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Music From Memory is thrilled to present ‘Aquáticos’, a captivating new record from Los Angeles producer Eddie Ruscha and Brazilian guitarist Fabiano Do Nascimento. Blending Nascimento’s expressive, Afro-samba and choro-inflected guitar with Ruscha’s cosmic, groove-driven sound, ‘Aquáticos’ marks the start of a vibrant musical partnership—an organic, free-spirited collaboration full of interplay and vitality.

Conceived during the early 2020’s, ‘Aquáticos’ grew from a series of recording sessions in which the music unfolded naturally, in a state of effortless flow. Album opener ‘Nascer,’ the very first piece they recorded, captures such a moment perfectly: Nascimento’s 7- and 10-string nylon guitars weave seamlessly with Ruscha’s modular synths, drum machines, and vintage keyboards. Like much of Ruscha’s work under Secret Circuit and E Ruscha V, it is rich in lush, rhythmic textures—pulsing and bubbling with vibrant energy.

The initial session that produced the opening track set the tone for the record, establishing a template of intuitive interplay and musical freedom. Each subsequent session built upon the last, gradually shaping ‘Aquáticos’ across nine tracks, all characterized by melodic richness, rhythmic depth, and an unshakable sense of spontaneity.

‘Aquáticos’ pulls the listener gently into a celebration of musical conversation — a radiant, immersive journey where Ruscha and Nascimento’s instruments breathe together, echoing the joy, curiosity, and playful spirit that define their collaboration.

Sleeve art and design by Michael Willis.

The very special return of Boo Williams on Rush Hour. A trip from the Strictly Jaz Unit member that reflects on the sound that has been and where it's going.

Timeless house music from Chicago that draws heavily on Boo's styles and influences from the past, fusing it into a completely idiosyncratic style that is paying tribute to past yet simultaneously looking to the future. Delving very deep without losing form for the dancefloor. A timeless addition to the vast catalogue of heavy classics by Boo!

KSmooth da Programma delivers the “KSmooth Groove” Deep House (EP) Recorded & Mixed at StressFree Studio, Chicago IL.

A companion piece to the album, Right Now!, this collection contains additional recordings from those sessions, as well as remixes and reimaginings of songs from Right Now! All songs, except for “Reap What You Sow,” have never been released. The psychedelic improv supergroup featuring Dave Alvin and Victor Krummenacher (Camper Van Beethoven, Cracker, Monks of Doom, Eyelids), David Immerglück (Counting Crows, John Hiatt, Monks of Doom, Camper Van Beethoven), drummer Michael Jerome (Richard Thompson, Better Than Ezra, John Cale), and singer/songwriter Jesse Sykes (Jesse Sykes & The Sweeter Hereafter) continues to defy expectations and genre on Spellbinder!

This is the first release from the label, signed by Lukio (aka Luciano Gentile).

Four tracks built around a constant sense of depth and a clear focus on the dancefloor. The approach is straightforward: solid grooves, controlled saturation, and a sound palette designed for long sets and proper systems.

MPC-driven drums provide a strong backbone, while Blofeld pads and the vintage character of the Yamaha TQ5 add texture without cluttering the mix. The EP moves between minimalist passages and rougher, tech-driven sections, maintaining tension and cohesion throughout.

This record sets the foundation of the project: hardware-driven sound, deep dancefloor functionality, and a long-term vision.

B. Chamber (Stratum A), by B. Close, is the first full length solo release by Los Angeles-based multi-disciplinary artist Brian Close. The first of two volumes assembled from some thirteen hours of music produced by Close while residing in Connecticut from 2021-2025, B. Chamber (Stratum A) offers a vivid, fractal afterimage of a prolific, specific time and space in the artist’s oeuvre.

After leaving New York City early in the pandemic to a farmhouse in the countryside with dedicated spaces for multiple sound stations, Close developed an intensive daily practice of melding with the machines. The vast, pastoral backdrop of rural CT provided inspiration and contrast for his ongoing investigations into dynamic, poly-rhythmic electronic music. The sounds on B. Chamber (Stratum A) range from the machine-modeling of acoustic instruments and natural environments to the utterly unhuman, spinning on the axis between crystalline, pointillist precision and shifty blown-cone distortion. Close’s atypical interpretations of rhythm, noise and other undefined musics land in a hybrid zone of their own.

Throughout B. Chamber (Stratum A), Close’s productions are in perpetual motion. Foxtrot’s shifting hi-hats and disembodied voices rise like cicadas propelled by glitching machines and tangled rhythms, Many Drive draws momentum from dubby stabs and twinkling atmospherics. Character Community’s nimble, drifting snares and erratic static are uplifted by swelling synths, and Mpan’s modular mining forgoes drums but is no less propulsive for it. Acre Voices’ seasick pads and deft drum patterns tap an energizing nerve, and closer 5D Bow’s ambush of pummeling machine gun fire spirals into the tryptamine palace and emerges completely rinsed and refreshed.

Equally powerful in the club as in the outdoors, in the headphones eyes closed or on the move, B. Chamber (Stratum A) grants an immersive temporary trip on B. Close’s unique wavelength, with Stratum B to complete the picture in the summer of 2026.

RIYL - Mark Fell, muay thai, Vladislav Delay, gaming, Errorsmith, modular synthesizer.

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Brian Close (b. 1979, NYC) uses the cold logic of mathematics to trigger states of total sensory displacement. Close co-founded multiple AV studios to explore the "hypnotic"—a ritualistic practice of motional-graphism and improvisational sound. His work is a study in synesthesia and the architecture of trance, using geometric precision to dissolve the sense of time. It is a digital-visceral experience built on heavy logic, designed for large-scale immersion and timelessness.

Close is one half of Georgia who have released records on Palto Flats, Firecracker Recordings, Meakusma, Youth, OOH-Sounds and EM Records, and have a long-running residency on NTS.

