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Emerging artist Beifer presents his highly anticipated debut album "constant.transition": an eclectic fusion of electronic music with strong influences from dubstep, garage and drum&bass, enriched with captivating jazz elements. This cross-genre work takes listeners on a journey through dark atmospheres and avant-garde soundscapes, brought to life by the artist's complex percussion layers and interesting chord structures.
With great experimentation and a desire to break new ground in electronic music, Beifer has created an album that captures the listener's attention with its unique textures and unconventional soundscapes. Each track is an exploration of musical possibilities, with Beifer masterfully blending a wide variety of genres while creating a cohesive and infectious atmosphere.

The album also features notable collaborations with renowned musicians. Wanja Slavin, Moritz Stahl (Ark Noir/Lyder) and vocalist Enji have collaborated with Beifer to add an additional dynamic and layered dimension to the album. Their unique talents and empathy blend seamlessly with Beifer's vision, opening up new worlds of sound for the listener. Beifer has managed to push the boundaries of electronic music and make an impressive artistic statement with his debut album.

"constant.transition" is the first release on the newly founded tunnel.visions label. Starting as a event-series, the three members of the electronic alternative experimental jazz band Ark Noir have made it their mission to present progressive, contemporary music that includes acoustic and electronic instruments, takes up compositional and improvisational concepts and thus breaks down the boundaries between academic and autodidactic practice.
Over the past year, Ark Noir has featured Beifer several times at concerts and brought the music of "constant.transition" to the stage with live instrumentation. The program was enthusiastically received by the audience.

Some 30 years after they first met in the DJ booth of Tokyo’s Spacelab Yellow nightclub, close friends François Kevorkian and Dimitri From Paris have finally joined forces in the studio. The result is The Nassau Excursion, a dazzlingly good three-track EP inspired by their joint love of disco and boogie-era dance records made at Island Records’ Compass Point Studio in the Bahamas.

Across three essential tracks, François and Dimitri explore and celebrate this distinctive Caribbean post-disco sound – one where weighty basslines and heavy drum machine beats rub shoulders with early ‘80s synths, dub-style production, heady hand percussion patterns and arrangements drenched in space echo and tape delay.

Belgian artist, label boss and DJ, End-jy, glances back at one of his most revered releases to date, the 2003 ‘Red Alert’ EP, originally released on Lupp Records it marked a defining moment, earning widespread support from scene-shaping artists including Carl Cox, Tiësto, Marco Bailey, Dave Clarke and Mark Broom. Long regarded as a personal milestone, the track now returns in renewed form on the artist’s own label as MV08. This forthcoming EP revisits the original with fresh perspective, featuring a powerful remix from Pig&Dan alongside a newly reworked version by Dimitri Andreas and the artist himself, bridging the track’s enduring legacy with a contemporary evolution.

Pig&Dan take the reins first, extracting fragments of the original version of ‘Red Alert’ and reshaping them into a dub tinged, deep techno cut fuelled by circling synth stabs, robust percussion, tension building atmospherics and a driving bottom end. Following on is ‘Red Alert’ (Dimitri Andreas & End-jy 2026 Remix), the pair lay down a deeper, more hypnotic and minimalist interpretation courtesy of crisp, stripped-down drums and oscillating resonant synth flutters underpinned by the original’s dark, dubby aesthetic.

The original version of ‘Red Alert’ opens the flip side, capturing the essence of the underground at the turn of the millennium, the track fuses, gritty stabs with organic percussive elements, hypnotic siren like synths and a subtly evolving feel throughout.

‘Flexibeat’ then concludes the release, a composition that veers into the realms of early Detroit techno and electro via an amalgamation of twitchy synth pops, cinematic strings, saturated 808 drums and murky bass tones.

Already Supported by Jamie Jones, Calao, Amé, Marco Faraone, Timo Maas, Nick Varon, Steve Parry, Just Her, Dax J, Perc, Massimiliano Pagliara, Alex Neri.

Modeselektor kündigen mit "Classics Vol. 1" einen neuen Release samt begleitender Live-Konzert-Tour an.

Mit "Classics Vol. 1" (CV1) veröffentlichen Modeselektor eine besondere Edition, die wie ein musikalischer Lebenslauf funktioniert. CV steht nicht zufällig für Curriculum Vitae. Eigentlich wollten Szary und Gernot alte Tracks aus ihren ersten beiden Alben "Hello Mom!" und "Happy Birthday!" neu aufnehmen. Doch was als Rekonstruktion begann, verwandelte sich fast vollständig in etwas Neues. Eine frische Sammlung von Stücken, die den Geist ihrer frühen Releases atmet, ohne sie einfach zu kopieren. Das Duo blickt zurück und erschafft dabei Zukunft. Tracks wie "KILL BILL Vol.4", "Edgar" und andere Albentitel dienten als Ausgangsmaterial, wurden zig mal auseinander und wieder zusammengebaut, neu interpretiert und dann doch in den meisten Fällen nur als abstrakte Inspiration verwendet. Das Ergebnis ist eine Rückschau, die sich emanzipiert hat. Ein mutiges Experiment, ein gescheiterter Versuch im allerbesten Sinne.

