabells Gesang auf, der in Harmonie-Schichten auftaucht, sich auflöst und zurückschleift. Überlagert werden sie von Davids und des verstorbenen Komponisten Angelo Badalamenti Orchester aus von Waldeinsamkeit inspirierten Streichern, eigenwilligen Gitarrenglissandi und Hallwolken, deren Melodien das Gefühl vermitteln, als würde die Zeit für einen ersten Kuss innehalten. Wie ein Großteil von Chrystabells und Davids früherer Arbeit führt uns "Cellophane Memories" zu einer zentralen Frage zurück: Was ist ein Mysterium? Leider bleibt das Rätsel ungelöst. Aber jedes Mysterium enthält Bruchstücke der oben beschriebenen Vorstellungen und Gefühle: das Weggehen und das Wiederkommen, die Landschaft, die Atmosphäre und der Atem, die auf den Kopf gestellten Mechanismen der Zeit, die Erinnerungen an das Vergangene, ein fernes Licht, das aus der Dunkelheit strahlt, Musik in der Stille, Liebe.

Themes of birds and flying are woven throughout the album, which includes traditional songs such as "Peace Like a River" and "Little Bird, Little Bird," as well as favorites by Bob Marley, Lou Reed, Vashti Bunyan, and Woody Guthrie. Joined by her family, including her daughter Storey and husband and Ida bandmate Daniel Littleton, Mitchell crafts an inviting, homespun sound that draws young listeners in with its warmth and tenderness. To celebrate the landmark album's 20th anniversary in 2026, it has been reissued by Smithsonian Folkways on LP for the first time.

Remember Sports have always sounded like a band in motion, chasing a feeling, chasing each other, sometimes running from themselves. Over the past decade, they’ve built a devoted following through bruising live shows, emotionally honest songs, and a sound that keeps evolving. Their new album, The Refrigerator (out February 13, 2026 via Get Better Records), captures the messy, cathartic energy of transformation. Written in the aftermath of the pandemic, the record is shaped by grief, uncertainty, and a deep love for music and friendship. Songs wrestle with identity, memory, and growing up, balancing bratty catharsis with tenderness and reflection. For the first time, the band produced the album themselves, leaning fully into intuition and trust as they experimented with new textures and dynamics. The result is a vivid, emotionally charged document of survival, an album about becoming, about holding space for both joy and loss, and about finding your way back to yourself through sound, care, and connection.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

Brannten Schnüre is an experimental dark folk group out of Würzburg, Germany. Christian Schoppik composed and played all the music, Katie Rich whispers, recites and sings. Together they make astoundingly beautiful folk with a rich instrumentation leaning towards the atonal spectrum. Instrumental wanderings stand alongside Nico-esque poetry tales. Christian plays the accordeon and in some songs guitar and flute. Inspired by hierophants like Nový Svet and David Jackman, solemn song fragments (a lot of old greek rembetiko-recordings) are modified and looped, with additional instruments and voices being integrated later on. Their music has been described as 'surreal folkcollage' and 'german hauntology'.

With the emergence of Schoppik's second project, a dada cabaret called Agnes Beil in 2010, Brannten Schnüre moved closer to the song structures of its frivolous sibling. The songs of Schoppik's latest creation Sommer im Pfirsichhain are further accompanied by a female singing voice, lending the pieces the voluptuous quality of a stickily tense midsummer. Sommer Im Pfirsichhain (Summer In The Peachgrove) is the second part of a quartet of releases. The first being Aprilnacht which got released on Sic Sic Tapes last year. Part three Geträumt hab' ich vom Martinszug and part four will follow later.

Reference points are bands like Winter Family and Twinsistermoon. Music etched on folkloric, ritual elements transferred into the 21th century. Also worth mentioning is the hand-drawn artwork which is made by artist Gwénola Carrère.

UK electronic duo Prospa unveil their long-awaited debut album Free Your Mind, a bold, emotionally charged, and club-focused statement from one of dance music’s most exciting acts out now via CircoLoco Records.

Years in the making, Free Your Mind captures the full scope of Prospa’s evolution: from breakout underground producers to globally recognized festival headliners and chart-topping innovators. Across the album, the Leeds duo seamlessly blend euphoric house, rave nostalgia, breakbeat experimentation, progressive emotion, and peak-time club energy into a body of work that feels both deeply personal and built for massive communal release.

The album’s final moment is the focus track “Dreams,” a euphoric anthem that drives home Prospa’s songwriting and production sensibilities. Balancing cinematic atmosphere with the duo’s unmistakable dancefloor instincts, “Dreams” channels the reflective, ecstatic energy that defines the album as a whole, equally suited to sunrise festival moments as late-night club systems.

The album arrives following a string of major singles that have propelled Prospa to new heights over the past year. Most recently, “Baby” with Murda Beatz became one of Miami Music Week’s most talked-about track IDs after being teased during a back-to-back set with Josh Baker, quickly spreading across social media thanks to its infectious vocal hook and stripped-back club precision.

Before that came the album’s title track “Free Your Mind” with Cloonee — a vocal house anthem that climbed into the Official Singles Chart top 20, alongside Beatport chart-topper “Love Songs” featuring Kosmo Kint. Together, the tracks established the foundation for an album that represents Prospa at their most expansive and fully realized.

Hailing from Leeds, childhood friends Harvey Blumler and Gosha Smith connected over their shared passion for electronic music – drawing inspiration from the likes of Daft Punk, Disclosure, The Chemical Brothers, and The Prodigy as they first started producing under the Prospa moniker in 2013. The duo broke out in late 2018 with the anthem “Prayer” earning support from high-profile tastemakers including The Fader and NME, while helping relaunch heritage house label Stress Records after a 13-year hiatus. Since then, Prospa have embarked on a rapid ascent to consolidate their status as one of the UK’s most exciting electronic acts.