B. Chamber was written, produced and mixed by Brian Close.
Mastered by Rashad Becker.
Artwork by Brian Close.

Die 1993 in Oxford gegründete Band Supergrass, Gewinner der BRIT Awards, Q Awards, NME Awards
und des Ivor Novello Awards, zählt zu den einflussreichsten Bands der 1990er Jahre. Sie verkaufte mehrere
Millionen Tonträger, landete sechs Top-10-Alben und zehn Top-20-Singles in Großbritannien. Ihr für den
Mercury Prize nominiertes Debütalbum „I Should Coco“, das Platz 1 der Charts erreichte, katapultierte
sie ins Bewusstsein der Öffentlichkeit, nicht zuletzt dank ihrer Nummer-eins-Single „Alright“ aus dem Jahr
1995. Die Band feierte das 30-jährige Jubiläum ihres legendären Albums „I Should Coco“, das neben dem
Welthit „Alright“ auch die Fanfavoriten „Caught by the Fuzz“, „Lenny“ und „Mansize Rooster“ enthält.
Um dieses Jubiläum gebührend zu feiern, kam die Gruppe für eine Welttournee wieder zusammen. Im
Mai 2025 spielten sie unter anderem eine ausverkaufte Tournee durch Großbritannien und Irland (mit drei
Konzerten im Londoner Roundhouse) sowie Konzerte in Australien, Südamerika und Nordamerika. Sie
traten auch auf mehreren großen Festivals auf, darunter dem legendären Glastonbury Festival.
„I Should Coco“ ist jetzt als schwarze LP mit bedruckter Innenhülle erhältlich.

“Behind the Noise“ marks a powerful new chapter in Aleqs Notal’s musical journey.It's a declaration, a rupture and a surge of heat aimed straight at the dance floor and the soul, engineered to move thebodies and the foundations.The E.P. includes 4 tracks sculpted with a cutting-edge groove that fuses the weight of dub, the propulsion of DetroitTechno, and the warmth of House Music into one timeless movement.In an era drowning in gloss and shallow repetition, "Behind the Noise" rises as a manifesto for honesty, for the craft andfor music that dares to makes you feel and meditate.Through his music, Notal is urging us to listen deeper, to move with clarity, and to remember what lies beneath thesurface.Behind the Noise, there is truth..and it hits hard!

Further exploring his signature darker peak-time Cocktail D'Amore sound with highly effective collages of samples and added elements, Trent comes on strong at 127BPM with "BB Disco" on the A side, a disco percussive heavy 8 minute galloping excursion with an array of trippy layers, guitar and sound effects. B side goes more in the cosmic hole chugger realm with two hypnotic tracks at 111 and 106 BPM. Big sounding club tools ood for the healthy DJ bag, mastered at man made mastering.

Kiva, the first and only album from Royce Doherty and Paul Mac’s duo project of the same name, is a sparkling gem hiding in plain sight within the Australian musical canon. Originally released in 1997 by id/Mercury, Kiva offers up a collection of timeless queer pop songs draped in dreamy ambient, downbeat and dub sensibilities. The music is the product of a serendipitous meeting of minds between two young music obsessives who crossed paths in Melbourne in mid ‘90s. It’s also a perfect evocation of the futuristic techno-utopian impulses that supercharged the global electronica counterculture during the race towards the 21st century. “I never had these big diva plans or anything like that,” Royce reflects. “It just sort of evolved that way.”

Nearly three decades after the fact, Royce and Paul remember Kiva as a golden moment of creative synergy. “When I listen back to this album now, it’s got such a vibe and feel that’s really its own,” Paul enthused. “There's so much of our version of dub on this record. It’s beautiful hearing Royce's core song ideas stretched out to eight minutes of trippy, acid kind of moments set over slow breakbeats and stuff. It felt so fresh being able to have this elastic sound, pull songs apart and stretch them into space.”

Originally released in 1997, this CD has been gracing select chill-out rooms, and queer afters-sessions ever since. With a loving remaster by Mikey Young, this infrequent discogs pop-up is now yours to own on vinyl for eternity (born). This is a Vinyl Only Release

The Venetian Orchestra strikes again, this time with "Señora" on the A side, an extended new take on Victor “Il Pirulli’s” rendition of “Señora”, kept in secret for years, but a track that few lucky ones might have already heard on certain DJ Harvey sets over the last recent years. Skilfully encapsulating the Balearic juices of the original while still giving it a playful full bodied new sound, sitting somewhere in between the categories of a remix and cover version with a newly made instrumentation, pure drama!
B side shifts the listener into a slower gear with a Gypsy Kings downtempo classic “Caminando”, stretching it out into dreamy mediterranean bliss, a chuggy dub atmospheric re-work of a Flamenco love anthem. Limited quantities, buy on sight.

Swiss DJ and producer Audrey Danza returns with Next Stop, her first self-released vinyl EP on her own imprint, Proxima. The four-track release sharpens her sound into a direct, club-focused statement rooted in acid techno.

Each track is carefully engineered for the dancefloor. Driving acidic basslines and distinctive percussion interlock with warped, spacey textures to form forward-moving, high-pressure grooves. Processed vocal fragments punctuate the tracks, heightening tension and momentum. The EP moves through trippy, mental territory, balancing functional DJ tools with off-kilter details and strange sonic flourishes.

Built for movement and momentum, Next Stop works equally well in late-night warehouse settings and peak-time club moments.