"Classics Vol. 1" schlägt so eine unerwartete Brücke zwischen damals und morgen und fasst alles zusammen, was Modeselektor ausmacht: Neugier, Chaos, Humor und ein unerschütterliches Bedürfnis, immer wieder Neues aus der eigenen Geschichte herauszuarbeiten. Und was passt besser zu Rückbesinnung, neuem kreativen Schub und Energie: Eine Tour. Modeselektor gehen 2026 auf eine ausgedehnte Konzertreise und spielen auch mehrere Festivals weltweit.

LIVE FROM MT. FUJI is a stunning new vinyl from visionary drummer and producer Yussef Dayes, capturing live performances of pre-released and new material featuring Minami Kizuki, as well as Yussef's regular collaborators Venna, Rocco Paladino and Elijah Fox. The project offers a rare window into Yussef’s creative world; a meeting of cultures, rhythms, and spirit inspired by the landscapes of Japan.

Shadow Child’s ‘Say It Now’ is an ode to the Portsmouth producer’s rave-heritage and how it has inspired him.

· Featuring a soaring vocal sample, ravey piano stabs and a dangerous bassline, this is a release that tells the story of Shadow Child’s music journey.

· London Records have pressed four mixes onto wax, including a thumping techno cut from Dusky, a floaty progressive house interpretation from Cinthie and asoundsystem-ready, jungle banger from S.P.Y, as well as Shadow Child’s original mix.

· This 12” features artwork from renowned print artist and designer Jimmy Turrell, who has worked with names such as Chanel, Adidas, Apple, Rolling Stones, Dazed and Chemical Brothers, just to name a few

Der legendäre Italo Disco Hit „Shanghai“ von Lee Marrow aus dem Jahr 1985 feiert sein Comeback – jetzt als streng limitierte Maxi Single auf farbigem Vinyl. Diese exklusive Veröffentlichung vereint authentischen 80er-Jahre-Sound mit modernen Neuinterpretationen und ist ein echtes Highlight für Fans des Genres.

Seite A enthält die Originalversion von Shanghai, die mit ihrem treibenden Beat, markanten Synthesizern und unverwechselbarem Italo-Disco-Feeling bis heute begeistert.

Auf Seite B erwarten euch brandneue Remixe von Saint Tropez Caps, die dem Klassiker frische Club-Energie verleihen und gleichzeitig den Charme des Originals bewahren.

Caleb Caudle’s body of work is shaped from the ground up. His artistry has emerged through endurance and the steady momentum of a life in motion, carrying him from small stages in the North Carolina foothills he calls home, all the way to the Grand Ole Opry. Now, Caudle is entering a pivotal chapter – one of a profound culmination where life and art converge in powerful ways. The recent discovery that he and his wife are going to be first-time parents has added a new perspective, full of the responsibility and wonder that welcoming a child into the world brings. On his new album, Heavy Thrill, this personal evolution mirrors his artistic journey. He takes full creative control, self producing for the first time while recording at the storied Cash Cabin in Hendersonville, Tenn., where reverence for tradition meets his singular artistic vision.

Al Fajer Group was established in Kuwait in 1987, co-founded by four artists: Sima Kanaan (Vocals), Bashar Shammout (Guitar) Jameel Saraj (Oud and Guitar) and Nizar Alyan (Percussion). Al Fajer Group became known for their unique frequencies and the transparency of their sound. The band is rooted in acoustic oud, guitar and percussion and they never used any electronic equipment during their sets. When they were first established they would perform Palestinian patriotic songs, related to the Palestinian liberation struggle. They released their launch album, recorded on reel tapes, during the First Intifada in 1988, after which they began composing and writing their own original music. They were unable to release this due to the Iraqi invasion of Kuwait in 1990, when all the band members were forced to leave the country and could not reunite to release the second album. During the limited time in which they were able to work together, they participated in multiple tours in Kuwait, Iraq, Germany and other locations.
This is the first vinyl release for the band and includes original music, which has not been available until today.