Experts at crafting high-octane dancefloor-focused anthems as much as they are at composing more heartfelt, meditative moments, Prospa’s work continues to evolve, blurring and pushing the edges of these boundaries into their biggest statement yet

Im Jahr 2002 veröffentlichten Reigning Sound "Time Bomb High School", ein brandheißes Rock-'n'-Roll-Album, das die Herzen und Ohren aller eroberte - von Little Steven Van Zandt bis hin zu Howlin' Pelle Almqvist von The Hives. Seit der Erstveröffentlichung ist "Time Bomb High School" auf Vinyl vergriffen und zum Heiligen Gral für Plattensammler geworden. Jetzt haben diese Sammler Grund zur Freude: "Time Bomb High School" kehrt auf Vinyl zurück, neu gemastert und mit einem neuen Cover von Greg Cartwright. Von The Guardian als "ein wahrhaft unanfechtbarer Rock'n'Roll-Soul-Klassiker" gepriesen, war "Time Bomb High School" der Durchbruch für das in Memphis ansässige Quartett aus Cartwright (Gesang, Gitarre), Jeremy Scott (Bass, Hintergrundgesang), Greg Roberson (Schlagzeug) und Alex Greene (Orgel, Gitarre, Hintergrundgesang). Die Songs - Cartwrights Eigenkompositionen und Coverversionen wie "Stormy Weather" und "I'd Much Rather Be With the Boys" - sind so lebendig wie eh und je, doch das Herzstück dieser Ausgabe von "Time Bomb High School" liegt in der Reihenfolge der Titel, die originalgetreu der Erstpressung von 2002 beibehalten wurde. Seite 1 bietet Midtempo-Balladen und Liebeslieder. Seite 2 besteht ausschließlich aus Rocknummern. Das Album beginnt mit vier der verletzlichsten Sehnsuchtslieder von Reigning Sound, bevor es in eine Interpretation von "I Don't Believe" der Lokalmatadoren aus Memphis, The Guilloteens, übergeht. Daraus entsteht ein fast völlig neues Album. Die Selbstsicherheit und Prahlerei der Band bleiben intakt, doch das Album wirkt ernsthafter und offenherziger, als hätten sie ihre Schutzmauer abgebaut, um den Hörer wirklich hereinzulassen seine Lobeshymnen fühlen sich an wie ein Zufluchtsort vor dem Sturm. Es gibt keine falsche Art, "Time Bomb High School" zu hören, aber dies ist seine endgültige Form: ein Klassiker, der bereit ist, wiederentdeckt zu werden, und für den Rock-Kanon genauso unverzichtbar ist, wie die verstaubten 45er-Platten, die Reigning Sound inspiriert haben.

Folk-Musik hat die schlechte Angewohnheit, als eine todernste Angelegenheit dargestellt zu werden. Sie ist etwas, zu dem man weint, sie ist übermäßig heilig, sie ist feierlich von Kritikern und Historikern betrachtet. Aber das Folk Bitch Trio, die ehemaligen Highschool-Freundinnen Heide Peverelle ("they/them"), Jeanie Pilkington ("she/her") und Gracie Sinclair ("she/her"), haben einen gemeinsamen Sinn für Humor , der tief in ihre Musik eingebettet ist und sie zum Leuchten bringt, sicher vor den selbsternsten Fallen des Genres. "Now Would Be A Good Time", ihr Debütalbum, erzählt lebendige, viszerale Geschichten und ist witzig und dunkel-ironisch in der Art von Schriftstellerinnen wie Mary Gaitskill oder Otessa Moshfegh. Ihre Musik klingt vertraut, aber die Songs sind modern, jugendlich, singen akut durch dissoziative Tagträume und ärgerliche Trennungen, sexuelle Fantasien und Medienüberflutung, über all die belanglosen Ressentiments und kleinen Demütigungen, die man als Anfang Zwanzigjährige in den 2020er Jahren erlebt. "Cathode Ray" beginnt mit Vorsicht, seine ersten Harmonien kommen in großen, schleifenden Seufzern an. Es ist verletzlich, aber auch ein wenig bedrohlich, mit , einem weit offenen Refrain und einem geräumigen, luftigen Beat, der alles verankert. "Moth Song", ein Song über unerwiderte Liebe und ,von so durchgedreht zu sein, dass man sich wie im Wahn fühlt und verrückte Dinge halluziniert", bildet das sparsame Herzstück des Albums, wobei Anita Clarks wogende Geigenstimme wie in einem Traum in den Fokus hinein- und wieder herausdriftet. Andere Songs sind nicht so schräg, sondern schildern brutal vertraute Momente am Ende von Beziehungen: Der spannungsgeladene, emotional flüchtige Torch-Song "The Actor" handelt laut Peverelle davon, "zur One-Woman-Show deines Partners zu gehen und dann Schluss zu machen". In "Hotel TV", einer hypnotischen, nächtlichen Träumerei, geht es darum, ,einen Sextraum über zu haben, während man neben seinem Partner sitzt, und der Partner ist ein Lügner", erklärt Pilkington. Die stärkste Verbindung zwischen dem Trio, abgesehen von der Freundschaft, ist Musik. "Wir haben alle darüber gesprochen, dass wir Musik liebten, als wir aufwuchsen, und dass wir wussten, dass Musik ein großer Teil unseres Lebens sein sollte", sagt Pilkington. Dieses Gefühl, dass Musik eine angeborene Berufung ist, im Gegensatz zu Hobby oder Torheit, war berechtigt: Das Folk Bitch Trio tourte bereits durch Australien, Europa und die USA und unterstützte dabei so unterschiedliche Bands wie King Gizzard, Alex G und Julia Jacklin. Sie sind bei Jagjaguwar unter Vertrag, einer Heimat für einzigartige Ikonen und Ikonoklasten (Bon Iver, Angel Olsen, Sharon Van Etten, Unknown Mortal Orchestra und andere), und sie haben ihre ersten eingefleischten Fans mit schillernden Harmonien und bissiger Lyrik gefunden, die über Genreerwartungen und Publikumsgrenzen hinausgehen. Das sind die Herausforderungen: Es geht darum zu lernen, wie man ein Leben ohne Liebeskummer und Verlierer-Ex lebt, wann man im zeitgenössischen Nihilismus versinkt und wann man mit seinen Freunden lacht, und warum sich das Leben so flüchtig und unwirklich anfühlen kann. In diesem Sinne fühlt sich "Now Would Be A Good Time" wie ein Handbuch für das moderne Leben an: eine Botschaft dreier stolzer Folk Bitches, die gemeinsam Schönheit und Weisheit finden, wo sie können.

Due to demand, ‘Completely Deep Patterns’, the 2025 debut album of the Deep Patterns project of Bristol producer Ben Dubuisson, is to be reissued as a full vinyl release on 14th July. Originally released on very limited edition lathe-cut vinyl, tracks from Deep Patterns have been supported on BBC 6 Music, FIP, Jazz FM, KEXP, NTS, Rinse FM, and SWU; with Electronic Sound magazine describing it as “An immersive 1970s soul bath scented by lo-fi hip hop and dub” and Twisted Soul calling it “Nothing short of a triumph…indicative of its architect’s boundless talents and fascinating vision”.