Die Ende der 90er Jahre gegründete Band Unwed Sailor aus Tulsa macht einen einzigartigen Bass-lastigen Instrumental-Pop mit Post-Rock-Elementen, der zwischen knallharter Härte und luftiger Melodik schwankt. Seit sie 2019 nach einer zehnjährigen Pause zurück sind, haben sie mit ihrer kreativen Energie und dem Mischen von Genres ihre bisher besten Werke rausgebracht, darunter "Mute The Charm" (2023), "Underwater Over There" (2024) und "Cruel Entertainment" (2025). Für ihr elftes Album, "High Remembrance", brachte Gründungsmitglied Johnathon Ford eine Reihe von zu Hause aufgenommenen Entwürfen, Demos und Hooks ins Studio, wo sie unter der Leitung der langjährigen Mitstreiter Matt Putman (Schlagzeug) und David Swatzell (Gitarre) unter dem Motto Nostalgie und dem bittersüßen Trost der Erinnerung zum Leben erweckt wurden. Auf den acht Tracks des Albums gibt's Anklänge an den alternativen Rock der Blütezeit, die AM-Radio-Attitüde der späten 70er Jahre und die ekstatische Unbekümmertheit der New Wave, neben anderen Einflüssen, die sich einer einfachen Kategorisierung entziehen. Die Lead-Single ,West Coast Prism" verbindet einen unvergesslichen melodischen Hook mit optimistischen Drums und einem klirrenden Arrangement, das sich in einen treibenden, farbenfrohen Refrain verwandelt. Getreu seinem Titel erinnert der Song an weißes Licht, das sich in ein Spektrum aufspaltet, während weitläufige Synthesizer und sanfte Backing Vocals eine Aura melancholischer Glückseligkeit schaffen. Ford nennt treffend ,eine tiefe Vorliebe für das Meer, das Surfen, die Redwoods und die felsige Küste von Oregon" als spirituellen Hintergrund für seine Umgebung. Inspiriert von der Art und Weise, wie Erinnerungen die persönliche Identität prägen, könnte ,Don't Let Go" mit seinem straffen Tempo, seinem knackigen Ton und seinen schwindelerregenden Gitarren ein verlorener Alternative-Radio-Ohrwurm sein, während die täuschend einfache Rhythmusgruppe und seine glitchige Elektronik ,The Longest Day" fest in der Gegenwart verankern. ,Cinnamon" stellt wunderschön arrangierte Akustikgitarren-Gegenmelodien in den Vordergrund, zusammen mit Schichten subtiler Details, Chorstimmen und entspannten, hohen Bassgitarrenklängen. Laut Ford ist der Song ,eine Hommage an die Country-Musik der 70er und 80er Jahre, die die Familienausflüge in die Wüste begleitete, als ich ein Kind war", wobei Townes Van Zandts ,Pancho and Lefty" ein besonders bedeutender Ankerpunkt ist. An diesem Punkt in der bewegten Karriere von Unwed Sailor findet Ford einige seiner stärksten Inspirationen darin, darüber nachzudenken, wo das Projekt begonnen hat, während er es ständig mit neuen Ideen, Arrangements und Genre-Einflüssen vorantreibt. ,Es geht darum, an den Dingen festzuhalten, die man am meisten liebt", sagt er, ,einschließlich sich selbst." Sein akkordbetontes Bassspiel zieht sich wie ein roter Faden durch die Alben der Band und verleiht jeder neuen Sammlung eine vertraute Ernsthaftigkeit und Wärme.

Yamila presents her second album on Umor Rex, Noor. Following Visions, Yamila returns with a work that merges nature-experience listening with expansive musicality. Noor was born from her time in an ecologist community, where she sought refuge in stillness, learned from animals, and tried to forget the human. In this communion with nature, she discovered a new compositional approach: reducing acoustic noise to allow unheard voices to emerge, transforming music into a possibility for interspecies dialogue.

Since ancient times, sound has been used to care for herds, to call across distances, to communicate with the non-human. Noor reimagines that ancestral role in a contemporary language, where epic harmonies collide with delicate micro-tonalities, and where rhythm unfolds not only as pulse but as movement for the body, a natural extension of Yamila’s work with dance companies and choreographers.

Her voice is interwoven with electronics and the resonant strings of Echo Collective, creating sonic landscapes that radiate intensity and fragility. At times monumental, at others almost whispered, Noor oscillates between composition and spontaneity, structure and suspension.

The album unfurls as a dialogue between the organic and the artificial, where sound grows like a sprout breaking through hard soil. Yamila’s music here is not only to be heard, but to be inhabited: a choreography of air, vibration, and resonance. Noor is both shelter and revelation, a reminder that music can still be epic, luminous, and deeply human, while listening beyond the human.

All music and voices by Yamila Ríos. Recorded at Destelheide by Christophe Albertijn. Strings by Trio Echo Collective (Violin: Margaret Hermant, Viola: Neil Leiter), (Cello: Stijn Kuppens), (Arrangements: Pierre Slinckx). Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos by Assiah Alcázar. Design & layout by Daniel Castrejón.

Narthex means railed-off western portico or ante-nave in earty Christian churches for women, penitents and catechumens.

Narthex is also a trio featuring (at the beginning) Daniel Denis (Universe Zero, Art Zoyd), Alain Neffe (Pseudocode, Human Flesh, Bene Gesserit) and Nicolas de Villemarqué (Nuwage Music). They had a very different musical background, mostly electric-electronic rock, and decided to work in the field of acoustic music recorded live (two microphones + portable DAT) in churches of their area. After several recording sessions, Nicolas de Villemarqué decides to leave the group. ln order to complete the trio, Daniel Denis and Alain Neffe ask the participation of some of their friends. Anna Homler, Michel Berckmans and Daniel Malempré have accepted the challenge and succeed to fit into their musical universe.

The instruments Church organ, harmonium, sitar, saxophone, oboe, bassoon, zither, valiha, senzas, tarang, voice, percussions, metal clarinet, classical guitar, mew's harp, ongolok, violin, dulcimer, mouth organ, etc.

The music Often dark, sometimes repetitive or experimental, sometimes rhythmical and exotic, always based on emotion inducted by the sound. One could define it as dark age music (as opposite to new age music), a sort of minimal come back to the roots and purity of acoustic sound without the cultural background linked to the 'academic' use of some instruments (for example African senzas are transformed and tuned to sound like Indonesian instruments, sitar or harmonium are used as rhythmical instruments, vahilla is played with a bow).

The places Churches located in an area of 20 kms in the region where Daniel Denis and Alain Neffe live for years and where they feel at home (and feel the vibrations. Every church, place emotionally loaded, has its own specific resonance and sound structure. Every church gave to the musicians a particular inspiration and fill the sound of the instruments with a natural reverberation/echo. The place but also the moment is important. They had the privilege to be allowed to record in the Ecaussines church at night lightened only by candles. lt was one of their most productive recording sessions.

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.

James Ruskin's Blueprint Records continues its 30-year celebrations with a new EP by Kr!z who returns with his fourth EP for the label. Kr!z made his Blueprint debut in fine style with his "Neutrino EP" in 2022 and went on to deliver the "Revelation EP" in 2023 and "Horo EP" in 2024 so it's fitting that he's back to join in this landmark label anniversary.

Kr!z has been at the forefront of techno for more than a decade. Influenced by the hypnotic and energetic sound helmed by veterans such as Jeff Mills, Steve Rachmad and James Ruskin, he gradually but steadily developed his own identity in the international techno scene.

After making a name for himself as a skilled DJ with sharp focus and a quick mixing style in home country Belgium and the Netherlands, Kr!z launched Token Records in 2007. It has since been a leading outlet for heady, purist sounds. He rapidly established the label as a fixed value with a timeless and powerful sound and took it around the world with label nights on every continent. Token remains important in defining techno today - always straightforward, sometimes weird, often catchy - all under the helm of Kr!z as avid A&R.