نشأت فرقة الفجر في الكويت في العام 1987 بمبادرة ذاتية من قِبَل أعضائها الأربعة وهم سيما كنعان (غناء) وبشار شموط (غيتار) وجميل سراج (عود وغيتار) ونزار عليان (أيقاع). تميزت الفرقة بأدائها الموسيقي الشفاف والهادئ والذي اعتمدت به على استعمال آلتي العود والغيتار وبعض الآلات الايقاعية المتنوعة وتجنبت استخدام أي آلات كهربائية. اعتمدت الفرقة في بدايتها على إعادة أداء بعض الأغنيات الوطنية الفلسطينية ذات الكلمات الواضحة والهادفة. أصدرت فرقة الفجر ألبومها الوحيد في ظلال الانتفاضة الأولي في العام 1988 ثم بدأت في تلحين أغانيها الخاصة بها والتحضير لإنتاج ألبومها الثاني، لكن لم تتمكن من تسجيله وإنتاجه وذلك بسبب نشوب حرب الخليج عام 1990 في الكويت حيث اضطر أعضائها للرحيل من هناك ولم تعد الفرقة قادرة على الاستمرار. رغم المدة المحدودة جداً التي نشطت فيها فرقة الفجر، إلا أنها شاركت في عدد لافت من العروض والمهرجانات في الكويت والعراق وألمانيا وغيرها.

Repress.

Just one week after the outbreak of the First Intifada in 1987, Riad Awwad brought his sisters Hanan, Alia and Nariman together in their living room and began recording The Intifada album on equipment he had made himself. One of these was co-written with their friend, the acclaimed Palestinian writer Mahmoud Darwish. Riad printed 3000 copies of the cassettes which he began distributing in the Old City of Jerusalem and across the West Bank. The Israeli Army immediately confiscated all the copies they could find, the vast majority of which remain in the military archives to this day. Riad was arrested, interrogated and detained for several months. Straight after his release, he formed a band, Palestinian Union, and put out a new album. He then founded a school, offering kids in the West Bank an alternative musical education, teaching them how to create their own electronic equipment. In 2005, Riad was tragically killed in a car accident. His legacy lives on through his family, his timeless music and his powerful story, which continues to inspire to this day.

Over several years, Mo’min Swaitat has amassed an archive of rare tapes and vinyl from Palestine and beyond. Many of these were acquired from a former record label in his hometown of Jenin, in the north of the West Bank. The Majazz Project is a research project and record label borne out of the archive, focused around sampling, remixing and reissuing vintage Palestinian and Arabic cassettes and LPs, shedding new light on the richness and diversity of Arabic musical heritage.

To celebrate a decade and a half of excavating the hidden treasures of the Polish underground, The Very Polish Cut Outs presents a definitive anniversary compilation featuring 15, mostly unreleased, tracks from the years 2008-2025.
Since its inception, the label has been instrumental in bridging the gap between Poland's rich musical heritage and the modern dancefloor, and this release serves as a comprehensive time capsule of that journey. From early, legendary edits that defined the label to brand-new, forward-thinking productions, the collection showcases the evolution of a label that turned crate-digging into a national cultural phenomenon.
The compilation brings together a heavy-hitting roster of the label's most influential contributors, featuring essential tracks and rarities from artists such as Pejza?, Ptaki, Holiday 80, Skalpel, Etnobotanika and the label boss Zambon. The sonic palette is vast, moving seamlessly from sun-drenched Balearic and dusty disco-funk to the grittier realms of house and breakbeat. It is a celebration of the label's unique ability to transform forgotten melodies from the 70s and 80s into timeless club anthems, while simultaneously pushing the boundaries of contemporary Polish electronic music.
In keeping with the label's deep-rooted commitment to physical culture, this milestone release is a strictly limited, vinyl-only pressing. The amazing artwork is as always, the work of Bartosz Szymkiewicz.

Nach Stereolabs letztem Studioalbum "Instant Holograms On Metal Film" und der Single "Fed Up With Your Job / Constant And Uniform Movement Unknown" meldet sich die Band mit "Cloud Land / Flashes In The Afternoon" zurück. Beide Songs erscheinen erstmals auf 7" Vinyl und digital. Die limitierte 7" im bedruckten Farbcover wurde bislang exklusiv auf ihren Konzerten 2025 angeboten und wird jetzt in kleiner Auflage für den Indiehandel erhältlich.

– "Nach 15 Jahren feiern die Retro-Futuristen ein strahlendes Comeback." – The Guardian

Siren Selector presents the first voyage of Remy Solar, as the producer takes a break from composing sound system exclusive dubs to expand his horizons with this by-turns lush, textured, menacing and plaintive album.

‘Heavy Terrain’ emerges from the depths of a lifetime inside the dub fraternity: reared on a potent diet of Lee Scratch Perry and Augustus Pablo, The Disciples and Digital Mystikz, it’s an album which stuck its head in a bass bin in an abandoned bingo hall in north London before striking out on a musical road-trip to imbibe sounds and rhythms from further afield.