Lush, late-night tracks rooted in hip-hop foundations, live instrumentation, rare samples, and recurring motifs; the album was crafted in collaboration with a revolving cast of musicians Dubuisson has built deep connections with over the years, including BEAK> bassist Billy Fuller, Dan Harris on piano, Jamichael on flute, and vocals from The Epoch House Choir. Sliding between soul, jazz, library, and cinematic soundtracks, the album is filtered through a gritty, modern Bristol lens. At its heart, it’s a meditation on loss, longing, and the strange beauty of the world we’ve made for ourselves. From running cult Bristol record shop Purple Penguin and co-founding the city’s influential club Native, to his releases as Hundred Strong, Dubuisson has long championed soulful, forward-thinking music. Having collaborated with everyone from Taskforce and A-Trak to Joseph Malik, Alison Crockett, Amp Fiddler and Boca 45; ‘Completely Deep Patterns’sees him push deeper still, weaving a sonic world that feels both timeless and freshly alive.

D91LINKSERIES_01 inaugurates a new split record series by Distrito 91 focused on connecting artists, sonic identities and parallel visions through the classic 12” format.

For its first transmission, the series brings together two projects emerging from different areas of Spain’s underground electronic landscape: Geistform and Half Mute.

On Side A, Geistform, also known for his electro alias Univac, delivers three tracks driven by raw machine energy, analogue sequences and industrial pressure. His sound draws from rhythmic noise and minimal electronics, evoking the mechanical intensity of the European industrial tradition.

Side B features Half Mute, an alias of Madrid based artist Groof, one of the long standing figures connected to the Spanish underground techno scene. His tracks move through dark electro structures, hypnotic sequencing and minimalist techno, balancing tension and functionality within a distinctly nocturnal atmosphere.

On their fresh imprint, In.Visible, Uruguayan mainstays Kino and Manuel Jelen turn their sonics towards the slower, and stranger. On the front is Italian legend Dionigi’s first posthumous release, having sadly passed away during the making of the record, with ‘Komp 22’ an ethereal yet eye-closing opener, plodding through luscious strings and mysterious retrofuturistic sound design. The mechanically swung percussion of ‘Dust Distortion’ takes the record into straighter territory until it code-switches into a synth workout close, while ‘Bhaskara’ rounds offthe side by wiggling and scuttling through offkilter syncopations, bassline bleeps, and hellish, claustrophobic arpeggios. The flip is helmed by UK acid day-oner Scott Hallam; ‘Larb’ offers a moody, squelching downtempo groove, before closing with the most club ready (at a push) track on the record, ‘Stupendous’ – a soaring electro number bookmarked by oddball English vocal samples.

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke. It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.

African visions, Middle Eastern mirages, and cosmic pulsations: the map of Giuliano Sorgini’s sonic universe continues to expand, revealing new, uncharted territories.

Set for release on 10 July, the 7-inch Savana Selvaggia brings together two extraordinary, previously unreleased tracks, shedding light on one of the most visionary facets of Sorgini’s library music aesthetic. On Side A, “I misteri del mondo” (The Mysteries of the World) transports us to an imagined, ancestral Africa suspended between endless horizons, elegiac wilderness, and analogue electronics.

On Side B, “Arabian Safari” opens the door to a mystical, Arabic-tinged soundscape where African imagery blends with Middle Eastern influences and kosmische futurism. Driven by a potent mix of electronic drums, hypnotic sequencing, and fiercely inventive synths, it strikes a sonic kinship with the finest European Krautrock.

The dialogue between these two tracks perfectly highlights the composer's artisanal, experimental approach. Here, the Solina, Minimoog, modular circuits, pulsating synth lines, and suspended melodies intertwine to form a fascinating, enigmatic, and deeply personal sonic world—one built entirely by Sorgini in his Cat & Fox Studio in Rome, located a mere stone's throw from the RAI headquarters.

Two forgotten tracks. Two cinematic journeys whose original visuals have been lost to time. Two missing puzzle pieces in the ongoing recovery of the work of a composer who sounds more modern today than ever before. A magnificent sonic transmission from a bygone era that lands with the force of a contemporary revelation.

In his most self-aware and sonically refined work to date, JORDY returns with In Retrospect—an 11-track journey through the clarity of hindsight. Transitioning from a breakup record into a manifesto on healing, the album captures the "push-and-pull" of turning 30 and finding power in the wreckage of the past.

Known for his unmistakable blend of "pop precision" and vulnerable storytelling, JORDY moves past the guilt of time wasted to celebrate the person he has become. This is an album about finding yourself again after the noise fades.

In Retrospect is a love letter to the music that shaped a generation. Sonically, JORDY pays homage to his roots, blending the infectious energy of early 2000s pop-punk and Hilary Duff-era bubblegum with the high-gloss production of modern synth-pop.
JORDY commented, “In Retrospect started as a breakup record, but it quickly became something much bigger. It turned into an album about healing. About growing. I think when people find themselves stuck in bad relationships, they often blame themselves for not leaving sooner. They carry guilt over the time they feel they’ve wasted. But writing this album helped me see it differently. The moment I chose to leave the toxicity behind, I felt like I found myself again. I got healthier, mentally and physically. I gave myself permission to mourn the life I thought I’d be living at 30, the future I imagined as a kid. I found peace in remembering that nothing is ever as serious as it feels. I found my power again. In retrospect, the pain and suffering may have been the very thing that saved me.

“Sonically, this album pays homage to my roots - to my younger self blasting Hilary Duff and pop punk bands alone in his room. It’s nostalgic. It’s the kind of music I love to listen to. It feels more like me than anything I’ve made in a long time. It’s funny and catchy, vulnerably heartbreaking, and beautifully hopeful all at the same time. It’s exactly where I am right now,” he added.

2026 Repress

A (new) vinyl version for one of our favourite Mika Vainio (Pan Sonic) albums; originally recorded between 1999–2004 and issued on CD only under his revered Ø alias for Finland’s Sähkö Recordings in 2005.

»Kantamoinen« is perhaps the most intimately beautiful yet little-known LP in the Ø canon, bridging the gap between his classic ’90s minimal techno productions and the project’s subsequent turn to more ambient, kosmic, and dubwise dimensions in the coolly brilliant »Oleva« and »Konstellaatio« albums.

Dedicated to Mika’s grandma, Laina Vainio (1913–1991), and adorned with a cover image of her garden in Artjärvi, Finland, the 16-part 2LP is the closest you’ll get to a type of nostalgia in Mika’s catalogue.