After 12 years spent assiduously focused on curating the Token discography, showcasing artists he has nurtured and supported over this time, and incorporating the connoisseur's knowledge and experience he has cultivated in his work as a DJ, in 2019 he released his own debut EP "Mantra" on the label, earning high acclaim from both media and key DJs. Since then, he has continued to develop a strong body of work, regularly releasing on the influential Blueprint Records and SK_eleven alongside his own Token imprint, and producing aseries of notable remixes. This steady output has established him as a key figure within the techno landscape, recognized for both consistency and artistic depth.

Kr!z's latest Blueprint EP "Footprints" is released 13th March on vinyl and digitally.

The roots of Studio Music lie in a special encounter between sound artist Jan D’Haene and visual artist Mark Manders. Recorded in Manders’ studio, where sounds resonated among the artworks, the music unfolded in dialogue with the imposing space. As the concluding part of a diptych, following the EP Études, this album evolves more slowly and with greater layers. It forms a dialogue with D’Haene’s introspective passages and invites a moment of pause and stillness. In doing so, the music embodies the tension between vulnerability and strength, between the individual and the universal.

Soft Echoes presents the first physical edition of ‘In a Few Places Along the River’ by Abul Mogard as a limited run of 500 vinyl copies. Originally released digitally in 2022, the album now appears in its intended form, marking the label’s second release.

Three long pieces, composed between 2019 and 2022, emerged from Mogard’s meticulous experimentation with analogue and digital instruments. Slowly evolving harmonic fields of layered drones and spectral textures drift across the record. They are enhanced by reverb from Scotland’s Inchindown oil tanks, which hold the longest reverberation of any man-made structure, giving the music a haunting resonance and a sense of suspended space.

‘Against a White Cloud’ and ‘In True Contemplation’ open the album with their nocturnal tones that gradually intensify into dense, immersive waves of sound. Side B is devoted to the 21-minute elegiacal piece ‘Along the River’, which flows between weight and silence, unfolding with reflective depth and moments of subtle transcendence. As one listener observed, “His music doesn't break the wilful suspension of disbelief: you stay in its trance.”

“Recording for this album began in 2019, when I was still living in London,” Mogard explains. “The first version of ‘Along the River’ was created at my studio near Brick Lane. It started with experimenting around a chord progression inspired by a classical piece I had once been recommended, though, strangely enough, I no longer recall what it was. Early in 2022, I revealed the identity behind Abul Mogard and wanted to mark this new period, so I decided to release it quickly, by myself, as digital-only.”

After returning to Rome, Mogard created the other two pieces, working with new digital instruments alongside his modular synthesiser, and integrated recordings from the London sessions. The music reveals a patient attention to texture and space, defining his usual restraint. Mogard adds, “I was trying to explore very subtle changes in the spectral characteristics of the music using extremely slow, intertwined tones.”

Described by critics as one of Mogard’s most melancholic and absorbing releases, the album maintains an austere beauty and contemplative weight, leaving a lingering impression that lasts far beyond the final note.

The music has extended beyond the album itself, with tracks appearing in films and contemporary artworks. Most notably, Swedish artist Peder Bjurman’s ‘Slow Walker’ audiovisual installation and French filmmaker Fleuryfontaine’s politically charged animated film ‘Soixante-sept millisecondes’.

Mastered by Rafael Anton Irisarri and cut to vinyl by Lupo, the record emphasises the clarity and depth of Mogard’s frequencies, with each layer precisely balanced. The cover artwork and design are by Marja de Sanctis, who has collaborated with Abul since his first cassette release in 2012.

In the ever-evolving yet foundational landscape of instrumental groove music, F-Spot Records is proud to debut "Monkey Part 2 b/w Lully" from up-and-coming, multi-faceted keyboardist and composer Max Naseck. Raised in Dallas, Texas, but having worked throughout the Los Angeles music scene for almost a decade, Max Naseck, joined by guitarist Brandon Bae and drummer Julian Allen, brings his new trio project to life. After chasing this sound and style of playing for several years, Appropriately given the name "The Left Hand of God" by some of his musical peers, Max takes the classic soul jazz trio setting of holding down both the bass and melody elements and moves them to a unique combination of funky Moog synth (Key bass) and a Wurlitzer 200A electric piano. This 45 provides a fresh yet retro sound that is sure to leave listeners grooving and locked in.
From the first notes and tight 4-on-the-floor rhythm, "Monkey Part 2" kicks off the A-side with a unique psychedelic blend of soul, funk, and a touch of disco. With Allen's groovy touch, Naseck perfectly locks in with his left hand, followed by Bae's precision-picked electric guitar, which completes the trio's solid groove, further propelled by Naseck's right hand taking the melodic lead. Then on side B, "Lully" brings the tempo down to a more soulful, atmospheric blend that's equal parts Khruangbin & modern jazz pioneers, a la John Scofield. Recorded live together in one room, Max brings his strong compositional style to the table, showcasing how three musicians can interact in a playful, melodic, and groove-focused way.

Denver Cuss presents her first 7" single release and her debut with UK independent label LRK Records.

'Crossed My Mind' backed with 'You Don't Get It' is out on streaming services on the 30 January, with the 7" out on the 27th February. It follows her 2024 album 'Leaving Me', which was described as "a nostalgic masterpiece" - Sommer Zeit magazine, earning a feature in Rolling Stone Germany, and a series digital singles, which have been played on the Craig Charles Funk & Soul Show on BB6 Music as well as Noble & Heath's Soho Radio show.

Denver is an Irish, London-based musician and producer, who makes classic R&B and Soul-influenced music, having graduated as the prize-winning jazz vocalist from the London College Of Music. She has since stepped into a world of live and session singing, alongside her solo project, delving deep into girl-group harmony, Northern Soul and classic Rhythm and Blues.