The album opens with the militant drums and ethereal pads of 'Sound in the East' before being bookended by two mixes of 'Star Trail', where unformed musical space and time cross uncharted distances to coalesce into the beginning of direction and rhythm. The lush deep house chords and drilling synths of 'Lila #3' summon ghostly presences, while in its counterpart 'Lila #7' layers of melody rise and hang like mist before dissipating in percussive heat. 'Dakhla's’ swelling and retreating drones fade into swirls of drums. In the eponymous 'Heavy Terrain', off-beat keyboard chops respond to each other from uncertain depths while electronic horns pulse across miles of open space. 'Empty City 'sees walls of sound coalesce and fragment, falling into bursts of white noise.

Remy Solar explores a deliberately constrained hardware set-up to create the primordial conditions of trance, locking down a rhythmic foundation while semi-improvised excursions form and reform above it. It’s an album that takes the listener on a journey between order and chaos, past and future, all the while underlaid by a counterpoint of cavernous bass lines and echoing percussion, yang and yin, shade and light.

As we celebrate 30 years of Ten Lovers Music our first offering of the year is a Various Artist selection called Frisson EP Part 1. Frisson is a medical term for the response you get from listening to music, often referred to as goosebumps or a skin orgasm which is caused by the dopamine released in the brain’s reward centres.
Kicking off the A side we have Sound Signals featuring flautist Han Litz, a superb opener. Following on are Future Jazz Ensemble and Don’t Be Afraid, another track from them oozing quality. Onto side AA and Mike Perras is back with another live track featuring keys, drums, bass and a battling flute and sax on Sweet One. Rounding off side AA is Stefano De Santis with Simple Things, an aptly named track for this music that gives us Frisson.

Toobris has been quietly blowing our minds with his recent demos. Choosing just four tracks took some time, but this selection felt right. Focused, restrained, and built to work on the floor. Very NIX.

“Certain albums hit like howling bullets at pivotal moments, tearing open the face of music to reveal hidden sonic muscles and fusing them back into something both strangely familiar and yet entirely unrecognisable. We believe this is one of those records.”

The double album Death of Music delivers 18 crooked vocal pops, some ruthless, others unexpectedly disarming. In some songs, Ajukaja & Mart Avi function like a two-headed saurus swinging its spiky tail to shady pop-house smackers. In others, Ajukaja's serene organ licks descend into subterranean caverns, allowing Avi to float to the surface on their wavelengths and turn his voice into billions of extinct moths, enslaved by the moonlight’s pull. There are songs that face destruction and those that seek to prevent it.

One kykeon rap goes, “If you die before you die, then when you die, you don't die!”. Ajukaja & Mart Avi have embraced this notion to create new music that allows them to thrive in the algorithmic wasteland. 13 years in the making, these 66 minutes are packed with lifetimes of truths you didn’t know you needed to know. They are Ajukaja & Mart Avi – two against death.

Produced by Ajukaja
Words by Mart Avi, Music by Raul Saaremets
Guitar and Bass by Sten Sheripov (Can’t Touch The Earth, Safe)
Sax by Steve Vanoni (I.D.O.L.)
Recorded between 2011—2024
Mastered by The Bastard
Cover Photo by fs
Sleeve by Marke, Mart Avi
Pressed in Tartu, Estonia

‘Shaking Hips and Crashing Cars’ is the debut album from Wrexham band The Royston Club. The album was recently recorded at the famous Chapel Studios in Lincolnshire, where the band spent two weeks with fast-rising producer Alex Quinn. The album was mixed by Tom Longworth and mastered by Robin Schmidt and released on June 2nd, 2023, due to high demand from our fans we have decided to do a limited edition clear vinyl.

Swallow’s Rose machen Punk Rock für die, die nachts wach liegen. Für alle, die nicht wissen, wo sie gerade hingehören aber unermüdlich auf der Suche sind. Auf der Suche nach Klarheit, Selbstakzeptanz, nach etwas Vertrautem oder vielleicht nach einem Neuanfang… Das neue Album „The Beginning“ beschäftigt sich genau mit dieser Suche und all den Gedanken, Zweifeln und Entscheidungen, die damit verbunden sind.
Inhaltlich knüpft es mit oft persönlichen Texten über mentale Gesundheit an „Downfall“ an, geht musikalisch aber einen Schritt weiter: härter, direkter, druckvoller. Bekannt von gemeinsamen Touren mit 100 Kilo Herz, Massendefekt sowie Festivals wie SBÄM oder Rock The Hill.

Marmoriertes Vinyl (Pink / transparent Magenta), ltd. auf 250 Exemplare.

Two of the UK’s finest party-starters Dub Pistols and the Freestylers team up on ‘Enter The Sound’ to bring you an album of high-grade & high-pressure, bass-heavy cuts. Enter the party, Enter The Sound!