Whilst recorded 1999–2004 at an early crest of his game-changing work with Pan Sonic, the album clearly manifests a quieter space for Mika to emote far more nuanced feels, from the wide-eyed vastness of »Galaxy« to a breathtaking »Sound Picture«, transitioning from Hans-Ulrich Obrist’s snippet of Oskar Sala into icy bliss, and the rosy warmth of »Summerland« clearly dedicated to his nan’s garden. The rest is better defined as ephemeral snapshots adding up to a broader picture, like a mind’s eye filling gaps in the memory from illusive vapours and sensations, generating all-time gems in the steepled choral synth voice of »In Wind«, or a sense of magic realism in the swaying organ of »Antenna-ant«, with the blooz folk wheeze of closer »To Home« that could feasibly score the most haunting moments of a Béla Tarr flick.

Not just a musical project, but an outlet for him to push the envelope of extreme music, challenging the listener to leave behind preconceptions of genre limitations and to approach the music with an open mind. In his exploration of the musical outer limits, he is joined by fellow seasoned pros Steve Tucker (Morbid Angel) on vocals, Flo Mounier (Cryptopsy) on drums and Derek Sherinian (Dream Theater, Steve Vai, Malmsteen, Kiss) on keys. An allstar line up that grabs the attention of any metal/ progressive music enthusiast. The project began whilst Sonny was on tour with Morbid Angel. Sonny explained the concept of the band to Steve Tucker, who was intrigued and fully committed to getting involved. Sonny wasted no time and began handwriting transcripts for what would become the earliest Arise From Worms material, whilst on tour.

In Ensenada, Mexiko, wo der Horizont des Pazifiks eine klare, unveränderliche Linie zieht, nahmen HOLY WAVE ihr neues Album "i'm DADA" auf - ein Werk, das für die Band weitläufig und neu fokussiert wirkt. Der Schritt außerhalb ihrer Heimat USA war weniger ein Rückzug als vielmehr ein Perspektivwechsel, der Abstand schuf, um einen neuen Sound zu erkennen, der sich langsam unter ihnen herausgebildet hatte. "i'm DADA" offenbarte schnell seinen Charakter: treibender, offener Underground-Lofi-Rock und ihr bisher strukturell durchdachtestes Werk. Durch die Zusammenarbeit mit dem experimentellen Duo Lorelle Meets the Obsolete in deren Studio floss das Gemeinschaftsgefühl in das Album ein, obwohl dessen emotionaler Kern bereits in den monatelangen Vorbereitungen entstanden war. Die Hälfte von HOLY WAVE ist mexikanischer Herkunft und hat ihre Wurzeln in der Grenzregion um El Paso, sodass sich die Aufnahmen in Ensenada intuitiv und entspannt anfühlten. Die Songs spiegelten Gespräche über Vaterschaft und Partnerschaft, Trennungen und Entfremdung, die beunruhigende Beschleunigung der KI und darüber wider, was es bedeutet, präsent und prinzipientreu zu bleiben, während die Welt unvorhersehbar voranschreitet. Diese Spannung wird nicht explizit hervorgehoben, sondern geht in der Musik auf. Die Band dehnt ihr bekanntes Gespür für eine schwindelerregende Atmosphäre zu etwas Schlankerem und Direkterem aus. Es sind mehr Loops und Samples eingewoben als zuvor, Grooves, die konstruiert, zyklisch und hypnotisch wirken. Manche Tracks driften in Richtung der elastischen Weite des Dub; andere pulsieren mit filmischer Downtempo-Schwere. Das gesamte Album ist von einem frischen Schwung geprägt, von Rhythmen, die vorantreiben, von traumgetränkten Texturen, Fuzz-Gitarren und sanft schwebenden Vocals. "dewey's dirge" entfaltet sich geduldig: Verschwommene Gitarrenklänge erblühen, während darunter ein gmotorischer Puls stetig voranschreitet. Der Gesang bleibt im Hintergrund, breitet sich eher aus, als dass er explodiert. Es wirkt weitläufig und nachdenklich, eine Hymne des Abklingens, die Drama gegen Eintauchen eintauscht. "i'm DADA" hingegen findet seinen Rhythmus in einem schlanken, kreisenden Groove. Eine straffe Drum-Figur, eine Basslinie und eine abgehackte Gitarrenphrase wiederholen sich, bis sie lebendig wirken. Textlich kreist der Song um die komplizierte Hingabe ein Eltern-Teil zu sein. "s33.u.in/HAL" klingt wie eine Übertragung, die mitten in der Luft abgefangen wurde, leicht mechanisch, immersiv, ohne sich jemals vollständig aufzulösen, und fängt das zentrale Gefühl des Albums ein: den Versuch, trotz Störgeräuschen klar zu kommunizieren. Während frühere Alben von HOLY WAVE oft durch ein Gefühl des Dahintreibens geprägt waren, wirkt diese Platte nun neu geerdet. Das Album verzichtet nicht auf das Eintauchen in die Musik, sondern zügelt es. Die Grooves setzen sich fest, Wiederholungen gewinnen an Gewicht, und die Musik bleibt trotz ihrer schwereren Themen gefasst und unerschütterlich. Was dabei entsteht, ist keine Neuerfindung, sondern eine Schärfung: Holy Wave klingen weniger wie eine Band, die durch die Atmosphäre treibt, sondern eher wie eine, die diese inmitten des Chaos bewusst gestaltet.

”What Parts & Labor have figured out how to do, in a way no one else really has, is to make noise anthemic.” —PITCHFORK “Visions of disaster sound more optimistic with every album.” —THE NEW YORK TIMES “Parts & Labor is … creating rock albums that everyone who cares about rock music should own.” —CHICAGO TRIBUNE ”Part psychedelia, part noise, part all-out rock... exhilarating stuff.” —THE GUARDIAN ”East Coast art-punk with a 21st-century overhaul.” —Q ”A joyous explosion of sound.” —MOJO After a 14-year hiatus, prismatic noise-punk fireworkers Parts & Labor, a beloved institution of Brooklyn's '00s underground, re-emerge with a double-drummer lineup and colossal double album. The 79-minute Set of All Sets (July 10, Ernest Jenning Record Co.) is an expansive, blown-out gush of apocalypse-pop that imagines utopias and confronts the overwhelming weight of the infinite. Their first album since 2011, Set of All Sets finds the band re-energized, rebooted and expanding their punk-kosmische, matching their skyscraping melodies and squelching electronics with hypnotic rhythms and frenzied tumbles of percussion. Parts & Labor co-founders Dan Friel and BJ Warshaw are joined by the simultaneous battery of drummers Christopher Weingarten and Joe Wong — asynchronous members during their critically acclaimed four-album run on indie rock titans Jagjaguwar. The power trios that made 2007's breakthrough Mapmaker and 2011's swan song Constant Future have merged into a single four-piece, at once a brand new vision, a clamorous continuation and a recapturing of the deafening sound of their "final" two shows in 2012. With eight weaponized limbs from two veteran drummers, Parts & Labor surges forth with rhythms inspired by Tanzanian singeli, ecstatic free improv and the motorik of vintage krautrock. Friel and Warshaw beam with the most majestic and triumphant melodies of their career, windswept cascades of bubblegum Boredoms and Big-Music-gone-hardcore.