For this release, she captures the essence of '60s record-making, working with collaborator/producer PM Warson and engineer Ed Deegan at the all-analogue Gizzard Recording in East London. Backed by some of London's finest young musicians, she cut her vocal live, bypassing the trend for layered productions and imitation, in favour of a direct, live and soulful approach, direct to tape. The result is two of the most authentic '60s Pop/Soul sides you're likely to hear this year

Twenty years ago, ILL BILL released “What’s Wrong With Bill?”, a raw, unfiltered snapshot of where his mind was at during a dark, creative and transformative time. Chaos and clarity in musical form, a record built from trauma, truth and the New York streets that raised him. He never imagined it would become what it did: a cult classic with a revered mystique that continues to be quoted and debated 20 years later. This album captured ILL BILL at his most urgent, most aggressive and most alert to the madness around him.

For the first time in two decades, “What’s Wrong With Bill?” is being reissued on 2LP vinyl, a complete capsule including an alternate variant cover, 20th anniversary commemorative OBI strip, and, for the first time ever, a cassette edition, alongside a remastered limited edition CD. This is more than nostalgia, it’s encapsulated arcana, proudly representative of an era when Hip Hop was dangerous, fearless and alive. This one is for the true believers who never forgot.

Celebrating the first year of ‘NOW That’s What I Call Music’ – 1983. ‘Now Yearbook’ presents a stellar selection of 1983’s biggest and best hits… 80 huge chart hits from the year, alongside enduring and well-loved classics on 4 CDs. 1983 saw British artists achieving unprecedented success across the world with ‘Every Breath You Take’ from The Police being the year’s biggest seller in the U.S., and ‘Karma Chameleon’ from Culture Club being the top seller in the U.K. Breakthrough acts, achieving their first big hits – all here – include a staggering line-up of future superstars: U2, Eurythmics, Wham!, Paul Young, The Style Council, Marillion and Thompson Twins, to name a few..' Released on a LTD 4CD SET: This will be a limited run of 5000 4CD units housed in ‘hard-back book’ packaging and featuring a 28-page booklet that includes an overview of the chart music of 1983, a track by track guide including chart stats and fun facts, a selection of original picture sleeves and a quiz. 2CD Standard set and also a limited edition of 3000 units, pressed on 3LP translucent red vinyl...

‘Call To Arms & Angels’ is the title of the twelfth studio album from South London collective Archive.

 A 17-track double CD / triple LP recorded at RAK studios in London and released on
Dangervisit/PIAS.

 Deluxe editions of the album also include a bonus ‘Super8’ album of new and
exclusive instrumentals, as featured in the band’s ‘Super8’ documentary that will
accompany the release of the album.

 Produced by Archive and long-time collaborator Jérome Devoise, ‘Call To Arms &
Angels’ is the band’s first studio set since 2016’s ‘The False Foundation’.

 Talking about the new album, Darius Keeler says, “Writing our twelfth studio album
was an extraordinary time for the band. The song writing became an unfolding
narrative as the world got stranger and more disturbing every day. With people’s
freedoms being pushed to the brink, the suffering Covid caused and the terrible
events in the US lead by Trump and the rise of the Right, anything seemed possible.

 “To reflect on these times as artists brought up a darkness and an anger, but also a
strange kind of inspiration that was at times unsettling. It really made us appreciate
the power of music and how lucky we are to be able to express our feelings in this
way.

 “It seems there is light at the end of the tunnel, but there are always shadows within
that light.”

 Deluxe 2CD album plus ‘Super8’ bonus CD in 40-page casebound Polaroid
bookpack.

 2CD album.

 Deluxe vinyl box set with white coloured vinyl 3LP (exclusive to this box set), ‘Super8’
bonus LP on white vinyl (exclusive to this box set), deluxe 3CD with Polaroid booklet
and 12” x 12” art print.

 Triple LP on gold vinyl in triple gatefold sleeve.
 Triple LP on green vinyl in triple gatefold sleeve.
 Triple LP on black vinyl in triple gatefold sleeve.

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.

The games continue! LEGRAM VG links up with Rubber Ducky Records as four noble producers enter the arena for another round of sonic warfare. A-side sees Lyon local hot off the press - Kiss The Future firing swaggy bolts straight into the future with “Crack Crack Crack”, while Kitchen Plug keeps the hotline sizzling with bat-signal energy direct from The Batcave. Flip it and Swin rolls in heavy with the chunky weapon “That Will Be Nice”, before Palorim tosses a cosmic coin on “Heads or Tails”, sealing the round with an electro-tech-house bomb.

Placid aka Paul Wise is the operator in chief at ‘We’re Going Deep’ – an online community and record label born out of a lifelong love affair with the many shades of electronic rhythm, and an obsession for collecting records since 1988. With a mission to share and release new music via his We’re Going Deep and We’re Going Back imprints, you’ll find only the best in underground Acid, Electro, IDM, Techno and House for the dance floor and your listening pleasure.

Up next in the label series, We’re Going Deep is excited to welcome 4 tracks of fresh material from pivotal electronic music maker Gerard Hanson, under his much prized E.R.P. alias. Renown for keeping his profile below the radar and letting the machines do all the talking for him. Hanson’s work as a producer has been much coveted since his debut back in the mid 90s as Convextion. Hailing from Dallas, Texas, he has become something of a hero in the underground Electro community. His work as E.R.P. has left a huge impression on labels such as Frustrated Funk, Bleep43 and Semantica over the years. Renown for his distinctive shimmering machine funk aesthetic, he ably summons the outer reaches of deep space listening thanks to his innate mastery of brooding, sci-fi soundscapes that few can equal.

Following releases for Apnea and Synchrophone, Hanson lifts off with a heartfelt tribute to our recently departed friend James Baker on ‘One4ReKab’. Ascending with the pulse of a steady kick drum, precision snares take hold as whispered vocals seep in and out of consciousness. Underpinned by trademark angular bass tones, soaring strings inject a deep sense of foreboding as all the parts fuse with a fierce glow. Stepping things a notch back as the sonic trajectory levels out, ‘Onward’ takes a more contemplative stance in a fusion of hypnotic drum programming that leads the fray whilst subtle arpeggios flow, all whilst wistful melodies wind you in.

Over on the flipside, Hanson revisits his 2008 composition “Multipole Vector” to launch yet another interstellar cruise by mission in the shape of “Multipole Vector II”. Leading with the simplest of bass progressions and metronomic beat programming, twinkling synth elements reach across the void as chords sweep to and fro to powerful effect. Ending out on the uplifting yet almost IDM inflected tones of “Self Unemployed”, this low tempo air rounds the EP off on an equally captivating note filled with playful charm, that makes this collection of music all the more pleasing.