The album is a sonic journey through their diverse influences, blending genres like Reggae, Ska, Breakbeat, Jungle, Hip Hop & Trip Hop. It’s a celebration of their shared musical roots and evolution.
 
The album features an all-star lineup of guest artists, including Johnny Osbourne, Tippa Irie, General Levy, Too Many T’s, Horseman, Belle Humble, Scarlett Quinn, Tenor Fly, MC Spyda, Persona, Harry Shotta  and of course, Seanie T.

This new volume in the “City Music Tokyo” series, curated by Kunimond Takiguchi (Ryusenkei), focuses on Jazz Funk. From among crossover, Japanese jazz,
and soundtrack works released by Nippon Columbia, Takiguchi has carefully selected urban and sophisticated tracks that resonate with his musical sensibility.

Each piece carries a faint scent of the Showa era, evoking words like “night,” “drive,” “dandyism,” “car chase,” “city,” “hard-boiled,” and “man and woman.”

Selected, supervised, and annotated by Kunimond Takiguchi (Ryusenkei).

YonYon's commemorative 1st album ‘Grace’ shines with new brilliance through analog sound－the long-awaited LP release!
This album features 14 tracks in total, including 7 popular songs from the album “Grace”, plus 7 remixes.
Guest artists include KIRINJI, SIRUP, South Korea's leading R&B singer-songwriter/producer SUMIN, PEAVIS, and other artists resonating across generations
and styles. Sound production features top-tier creators active globally, including ☆Taku Takahashi (m-flo), Chaki Zulu, grooveman Spot, and South Korea's
rising producer Slom. The album effortlessly crosses genre and language boundaries, weaving diverse musical elements into a rich soundscape.

After traveling through Mexico, Miami, the Bahamas, and New Orleans, Nishioka recorded his fourth album South American Journey in Los Angeles,
released in 1979. From this album, two of his most celebrated tracks—“GYPSY SONG”, a fan favorite with numerous cover versions, and “NEVER LAND”,
featuring the distinctive sound of steel pans and a Japanese reggae vibe are now being pressed on 7-inch vinyl for the first time in a limited edition!

The recording features members of the So What Review band, including Junshi Yamagishi (guitar) and Osamu Ishida (guitar), along with renowned steel pan
player Robert Greenidge, known for collaborations with Van Dyke Parks and Taj Mahal.
(FLATT THE LAIDBACK)

Kyozo Nishioka Profile
(Born May 7, 1948 – Died April 3, 1999)
Singer songwriter from the Shima Peninsula in Mie Prefecture, affectionately nicknamed “Zo-san”.
After enrolling at Kinki University and moving to Osaka, Nishioka became a regular at the folk cafe Dylan in Namba, opened in August 1969 by Masaji Otsuka
and Yoko Ishimura. Dylan was a gathering spot for folk music enthusiasts from all over Japan.
Nishioka formed the folk group The Dylan with Masaji Otsuka and You Nagai, performing at folk camps and the Nakatsugawa Folk Jamboree. In 1971, Nishioka
left the group, and Otsuka and Nagai continued as The Dylan II. Nishioka wrote and composed the song “Puka Puka” under the pen name Zokyozo, which became
one of his signature works. The song was first released in July 1971 as the B-side of The Dylan II’s single “Otoko rashii tte Wakarukai” on URC Records.
Nishioka began his solo career, releasing his debut album “Dylan nite” in July 1972, produced by Kinji Yoshino on Bellwood Records, which included his own
version of “Puka Puka”. In September 1973, he appeared at the farewell concert of Happy End titled CITY – LAST TIME AROUND at Bunkyo Public Hall in Tokyo.
His 1974 album “Machiyuki Murayuki” was produced by Haruomi Hosono, and his 1975 album “Rokka My Baby” featured support from Shigeru Suzuki’s band
HUCKLE BACK. Nishioka recorded three albums under Hosono’s production, deepening their friendship.
Together with his wife and lyricist KURO, Nishioka wrote songs for artists such as Eikichi Yazawa. The couple traveled the world, recording overseas albums such
as “Nanbei Ryoko” (1977), “Yoh-Sollo” (1979), and “New York to Jamaica” (1981), incorporating reggae, calypso, and other global sounds. In the 1980s, he released
works under the duo name KYOZO & BUN with Yoshifumi Okajima, and in the 1990s returned to solo projects with albums like “START” (1993) and “Farewell
Song” (1997).
After KURO’s passing in 1997, Nishioka continued his musical activities until his own death in 1999 at the age of 50. His music transcended the boundaries of folk,
blending jazz and tropical elements to create a unique world view, leaving an indelible mark on Japanese music history.