Between her elaborately conceptual Drag City singer-songwriter albums and celebrated soundtracks for Ryusuke Hamaguchi, in recent years Eiko Ishibashi has quietly self-released a significant body of solo and collaborative work on her Bandcamp page. At times resembling her solo live performances in their organic interweaving of instrumental, electronic, and concrete sounds, each of these less feted online releases offers a snapshot of the experiments always underway at Atelier Eiko. Some Fine Legacy is pleased to announce a vinyl edition of one of the most intriguing of these works, Gasping_Sighing_Sobbing, made in collaboration with Hiroshi Minami and first released in 2021.

Active since the 1980s, Hiroshi Minami is a key figure in the Tokyo jazz scene, as well as a respected memoirist. Devoted to the great standards, which he explores with an Evans-ish delicacy of touch and Impressionist harmonic extensions, he is equally at home working up variations on tunes by Ryuichi Sakomoto and The Beatles or experimenting with ambient electronics. A single note from his piano is the first thing we hear on Gasping_Sighing_Sobbing, the space left by its decay unexpectedly filled by a synth arpeggio that quickly fades away as the piano returns with a balladic chord sequence.

Like her frequent collaborator Jim O’Rourke, Ishibashi possesses the virtue of patience, recognising the beauty of lingering at length in a single musical environment. Throughout its 40-minute duration, Gasping_Sighing_Sobbing remains lost in this maze of obstructed and fragmented piano balladry. The musical surface is in one respect placid, but close listening reveals dynamics and processes that are deeply strange: the resonance of a chord dying away is frozen, expanding to become a cloud that suddenly makes way for the piano’s return; or the piano is looped into a ticking glitch or a time-stretched shudder, momentarily sinking under lapping waves, distant bells, and snatches of conversation. Ishibashi’s subtle vocals and synths colour the piano passages like views through distorted glass. The metaphor of cinéma pour l’oreille is perhaps overused in discussions of the musique concrète tradition, but here the visual associations are almost unavoidable: especially when Daisuke Ijichi joins on upright bass, it’s hard to shake the cinematic image of a smoky jazz bar—shown in a sequence, perhaps, that cuts repeatedly to the musicians’ and audience’s thoughts and dreams. Like much of Ishibashi’s work, this collaboration with Hiroshi Minami is inconspicuously radical, shaped at the deepest level by electro-acoustic procedures even as it luxuriates in melancholic beauty.

French quartet Mourir are preparing to release their second full-length studio album, Nous, le venin, this summer via Pelagic Records. Their forward-thinking take on black metal and uncompromising approach to their work marks them out as ones to watch when they present this new material live at festivals across Europe including Hellfest, Rock In Bourlon and Resurrection festival in the months to come. With a demo, an album and an experimental EP to their name, the four-piece retreated to the studio at the end of 2025 to write the music for Nous, le venin. Recorded in January 2026 with Amaury Sauvé (Birds in row, Igorrr, Pneu) at The Apiary Studio in Laval, France, the six tracks are the very embodiment of Mourir's approach to black metal. Although they draw inspiration from many artists in the old-school black metal world, they opted to lean into a more modern sound - one that would allow the depth of their sonic choices to shine. Blending elements of sludge and post-metal to the rawness of their black metal sound, and combining this with a mix that gives space to both the low frequencies and the high-octane viscerality, Mourir have created something both distinctive and captivating. Thematically, the band turns their detached gaze towards an ever-more untethered modern society, one that is inhospitable to those seeking meaning in the cruelty and absurdity of a seemingly senseless world. Yet within these tracks exists slivers of light, of hope and of luminosity - a belief that something better is possible is woven throughout the melodic passages and most celestial, ecstatic elements of their sound. The evocative cover art by Thomas Davezac captures the feeling of disconnection that permeates the album. Mourir have recorded an album that cements their place among underground greats who deftly eschew the nostalgic trappings of black metal convention and breathe new life into the genre. Nous, le venin is imbued with raw emotion that is perfectly complemented by stylistic choices that echo the sentiment of being freed from the chains of the past. FFO Ultha, Fluisteraars, Envy and Neurosis

French quartet Mourir are preparing to release their second full-length studio album, Nous, le venin, this summer via Pelagic Records. Their forward-thinking take on black metal and uncompromising approach to their work marks them out as ones to watch when they present this new material live at festivals across Europe including Hellfest, Rock In Bourlon and Resurrection festival in the months to come. With a demo, an album and an experimental EP to their name, the four-piece retreated to the studio at the end of 2025 to write the music for Nous, le venin. Recorded in January 2026 with Amaury Sauvé (Birds in row, Igorrr, Pneu) at The Apiary Studio in Laval, France, the six tracks are the very embodiment of Mourir's approach to black metal. Although they draw inspiration from many artists in the old-school black metal world, they opted to lean into a more modern sound - one that would allow the depth of their sonic choices to shine. Blending elements of sludge and post-metal to the rawness of their black metal sound, and combining this with a mix that gives space to both the low frequencies and the high-octane viscerality, Mourir have created something both distinctive and captivating. Thematically, the band turns their detached gaze towards an ever-more untethered modern society, one that is inhospitable to those seeking meaning in the cruelty and absurdity of a seemingly senseless world. Yet within these tracks exists slivers of light, of hope and of luminosity - a belief that something better is possible is woven throughout the melodic passages and most celestial, ecstatic elements of their sound. The evocative cover art by Thomas Davezac captures the feeling of disconnection that permeates the album. Mourir have recorded an album that cements their place among underground greats who deftly eschew the nostalgic trappings of black metal convention and breathe new life into the genre. Nous, le venin is imbued with raw emotion that is perfectly complemented by stylistic choices that echo the sentiment of being freed from the chains of the past. FFO Ultha, Fluisteraars, Envy and Neurosis