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.

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.

Audial is a party in Leeds that has made great moves in recent times and has become an essential night out for those who like heady underground sounds. It now takes the natural next step by branching out with a new label and a fresh VA to kick it off. City mainstay Keefy G serves up the first cut 'After Diz' - a raw, gritty garage house slammer with naughty bass. Joejoemojo's 'Moneymaker' spins out on dusty breaks and warped low ends that bring the filth and on the flip Kerouac drops the late night and eerie tech of 'Broken' with bleepy synths and sultry spoken words. Geeson3003 shuts down with a rework of a Streets classic that hits hard with a UKG twist.

Inner Creatures was the sophomore album from Irish producer and bass player Peter Vogelaar and now some of its key cuts have been remixed. The seasoned Charles Webster flips 'Mindless Youth' into a simmering piece of deep and organic house with wintery melodies that have already been getting support from big names like Black Coffee and Kolsch. As well as his dub, the Get Down Edits crew offer up some lush, gentle disco delights on their rework of 'Stole' and 'Inpulses' brings more layered harmonics and elegant strings before a new edit of 'Fantasy Lines' ends on a warm, cuddly vibe.

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

“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

Critically acclaimed Death Metal force TEMPLE OF VOID return with their new album, The Crawl. The caveman brawn of previous albums, namely Summoning the Slayer (2022), remains, but there’s a wider dynamic on the group’s fifth full-length album at play. Now a quartet—featuring guitarist Alex Awn, drummer Jason Pearce, vocalist/guitarist Mike Erdody, and bassist Justin Malek—the Michiganders aren’t shying away from their non-metal influences, seeking greater integration of grunge and post-punk with their brutish signature. Singles “The Crawl” and “Soulburn” demonstrate the proficiency of TEMPLE OF VOID's death-cloaked, spearheaded attack. From the high intensity of opener “Poison Icon” to the granite wall of “The Twin Stranger,” The Crawl isn’t just TEMPLE OF VOID evolved, it’s a harbinger of death metal to come. “The biggest shift for me on this record was not feeling like we had to fly the ‘death-doom banner’ as part of our identity,” says Alex Awn. “Death-doom, as a genre, gave us something to anchor our sound around when we started. It was always a reference and touchstone. At the same time, we always wanted to make sure we had our own spin on it. We’ve always been adding to the conversation, adding to the genre, giving our point of view. A huge part of what makes a Temple of Void record is the non-death-doom influences that make up our DNA. And on album five we never once asked ourselves, ‘Do we have enough death metal? Do we have enough doom metal?’ We simply wrote a heavy-ass record—let the chips fall where they may.” For lyrics, Erdody built on the psychology and fear themes of Summoning the Slayer. The overarching theme of The Crawl is, put rather simply, an “allegory about life, choices, and consequences.” It’s a qualitative view on the horrors of the human condition and the contemplation of our monstrous capabilities. “The Twin Stranger,” for example, is about being stalked by a person’s doppelganger; “Godless Cynic” draws on a short story by sci-fi author Harlan Ellison; and “Poison Icon” tackles the crushing effects of mankind’s intrinsic nature to deceive and control.

Taupe’s latest album release, waxing | waning delivers jazz experimentalism, ‘skronk’, avant-rock, and electronics, by the Glasgow-based trio, due out via Minority Records. Across its seven tracks, waxing | waning captures Taupe’s approach – bold and boundary pushing – shaped by a fresh shift in the band’s dynamic and compositional approach.

Taupe’s waxing | waning, co-composed and realised by its players in a studio that was once an undertaker’s premises in Glasgow, is an absolutely affirmative album, an act of cultural defiance in desperate times.

Comprising Mike Parr-Burman (guitar, bass guitar, electronics), Jamie Stockbridge (alto and baritone saxophones) and Alex Palmer (drum kit, percussion), Taupe work up a storm of skronk, free jazz and harmolodic frenzy whose closest relations include Zu, Melt Banana and John Zorn. However, waxing | waning is from its opening, stuttering blasts, an exercise in seeking out and claiming new territory, finding unique and novel permutations in which jazz, rock, electronics interbreed at breakneck pace. Here is a group determined to say and do things they don’t get to say and do elsewhere in their musical lives.

‘Lemonade Tycoon’ hits the ground skronking. It’s cubistic jazz, cumulative in its impact, avoiding the white lines of the conventional freeway, bridling, bustling, coming at you from all angles – a three way conversation of astonishing rapidity, fast track, telepathic communication – everyone from James Chance to Albert Ayler coming at you at once, before morphing in to a spidery scrawl of electronics and furious percussion. ‘Anti-Bird-Spike BirdNest’s‘ title somehow sums up the sort of mental images evoked by the music – its sheer creative disobedience, as if being chased in vain, like a delivery rider evading capture by ICE agents -– shapeshifting, assuming different shades, sprouting metal quills and, in its midsection, seeming almost to swallow itself alive, before regurgitating itself in a sublime mess.

‘Interlude (Stride)’ is not exactly ambient, more a horizontal enmeshment of percussion, drones, reverberant noise, electronics, a sonic mulch. ‘allcapsallbold' reminds of early Aksak Maboul, in its playfulness, a haywire series of short phrases, subject to mechanical interference, a complex weave of irregular rhythms, increasingly eloquent sax phraseology and caustic guitars, which land heavier and heavier. ‘Pet Boss' is the new jazz equivalent of a highly evolved, mature conversation among brilliant equals, sharp, empathetic, complementary, rising to a collective, joyful noise. On the title track, electronics descend like a shower of bright particles, intensifying in their luminosity, whitening the skies, as sax and drums kick up a tempestuous, spontaneously sculpted noise that summons the ghosts of the great free jazz players, before a dark calm descends slowly. Finally, ‘Turn Push Kick’, a burgeoning chatterstorm of electronics, before the group kicks in, at angles to one another, led by abrasive guitars, reminiscent of Sunn O))) in their ritualistic concussion, riffing, digging deep amid squealing sax and piledriving percussion.

Diagonale des Yeux is the new band formed by two of France’s admired and adventurous artists. Laurène Exposito, we know as EYE, our longest regular contributor to the label — and friend Théo Delaunay, member and producer of Parasite Jazz, panoptique, De Klok & Violent Quand On Aime.