From its instructive title to its unapologetic sound, 'Louder, Please' is Rose Gray powerfully - but with quintessential, British politeness - backing herself (who she is, what she wants, and the artist she's always had the potential to become). It's a statement of intent reflected in the record's breadth of collaborators, which span legendary pop kingpins Justin Tranter (Lady Gaga, Chappel Roan) and Zhone (Troye Sivan) to underground electronic heroes like Seda Bodega, Uffie and Alex Metric. Throughout 'Louder, Please' pairs home truths with dance hedonism, summoning not just a transformative night out - the new faces and chosen family, ecstatic highs and crushing lows - but also telling Rose Gray's story: a life lived through club music, and always to its fullest.

Bonnie 'Prince`Billy kehrt am 6. März 2026 mit dem Album 'We Are Together Again' zurück. Das Album ist warm und persönlich und außerdem so angelegt, dass es mit denselben Worten beginnt und endet: 'Why is the lion still here, outside?'

Thematisch ist das Album tief in Louisville, der Heimatstadt von Bonnie „Prince“ Billy, verwurzelt. Es feiert die Kraft von Freundschaft, lokaler Gemeinschaft und gemeinsamem künstlerischem Schaffen. Damit setzt es bewusst einen Kontrapunkt zur Globalisierung und plädiert stattdessen für Lokalismus. Aufgenommen wurde es live im Studio End of an Ear mit lokalen Musiker:innen, Freund:innen und Familienmitgliedern. Jeder Ton ist direkt und unverfälscht – was im Raum passiert, hört man auch auf der Aufnahme. „We Are Together Again“ nimmt die Ängste einer sich verändernden Welt nicht weg, sondern begegnet ihnen mit Harmonie. Das Album erzählt von Zusammenhalt, von der Freude am Miteinander und davon, wie das gemeinsame Fragen selbst zur Quelle von Hoffnung wird."

Bonnie 'Prince`Billy kehrt am 6. März 2026 mit dem Album 'We Are Together Again' zurück. Das Album ist warm und persönlich und außerdem so angelegt, dass es mit denselben Worten beginnt und endet: 'Why is the lion still here, outside?'

Thematisch ist das Album tief in Louisville, der Heimatstadt von Bonnie „Prince“ Billy, verwurzelt. Es feiert die Kraft von Freundschaft, lokaler Gemeinschaft und gemeinsamem künstlerischem Schaffen. Damit setzt es bewusst einen Kontrapunkt zur Globalisierung und plädiert stattdessen für Lokalismus. Aufgenommen wurde es live im Studio End of an Ear mit lokalen Musiker:innen, Freund:innen und Familienmitgliedern. Jeder Ton ist direkt und unverfälscht – was im Raum passiert, hört man auch auf der Aufnahme. „We Are Together Again“ nimmt die Ängste einer sich verändernden Welt nicht weg, sondern begegnet ihnen mit Harmonie. Das Album erzählt von Zusammenhalt, von der Freude am Miteinander und davon, wie das gemeinsame Fragen selbst zur Quelle von Hoffnung wird."

Die aufstrebende Singer-Songwriterin waterbaby aus Stockholm, Schweden, sieht alles durch eine romantische Brille. Das hört man in der Musik der aufstrebenden Künstlerin, die nostalgisch, zart und so fließend ist, wie ihr Künstlername schon sagt. waterbaby wuchs in einer musikalischen Familie auf, von ihrem Urgroßvater, einem Jazzpianisten, über ihren Onkel, der in Clubs arbeitete, bis hin zu ihrem eigenen Bruder, der unter dem Namen tt auftritt. Schließlich fand sie ihren eigenen Weg und Sound und veröffentlichte 2023 ihre Debüt-EP ,Foam" bei Sub Pop. Produziert von ihrem Hauptkollaborateur Marcus White (YG, Anna of the North), enthielt das spritzige, bekennende, gitarrenlastige Projekt die Singles ,911", ,Airforce Blue" und ,Wishing Well". Nach den 2025 veröffentlichten Singles ,Amiss" und der preisgekrönten Zusammenarbeit mit Hannes ,Wish" bereitet sich waterbaby auf die mit Spannung erwartete Veröffentlichung ihres Debütalbums ,Memory Be a Blade" vor. Dunkler und üppiger als ihre EP, entspringt waterbabys neue Musik einem Ort unbewusster Herzensqual, an dem sie über eine vergangene Trennung nachdenkt, während sie kurz davor steht, eine neue zu erleben. White holte ein hervorragendes Team von Musikern an Bord, um dem Sound Tiefe und Vollständigkeit zu verleihen, was waterbabys klassischen Musikhintergrund widerspiegelt. ,Es nahm quasi vor unseren Augen Gestalt an", sagt sie über den nahtlosen Prozess, diese emotionalen neuen Songs zum Leben zu erwecken. Diesmal waren die Texte eher improvisiert, was waterbaby mehr Freiheit gab, das auszudrücken, was sie sagen wollte. ,Ich habe das Mikrofon genommen, ohne zu wissen, was ich tun würde", sagt sie, ,und das ist zum ehrlichsten Ventil in meinem Leben geworden."