First time double-cassette reissue of 1987's double LP opera rock by Spain's legendary punk band Eskorbuto. "Los demenciales chicos acelerados" is a political satirical work against any kind of dictatorial regime. "Los demenciales chicos acelerados" is Eskorbuto's fourth studio album, originally released by Discos Suicidas in 1987. It was their most ambitious project, a double LP rock opera in the vein of "Quadrophenia" by their beloved The Who. It tells the story of an unscrupulous young man who wishes to achieve power at all costs, stepping over everyone and everything in order to do whatever he wants politically. In the end, he falls due to his ego and is betrayed by those around him. Hence lines such as "crowds are a nuisance", "I'll come unscathed out of the attacks planned by my image consultant" or "shouting in front of the scum". In 1988 band members Iosu and Juanma narrated the album's concept and story on a Radio Euskadi show, the Basque Country's public broadcaster. This satirical political plot also explains the controversial sleeve art, Eskorbuto were equalling the unprincipled politician of their rock opera with the Nazis and Franco's dictatorship. It's a conceptual record that attacks any kind of dictatorial political regime. The original sleeve caused some trouble, to say the least, with its combination of Nazi photos and the Spanish flag on the back accompanied by the words "Of national interest". lthough "Los demenciales..." came out on Discos Suicidas, in typical Eskorbuto fashion the band stole a copy of the master and sold it to the Twins label, which also released it a few months later with new cover art.The album contains new versions of a few previous tracks such as 'Ratas rabiosas' and 'Enterrado vivo' plus the studio version of 'Más allá del cementerio'. For the recording the band enrolled keyboardist Aitor Amezaga, who would also collaborate on their next album.

LTD Edition, Artwork by John Frusciante

LP1 New album
LP2 Available on vinyl for the first time
LP3/4 Debut album on green vinyl
LP5 Second album on red vinyl

When I recorded the first 2 Trickfinger records, I had recently discovered that you could make electronic music in a room with a bunch of synced machines going at the same time, record it on a
CD burner and have a finished track. I've heard this process described as “overdubbing into the air”. It was as exciting to me as my first 4 track was when I was 14. I wasn't trying to be good, or
original. I was just excited that music could be made that way; it felt like I was a whole group of musicians playing together… or like I was jamming with ghosts of myself. This has actually been a
very common way of making electronic music since the 80s, particularly in the main pioneering genres like Chicago Acid and Detroit Techno, but anyways I didn't figure it out until 2006. In 2007,
I started doing it myself, which resulted in what was eventually released as Trickfinger, and Trickfinger II. I was just home from tour and was still in the middle of recording The Empyrean.

A couple of years later I started making music by overdubbing onto a computer, but using the same machines. I tried to make music that didn't sound like anything else. I saw a way of combining
Progressive Rock and Synth Pop which nobody had done. And I was combining my songwriting and guitar playing with these old machines in a way which I was sure was unique. I had reached a point
where it was more important to do something original than to do something good, whatever “good” means.

Some of this music did not get a proper release, and is compiled here as the vinyl record High Low. I don't think I have ever tried so hard at making music as I did during that period. This in contrast to
those two Trickfinger records, where I wasn't trying at all. There’s something to be said for both mental states. When you're in one, the other seems impossible. I was really pushing myself on High
Low. Looking back, it was as if I had an audience inside myself, driving me to go beyond my abilities, while at the same time I had a total disregard for any concept of an actual audience. It
was one of those periods in life where things come together in a certain way that feels natural at the time, but seems foreign in retrospect. It felt like I was going to die if I didn't do something musically
different.

The fourth record in this box is me breaking in a new mixing console, making live-to-stereo music. The record is called Rotation, and it is all new music. These tracks are more in the “not trying”
category, since we're on that subject. I had just come home from tour, and was just really glad to be in the studio with my machines. Acid Test thought it would be nice to do a box set commemorating the 10th anniversary of the release of Trickfinger, and so we put together this box set, with homemade cover art.
John Frusciante 2026

2026 Repress

Initially conceived as a short-run cassette for Altered States Tapes, YL Hooi's nameless collection of textural apparitions oscillate between icy DIY minimalism, FX-drenched atmospherics and nang chamber dub. A ghost-like transmission, Hooi's voice serves to anchor an array of sonic abstractions and impressionistic melodic motifs as a sense of purgatorial ambience dominates throughout. Co-produced with alleged fellow Kallista Kult member Tarquin Manek (LST, M. Quake), Untitled's ultimate sensation is its halfway state, as if caught between worlds.

The album's final form speaks of its origins, recorded intermittently over a two year period (2017-2019). The extended time passage seeps into the song structures, spiralling and mutating from the same centre - the elegiac pulse of opener 'Title' presages the hymnal lilt of 'Straight Thru', before birthing the inverted bossa nova of 'W/O Love'. The result is a constantly shifting tableaux of shared liminal spaces. These songs seemingly emerge in plumes of smoke, magician's tricks conjured from the ether. It's a vision that ossifies at Untitled's midpoint with a cover of Love Joys' 'Stranger', the lovers rock original morphed into the transportive intimacy of Hooi's own hazy inner space, a totem of the LP's amorphous and ultimately sensuous qualities.

The sound from both down under and way out there in subspace, Untitled is an inspired masterstroke of experimental mystics. This 2021 Efficient Space edition is remastered and robed in new artwork that honours the Melbourne-based earth dragon's Chinese and Russian heritage.

Lemon Vinyl. Black Screen Records and Kaizen Game Works have once again teamed up for the vinyl repress of About That_ Paradise Killer B-Sides, the follow-up release to Barry "Epoch" Topping's vibrant funky city pop/vaporwave soundtrack to the open world adventure game Paradise Killer, which has proven to be a true essential release for itself. The record is featuring three new songs, vocal tracks, instrumental versions, remixes and piano arrangements along with a number of amazing guests, which are Fiona Lynch, Kyle Murray-Dickson, Fabian Hernandez, Ged Cartwright, Thomas Temple, MEEBEE and Okumura. Now available on lemon coloured vinyl with gorgeous cover art by José Salot. The sounds of Paradise. The music of a cosmic dream. Tunes from another reality. The tempo of the crime to end all crimes. The beat of long dead alien gods. The playlist of the investigation freak. Let the music take you away to Paradise. Feel the sun scorching your skin. Smell unbearably hot concrete. Savour the sweet taste of crime committed on a tropical island in another reality. Remember when we danced along the beach? Along the streets of Paradise? You made me this mix tape on the roof of your apartment block. We stared at the moon. You said you'd kill the moon. I didn't believe you. I was wrong.





e 5TO THE HEART [VOCAL VERSION]
[f] 6HOUSE OF BLISS [VOCAL VERSION]