In Knekelhuis we have a particular fondness for artistic outputs that resist easy categorisation, and Diagonale des Yeux inhabits precisely that kind of territory.

Every aspect of the project is DIY/homemade. Their world drifts along the fringes of cabaret, strange 1980s French underground pop music to contemporary lo-fi scene — evoking the spirit of Nini Raviolette and The Residents — while delivering beautifully written songs that lodge themselves in your head almost immediately like a Cindy Lee ballad.

The tracks on Madeleine squeak and creak, wobbling on fragile hinges before suddenly opening onto moments of pure beauty.

Drums and guitars follow up synths and electronic percussions captured on tape between living rooms, studios and a concert space.

The band has a kink for choirs and playfully uses diverse languages. Their lyrics emerge through a homemade, patented four-hands cadavre exquis (Exquisite Corpse) process, where chance and dialogue shape meaning as much as intention.

Diagonale des Yeux is a singular project — equally strange and irresistibly pop-leaning. Music like weeds pushing through pavement cracks and, against all odds, turning into flowers.

Luciano Cilio was born in Naples, Italy, in 1950. He studied music and architecture and, in the late '60s, collaborated with local artist Alan Sorrenti, American expat Shawn Phillips and various avant-garde theater groups. A virtuoso guitarist and self-taught composer, Cilio released only one LP before his untimely death at the age of 33.

Dialoghi Del Presente (1977) is a work like no other, one that sounds both ancient and ahead of its time. Produced by Renato Marengo, it features a series of muted tableaux for strings, woodwinds, guitar, chorus, piano and percussion. Cilio carves out a space where subtle, repetitive phrases yield – almost imperceptibly – to breathtaking silence.

As Jim O'Rourke writes, "These recordings sound as if they were to please no one but himself; they feel self-contained, introspective, and determined ... You can feel in the music a sort of necessity that can be rarely found, like in This Heat's debut or Nick Drake's Pink Moon."

While each subsequent "quadro" grows slightly more abstract, Cilio draws the listener into an expansive, pastoral soundscape. The closing piece, "Interludio," begins with a plaintive guitar, which is joined by haunting strings and woodwinds before concluding, poignantly, as the album began, with Cilio and his guitar, alone once more.

Superior Viaduct's edition reproduces the original sleeve design. Recommended for fans of Johann Johannsson, Talk Talk's Spirit of Eden, Arvo Part and Popol Vuh.

One Believer, the Elektra debut by the late bluesman John Campbell, was outside of virtually every trend on major labels and in pop at the time. Other than Chris Whitley's Living with the Law, it was the only roots record issued on a major label in 1991.

A deeply atmospheric record full of subtle shimmering organs and warm guitar textures that accent the dreamy spooky side of the blues more than the crunchy stomp and roll that Campbell was known for in the clubs and displayed on his follow-up Howlin' Mercy. Tracks like "Angel of Sorrow," "World of Trouble," and "Wild Streak" offer shimmering ambient textures from which the blues emanate from the ether. Campbell was living and working in New York and his music was certainly influenced by that late-night environment. These are beautiful songs, tempered in shadow and restraint while baring their teeth at all the right moments. On "Couldn't Do Nothin'," "Devil In My Closet," and "Person to Person the roadhouse magic comes out. The album's last two tracks "Take Me Down" and the title track are menacing in their conviction and creepy swampy in execution.

One Believer is available as a limited edition of 750 individually numbered copies on blue vinyl and contains an insert.

Order for repress early next year!



Continuing the saga, mad mad drama. No overhyped faces to find here, just straight up techno from the heart. Lost Trax... Beware!!..

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.

Nach fünfzehn Jahren auf Welttournee mit La Femme kehrt Marlon Magnée nun als Solo-Künstler mit seinem Debütalbum Dark Star zurück, das ihn wieder mit seinen frühesten Leidenschaften verbindet. Die Platte spiegelt seinen Geschmack für ungewöhnliche Mischungen und eigenständige Stile wider: eine Kombination aus Rockabilly, Punk, Cold Wave und psychedelischem Psychobilly. Die Stücke, gesungen auf Französisch und Englisch, greifen auf Gitarren der Sechziger zurück, auf eine "Orgie aus Synthesizern" direkt aus den Achtzigern, auf donnernde Drumcomputer, analoge Delays und eine bewusst rohe Energie. Seine Einflüsse ziehen sich durch das gesamte Album: The Velvet Underground, The Stranglers, Motörhead, The Cure, The Stray Cats, JJ Cale, die Nuggets-Kompilationen, aber auch französischsprachige Ikonen wie Gainsbourg, Les Rita Mitsouko, Métal Urbain, Plastic Bertrand und Marc Charlan. Das Ergebnis: ein schnelles, ruheloses Album (Tempi bis zu 240 bpm), manchmal radikal, konzipiert "für diejenigen, die Blut im Herzen und den Drang haben, sich zur Wehr zu setzen". Co-produziert mit Renaud Letang (Feist, Manu Chao, Peaches) im legendären Ferber Studio in Paris markiert dieses erste Solo-Werk eine echte Rückkehr zu Marlons Wurzeln - und kündigt mit Nachdruck das Comeback des Rock in der heutigen Musiklandschaft an.

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."

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.

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.

The new album by Mecánica Clásica, Una Teoría del Ritmo, unfolds across nine tracks as an intimate and organic rhythmic landscape. Rhythm is not something to be counted or measured, it's an odd power that shapes life and nature. Embracing rhythm is a wild experience rather than a technical concept.

The album emphasizes its strong subjectivity: rhythm exists deep within the self and at the core of perceived phenomena and listening itself transforms that kaleidoscopic perception.

Moving against cold conceptualism, Una Teoría del Ritmo embraces a truly warm and intense space, seeking a path where listeners can feel a special energy through hypnotic, melodic and percussive sound waves in a cosmic and naturalistic way.

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.

Norwegian hard rock band Gjenferd returns with their second album, Black Smoke Rising. Black Smoke Rising takes the band to a new level, building on the strengths of their debut while pushing the sound in a more direct and accessible direction. The album delivers stronger songs, sharper hooks and a tighter overall approach, without losing the darker edge that has defined Gjenferd from the start. Guitars and organ are at the core of the sound, driving solid riffs and catchy vocal lines with a clear pop sensibility beneath the heaviness. The band's debut album received strong reviews both nationally and internationally, including 4. place on Doom Charts in May 2024. Gjenferd draws inspiration from classic heavy rock acts such as Black Sabbath and Deep Purple, combined with a modern hard rock approach influenced by Ghost and Hällas. They're known for energetic live performances, including appearances at festivals such as Desertfest Oslo.