Green Arrow Sound System is the DUB sound system from Paris, organising underground parties all around the city and the country. Home-made SUB is the rule here.

The label is directly from DUB DIGGLER, the manager of this project.

StayReo, the official Graphist of Green Arrow, is a major StreetArtist from Montreuil/Paris, as well as a great DJ and party provider

This production is a true Underground Project from Paris defending Street & Sound System Cultures !

NYZ (David Burraston) presents this collection of generative music pieces carefully extracted from a PreenFM2 gifted to him by Aphex Twin. PRN2_M15t is being released at the same time as an LP titled Stria from Dr. John Chowning who invented the original FM synthesis algorithms which were sold to Yamaha and used in the creation of the DX series of keyboards. An interview with Chowning, conducted by David Burraston, will be published at the same time.

David Burraston is an award winning artist/scientist working in the areas of technology and electronic music, operating Noyzelab as an independent art/science music studio since 1981. Numerous research publications include a 2006 PhD thesis Generative Music & Cellular Automata, which developed and applied fundamental new concepts from generative music practice to a key problem in complex systems theory.

His experimental arts practice encompasses field recording, landscape-scale sound art, chaos/complexity, practice-based research, sound synthesis and electronic music. He performs, lectures, conducts workshops and creates art installations in Regional NSW and around the world. David also designs and builds sound synthesizers based on his theories of chaos/complexity science. He was recently interviewed by Bandcamp Daily and The Wire Magazine.

David has worked with many diverse collaborators such as Aphex Twin, Chris Watson, Doug Quin, Russell Haswell, Robin Fox, Oren Ambarchi, Sarah Last, Cat Hope, Garry Bradbury, William Barton, Alan Lamb, MIT Media Lab and the Australian Broadcasting Corporation. In 2014 he independently published the legendary "SYROBONKERS!", the most technical and in-depth interview ever given by Aphex Twin.

Dr. John Chowning (b. 1934) is a pioneering computer musician, composer and professor who, in 1967, discovered the FM synthesis algorithm. This breakthrough in electronic music allowed for simple, yet rich timbres described as sounding "real." With this discovery, Chowning composed singular, dramatic electronic music and changed the timbre of music forever.

Chowning utilized the potential of computers to synthesize sounds according to programmed instructions. The composer's use of his own FM algorithms, digital synthesis with computers and the new compositional concepts offered by a programmable musical structure combine to create some of the most original and unique electronic music ever created.

The compositions on this LP were realized between 1966 and 1981 and the music on this LP, with the exception of Stria, was originally released on CD in Germany (Wergo, 1988). The version of Stria included here contains a section not included on the Wergo CD. Thus, this version of Stria is complete. This is the first time these purely digital recordings have been released on an analog medium. The original dynamics of these groundbreaking compositions have been preserved on this LP. As a result, listeners are advised to increase volume with caution.

In 1975, John Chowning founded the CCRMA - Center For Computer Research In Music and Acoustics at Stanford University. Through Stanford, Chowning licensed his groundbreaking algorithms to Yamaha resulting in numerous new instruments including the iconic DX series of keyboards. In 1972, his composition Tureens which is included on this LP, was the first to create the illusion of continuous 360-degree space using four speakers.

Technical Notes:

All pieces on this LP are originally quadrophonic. The illusion of moving sound sources is thus projected from the surrounding environment given by four loud-speakers on the stereo-basis.

STRIA was composed using Chowning’s own program to compile the musical structure into note-lists and MUSIC 10 (by D. Poole/Tovar) to generate the sounds in software-synthesis. The original quadrophonic version utilized 12 bits, two different sampling rates being used to accommodate the enormous amount of data on the magnetic disc-packs available at that time. The original sound-data was processed by sampling-rate conversion and digital mixes to achieve the stereo version presented on this LP.

SABELITH and TURENAS were synthesized originally using Smiths’ SCORE and MUSIC 10. However, their format was changed from direct sound-samples to a command stream for a special purpose computer, the System Concepts Digital Synthesizer, designed by Peter Samson, one of the first large-scale digital synthesizers for real-time sound processing - one was designed for CCRMA in the late seventies. For this recording the sounds were recorded directly from the synthesizer computing the samples in real-time.

PHONÈ was realized with the System Concepts Digital Synthesizer using again Chowning’s own program to create the note list.

The master tape of this LP was made directly from the computer system at CCRMA which generated and stored the sound data in digital format. No analog recording was involved at any stage of the production and editing process.