[h] 8LEAVING [PIANO ARR.]
[i] 9LADY BLUE [MEEBEE & OKUMURA. REMIX]

[k] 11ABOUT THAT... [INSTRUMENTAL]
[l] 12PARADISE (STAY FOREVER) [INSTRUMENTAL]





[e] 5TO THE HEART [VOCAL VERSION]
[f] 6HOUSE OF BLISS [VOCAL VERSION]

[h] 8LEAVING [PIANO ARR.]
[i] 9LADY BLUE [MEEBEE & OKUMURA. REMIX]

[k] 11ABOUT THAT... [INSTRUMENTAL]
[l] 12PARADISE (STAY FOREVER) [INSTRUMENTAL]

Picture disc, artwork by C. Bedford Black Screen Records and Kaizen Game Works have teamed up for two new vinyl editions of Barry "Epoch" Topping's vibrant funky city pop/vaporwave soundtrack to the open world adventure game Paradise Killer. Topping's incredible soundtrack will be available on brand new picture discs as well as rosé & crystal clear with white marbled vinyl. The LPs are housed in a gatefold sleeve with beautiful 80s anime- & city pop-inspired artwork by Mizucat - additional art and layout by Kaizen Game Works, Barry Topping and Dane Baudoin. The picture disc artwork was crafted by C. Bedford as well as the one for the included folded A2 Crimson Acid poster. The sounds of Paradise. The music of a cosmic dream. Tunes from another reality. The tempo of the crime to end all crimes. The beat of long dead alien gods. The playlist of the investigation freak. Let the music take you away to Paradise. Feel the sun scorching your skin. Smell unbearably hot concrete. Savour the sweet taste of crime committed on a tropical island in another reality. Remember when we danced along the beach? Along the streets of Paradise? You made me this mix tape on the roof of your apartment block. We stared at the moon. You said you'd kill the moon. I didn't believe you. I was wrong.

Picture disc, artwork by C. Bedford Black Screen Records and Kaizen Game Works have teamed up for two new vinyl editions of Barry "Epoch" Topping's vibrant funky city pop/vaporwave soundtrack to the open world adventure game Paradise Killer. Topping's incredible soundtrack will be available on brand new picture discs as well as rosé & crystal clear with white marbled vinyl. The LPs are housed in a gatefold sleeve with beautiful 80s anime- & city pop-inspired artwork by Mizucat - additional art and layout by Kaizen Game Works, Barry Topping and Dane Baudoin. The picture disc artwork was crafted by C. Bedford as well as the one for the included folded A2 Crimson Acid poster. The sounds of Paradise. The music of a cosmic dream. Tunes from another reality. The tempo of the crime to end all crimes. The beat of long dead alien gods. The playlist of the investigation freak. Let the music take you away to Paradise. Feel the sun scorching your skin. Smell unbearably hot concrete. Savour the sweet taste of crime committed on a tropical island in another reality. Remember when we danced along the beach? Along the streets of Paradise? You made me this mix tape on the roof of your apartment block. We stared at the moon. You said you'd kill the moon. I didn't believe you. I was wrong.

Nach der Veröffentlichung von „idea 1“, kündigt Kelela ihr neues, drittes Album an, das am 10. Juli bei Warp Records erscheint – und veröffentlicht die zweite Single „linknb“, produziert von Oscar Scheller.

Der Track entstand in einer Phase der Schreibblockade und begann als Mantra, das Kelela schrieb, um sich wieder an die Arbeit zu bringen. Angeführt von einem labyrinthischen Gitarrenriff über treibenden Metal-Drums ist „linknb“ ein Song über Selbstvertrauen, das man sich durch Schwierigkeiten erarbeitet hat, darüber, sich nicht klein machen zu lassen. „Es ist nicht schwer, mutig zu sein / Es ist leichter, zu viel preiszugeben / Ich weiß nur, dass ich den Weg geebnet habe, unterbezahlt.“

Das von Mischa Notcutt inszenierte Video versetzt Kelela in die Mitte einer urbanen Traumlandschaft. Als enger Freund und Kelelas ehemaliger Kreativdirektor war Notcutt die naheliegende Wahl. Das Video lässt Realismus und Abstraktion ineinanderfließen und verwandelt eine einsame Reise in eine Meditation über Selbstfindung und Erneuerung.

Mit „new avatar“ rückt alles, worauf Kelela hingearbeitet hat, in den Fokus. Sie begann ihre ersten Songs in der Indie-Szene von Washington, D.C. zu schreiben, bevor die Clubmusik und die elektronische Produktion, die ihre frühe Karriere prägten, die Oberhand gewannen. Mit „new avatar“ schließt sie den Kreis: R&B, unterlegt mit verzerrten Gitarrenklängen, trifft auf neue Schnittstellen in der Tanzmusik und gipfelt in einem Sound, der aus all den musikalischen Einflüssen schöpft, die sie je geprägt haben. Das Album enthält zudem Kollaborationen mit PinkPantheress, A. K. Paul und Fousheé.

„Dieses Album findet Trost in der Konfrontation“, sagt Kelela. „Ich möchte nicht, dass die Musik von dem ablenkt, was wirklich in der Welt vor sich geht; ich möchte, dass sie in dieser verrückten Zeit Sinn ergibt und den Menschen gleichzeitig hilft, mit der Schönheit und Freude in Kontakt zu kommen, die sie ebenfalls erleben.“

Das Album setzt sich mit einer Welt auseinander, die aus allen Nähten auseinanderfällt, und mit der Klarheit, die das Überleben erfordert.

„Die Leute sollten auch wissen, dass meine Freunde und ich ständig lachen und dass Humor kein Abwehrmechanismus ist; er ist Ausdruck dafür, wie scharfsinnig wir die Dinge einschätzen und wie klar wir die Welt sehen.“

Im Kern schildert „new avatar“ eine vielschichtige Erfahrung, und obwohl die Außenwelt präsent ist, schwächt sie Kelelas Entschlossenheit zu keinem Zeitpunkt.

About Kelela: Throughout her globally revered, boundary-pushing career, Kelela has established a lane of her own in R&B and electronic music. On her long-awaited third album, new avatar, the singer/songwriter (through the versatility of the guitar) challenges perceptions of these genres, while weaving together fragments of lived experiences to shape a world of connection and resilience during times of unrest.

The songs journey through Black femme rage, joy as resistance, Gotham City-esque dystopia, misogynoir, romantic tension, and more. It’s anchored by production that demands a broader rethink about alternative, rock and indie music.