'Pretty (Ugly Before)' b/w 'A Distorted Reality Is Now A Necessity To Be Free' holds the distinction of being the last recording by Elliott Smith to be released while he was still alive. Originally released as a single in August 2003, the songs were a part of the recording sessions that would ultimately yield the acclaimed posthumous album From A Basement On The Hill. The two songs serve as a powerful reminder of why Smith became the voice for a dejected generation.

With Late Bloomer, Belgian-Cameroonian rapper, composer and multi-instrumentalist Kunde delivers a work that is both deeply personal and socially charged. The album forms a diptych with his previous release, Dandelion(2024). In Late Bloomer, Kunde pays tribute to his mother, who largely raised him and his sister on her own, using pivotal personal moments as a mirror through which he reveals the world from his perspective.

Composed and arranged entirely by Kunde and brought to life by his live band, Late Bloomer unfolds as a rich, layered universe where jazz, R&B, hip-hop, samba and touches of psychedelic rock intersect. Whereas his first album emerged mostly from the home studio, the new work is driven by live energy, collective interplay and a broader sonic scope. The album is further enriched by guest contributions from Helena Casella, Fred Gata, Okon and Tennishu (US), frontman of the Anderson .Paak-supported jazz-fusion band Butcher Brown.

Late Bloomer cements Kunde's reputation as a storyteller, composer and musical director. The album is both intimate and expansive, rooted in personal history while offering incisive reflections on the human condition. Like his inspirations, ranging from Coltrane and J Dilla to D'Angelo, Don Blackman and Arthur Verocai Kunde crafts a distinctive sound that is at once deeply personal and universally resonant.

Relive the legend of Ys I and Ys II with this sublime symphonic version on vinyl!


The epic arrangements by Kentarô Haneda (known for his compositions on Space Adventure Cobra and Sherlock Hound) reveal the full splendour of the original melodies and pay tribute to the two legendary titles from Nihon Falcom.



The four movements are performed by the King Symphonic Orchestra.



Discover this symphonic suite in a beautiful gold vinyl edition!

POWERWOLF strenghten their exceptional position at the forefront of heavy metal with Wildlive (Live at Olympiahalle), out February 27, 2026, via Napalm Records. Recorded
during the breathtaking sold out show of their Wolfsnächte Tour 2024 in Munich, this is not just a live album – it is a grandiose cinematic experience. Wildlive documents POWERWOLF’s unrelenting rise to the top, showcasing a performance that goes far beyond a metal concert. A cult-like celebration of art, with each song visually reimagined with a changing digital stage set, timed effects, and theatrical elements, Wildlive proves that what POWERWOLF create is beyond music – it is religion.

Here we have two luminaries of contemporary music, vocalist Audrey Chen and iconoclast guitar player Tashi Dorji, who both have proven themselves as key representatives of idiosyncratic music for the past 20 plus years.

Audrey, born into a family of material scientists, doctors and engineers, channeled those family genes through un-processed hyperextended voice, consequently transmutating her family's DNA into her very own sonic language of equal precision, discipline and creative power as her kins' professions.

Tashi, on the other hand, carries the mountains in his spirit: born in Bhutan, Southeast Asia, now residing in Ashville, North Carolina, close to the Appalachians. That earthly power is unmistakably present in his energetic guitar playing, which also incorporates folkloric elements of both his native country, and his homeland since 2000.

Those two strong musical personalities met on stage in the late summer of 2023 at Morphine Raum, Berlin. The fact that it took place in one of the birthplaces of techno music, seems to have pushed their performance towards an industrial, repetitive aesthetic of, at times, almost dancelike quality. However, as the track titles suggest, that classic forward pulsating rhythm, associated with electronic dance music, is bent at their heart's content, as are its appertaining clean melodies gnashed to smithereens.

Becoming Forest is the fifth full-length record by Amuleto. It comes from an encounter between the group’s core duo, Francesco Dillon and Riccardo Wanke, and multi-instrumentalist performer and composer Stefano Pilia (Mike Watt, Rokia Traoré, 3/4HadBeenElminated, Massimo Volume, Afterhours, Zaire).

This meeting — developed from long-term parallel collaborations and converging musical paths — produced a set of tracks that combine acoustic and traditional instruments (cello, guitar, harmonium, voice) with electronics, natural sounds and unconventional sound manipulations.

Drawing on literature, travels, drawings, poetry and little-known traditions from around the world, the tracks of Becoming Forest sit in a subtle equilibrium between contemporary composition, folk themes and electronic music.

This is a journey through memories of the past and echoes of the future — intimate and aggressive; music that combines minimal textures with distorted progressions, with delicate vocal lines inhabiting post-digital, noisy environments — a reminder that individual voices form part of a larger, living forest.