Kelela’s defiant nature has propelled her so far already — from her hometown of Washington, D.C to world stages. In 2013, she released her debut mixtape, Cut 4 Me. She continued solidifying her revolutionary R&B sound with 2015’s Hallucinogen EP, with The New York Times naming its single, “Rewind,” one of the “25 Songs That Tell Us Where Music Is Going”. By 2017, she released her electric debut album Take Me Apart (which was followed by 2018’s TAKE ME A_PART, THE REMIXES), building upon her intimate storytelling.

After a nearly five-year hiatus, she returned in 2023 with her groundbreaking second album, Raven, and its critically-acclaimed counterpart, RAVE:N, The Remixes in 2024. Raven has been hailed as one of the ‘Best Albums of 2023’ by Pitchfork, Billboard, Vulture, Variety, and more, while the remixes solidified her as a leader in the dance music space.

In 2025, Kelela showcased yet another innovative side of her artistry with her live album In The Blue Light, which hit #5 on the Contemporary Jazz chart and #20 on the Jazz Albums chart. Now, with new avatar, Kelela displays the masterful intention she puts into forming new sonic cityscapes. But don’t confuse it with escapism: “I don't want the music to be a distraction from what's really going on in the world; I want it to help you get into it.”

First Word Records are proud to bring you the debut EP from papaya noon - ‘through the moods’.

papaya noon are a Cardiff-based duo comprised of vocalist Annie Mirza and multi-instrumentalist Greg Marriott.

Formed five years ago, they make jazz-infused R&B music that incorporates their mutual love of classic soul, hip hop & electronica.

The duo have already amassed an impressive fan-base online, garnering over 80,000 followers across their socials, and receiving praise from such luminaries in the US as Missy Elliot, Snoop Dogg, Queen Latifah, 9th Wonder, Bootie Brown & the late great Fatman Scoop.

This is a result of their unique style, captivating grooves & deeply catchy hooks, encompassing a distinctive blend of soul music, from retrospective 90s vibes to alternative futuristic flavours, creating a sonic palette that’s wonderfully contemporary, yet very much their own.

All their music is written, performed & produced single-handedly by the duo themselves, who’ve managed to create a magically powerful potion from their plant-filled Cardiff studio space, and generated huge anticipation for their future output in-turn.

The future is NOW, as papaya noon are finally ready to unleash their music into the world.

‘through the moods’ is a 6-track EP of delicious alternative r&b vibes, already set to become future soul classics.

Sonically rooted in warm, textured instrumentation & layered harmonies, the duo have triumphantly built a huge soundscape that feels simultaneously nostalgic & futuristic. Smoky late-night ballads nestle alongside infectious uptempo jams, leaning into their jazzy boom-bap & neo-soul influences, whilst showcasing their phenomenal spread of talents as performers and songwriters both.

The duo explained that the EP navigates “neurodivergence, trauma & loss, with tenderness & honesty. Rather than presenting trauma as a spectacle, we’ve attempted to approach it with the softness and complexity that it merits”.


From the first single release ‘blush’, to the downtempo sweetness of ‘blindside’ or ‘morning light’, to the pacier ‘on your side’ & EP closer ‘crybaby’, each track on this project exemplifies their unbridled ability to produce deeply infectious earworms, whilst thematically encompassing unflinching lyricism that’s deeply personal.

Already hailed by some as “the Welsh Moonchild”, papaya noon were named as one of Clash Magazine’s “must-see” acts at FOCUS Wales in 2025, bringing their music to life on stage with their 5-piece live band, additionally performing at Brick Lane Jazz Festival, The Great Escape, Inglefest, Nowadaze, Swn Festival & Good Vibrations Society, as well as NXNe and BreakOut West in Canada, and supporting the likes of Hot 8 Brass Band & Reel People.

With everything already pointing to the duo swiftly becoming one of the hottest new soul acts in Britain, this is only the beginning of the journey for papaya noon…

‘through the moods’ will be released on vinyl & all digital platforms on Fri 10th July.

These days – on the new, ninth Fink album – Greenall is operating within a lineage of authentic, quietly revolutionary artists from England’s verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall – along with bandmates Tim Thornton and Guy Whittaker – as he began jigsawing together The City Is Coming to Erase it All, the follow-up to 2024’s Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album’s opener. ‘Wishing For Blue Sky’ circles a universal teenage ache: waiting for life to start. “No point dying of patience” goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Eur

This is nowstalgia more than nostalgia, though; there’s a parallel between these 18-year-olds and Fink’s autumn-aged family men. “You’re expected to be boring and settling down at this age,” Thornton says. “But we’ve still got this tremendous wanderlust. We want to go and discover, and also achieve things. It’s a nice life – home and family – but fuck, I can’t wait to get back out there.” City is a product of this hunger for discovery, and idolatry of the album as a form – like we had in 1974. City’s cover mirrors its interior, the first song is the greeting, the instrumental closer the conclusion. It’s a story. It’s a record for people who, like its creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they’re ready to chase after their own blue sky

* 180 gram audiophile vinyl
* Gatefold sleeve
* High quality PVC Protective Sleeve
* 4 page booklet with liner notes and photos
* Selection of easy listening songs, includes "Ticket To Ride", "Rainy Days and Mondays", "Please Mr. Postman", "Yesterday Once More" and solo songs by Karen's "Still Crazy After All These Years" and Richard's "Karen's Theme"
* Limited first pressing of 3.000 individually numbered copies on white vinyl

The Collected album by the Carpenters brings a beautiful collection from the immense popular soft-pop duo. From their humble beginnings in the late '60s until today, siblings Karen and Richard Carpenter are one of the most successful duos in musical history. With Karen's absolutely perfect vocal delivery and Richard's creative arrangements, they are unstoppable.

This 2LP set inside a gatefold sleeve brings together their hits, album tracks and more. It delivers the best selection of easy listening songs in a nutshell. Glorious pop nuggets by the Carpenters will melt the heart and uplift the soul, including "Close to You", "Ticket to Ride", "We've Only Just Begun", "Superstar", "Rainy Days And Mondays", "Bless the Beasts And the Children", "Hurting Each Other" and many more.

An Easter egg is the track "Karen's Theme" by Richard Carpenter, who dedicated this song to Karen after her tragical death in 1983.

Producing a distinctively soft musical style, they became one of the best-selling music artists of all time. During their 14-year career, the Carpenters recorded 11 albums, 31 singles, five television specials, and a short-lived television series.

The Carpenters had three No. 1 singles and five No. 2 singles on the Billboard Hot 100 and fifteen No. 1 hits on the Adult Contemporary chart. In addition, they had twelve top 10 singles. To date, the Carpenters' album and single sales total more than 100 million units.