Thelonious Monk, considered one of the greatest Jazz pianists of all time, recorded Underground in '67-'68. It's the last recording with the Thelonious Monk Quartet (Larry Gales on bass, Charlie Rouse on tenor sax, and Ben Riley on drums) and one of the last album he made for Columbia.

What makes Underground special is that unlike his other Columbia recordings, four out of the seven songs were newly composed and recorded. The album cover depicts Monk as a member of the French Resistance and is meant as an homage to Pannonica "Nica" de Koenigswarter. She was a member of the aristocratic Rothschild family and became a patron of leading jazz musicians, hosting jam sessions, driving them to gigs and sometimes even help out with paying the rent. In 1969 the cover won a Grammy for Best Recording Package.
Underground is available as a limited edition of 2000 individually numbered copies on orange vinyl and comes in a deluxe, heavy duty sleeve.

The Delines were finishing the "Mr. Luck & Ms. Doom" sessions when Willy brought in a tune called "Walking With His Sleeves Down". Vocalist Amy Boone learned it on piano and the Band recorded it live. The take was stunning but the song didn"t quite fit the record so they set it aside along with "The Reckless Life", "Dilaudid Diane" (featured in their recent encores) and "Jumping off in Madras". The song worked sonically but again didn"t feel quite right lyrically and when they finished the record Willy couldn"t stop writing songs for it. The US opioid epidemic with thousands of young people rattled with addiction and living in tents and on the streets and in old cars and RVs, influenced "Luck and Doom" but even more so with The Set Up. Their stalwart producer, John Morgan Askew, was at the helm again and he"s the king of building atmospheric worlds. You can really feel it on this one. By the time we finished they realized "The Set Up" was the wayward, misguided, and lonely sister to "Mr. Luck & Ms. Doom". More ragged and undone but all CinemaScope Delines.

Super-rare Stax funk masterpiece, a big favourite of Pete Rock who sampled it on his classic ‘Let’s Straighten It Out’.

When we started the BGP Funk & Jazz Classics series earlier this year we had an idea that we would put a few albums out, and that would be that. But as we reach our third batch of five we have found that there is a whole world of sought-after original albums, which for a myriad of reasons have failed to turn up in the reissue racks. This time we have come up with something very special, digging deep into the Stax Records vaults to rescue five of the most collectable albums on the label.

Ernie Hines “Electrified” was recorded for Stax’s We Produce subsidiary. Hines had been signed to the label by Al Bell on the recommendation of the publisher of Jet magazine. The album is a fantastic piece of southern soul, with a couple of funk tracks, including ‘Our Generation’, a politically-edged call to arms, that became very sought-after when it was sampled by Pete Rock. (Dean Rudland)

Super-rare Stax funk masterpiece, a big favourite of Pete Rock who sampled it on his classic ‘Let’s Straighten It Out’.

When we started the BGP Funk & Jazz Classics series earlier this year we had an idea that we would put a few albums out, and that would be that. But as we reach our third batch of five we have found that there is a whole world of sought-after original albums, which for a myriad of reasons have failed to turn up in the reissue racks. This time we have come up with something very special, digging deep into the Stax Records vaults to rescue five of the most collectable albums on the label.

Ernie Hines “Electrified” was recorded for Stax’s We Produce subsidiary. Hines had been signed to the label by Al Bell on the recommendation of the publisher of Jet magazine. The album is a fantastic piece of southern soul, with a couple of funk tracks, including ‘Our Generation’, a politically-edged call to arms, that became very sought-after when it was sampled by Pete Rock. (Dean Rudland)

One of the UK’s most singular voices, Murkage Dave has spent the last decade crafting a body of work that refuses to fit neatly into any genre box. His music, loosely pop but informed by indie, outsider art, and an instinct for storytelling, is built on honesty, empathy, and fearless social commentary. Across his career, he has earned a cult following and praise from Pharrel Williams, Iggy Pop, BBC Radio 6 Music, The Guardian, Rolling Stone, Pitchfork, Clash, Complex, Highsnobiety, and Vogue. His debut album Murkage Dave Changed My Life (2018) amassed over 12 million Spotify streams, while follow-up The City Needs A Hero (2022) reached #10 on the UK iTunes Chart and #15 on the UK Independent Chart.

On his new album, the Ivorian balafon virtuoso Aly Keïta explores new horizons for his instrument in improvised music. Together with his Berlin-based trio, he conquers the peaks of balafon possibilities one by one, wandering between groovy African rhythms, spectacular polyphony and elements of jazz, and combining them into a fusion that is both futuristic and deeply in roots. In Balafon Evolution, Keïta establishes a new level of balafon artistry, creating universal, contemporary soundscapes that transcend cultural boundaries. The Aly Keïta Trio embodies the pulsating spirit of the Berlin jazz scene. Coming from different cultural backgrounds, the three musicians found a common language on stage as they explored the metropole, one of the most active, buzzing jazz hubs of Europe. Aly Keïta and the Dutch drummer Marcel van Cleef, began playing together in 2008, forming the core of the trio"s future "groove machine". As a part of the "Aly Keïta and Magic Balafon" formation, they shared a prize of the Global music contest "Creole" in 2009. Recognised as one of the most intriguing and innovative bass players among the new generation, the Italian bass player Roberto Badoglio, joined trio in 2014, becoming a true "fusion reactor" of the band.

Der postklassische Komponist, Klangkünstler und Kurator Matthew Patton ist mit seinem zweiten Album als Those Who Walk Away zurück. "Afterlife Requiem" ist eine Elegie für seinen Freund und Kollegen Jóhann Jóhannsson. Drones, Elektroakustik und fast vollständige Stille, extrahiert aus unvollendeten Aufnahmen auf Jóhannssons Festplatten, bilden die Grundlage für zwei Streichquintette - Ghost Orchestra (Reykjavík) und Possible Orchestra (Winnipeg) -, die in einem traurigen, langatmigen Werk verarbeitet und ausgelöscht werden. Patton hat auch wieder mit Andy Rudolph (Guy Maddin) und Paul Corley (Sigur Rós, Ben Frost) an der Koproduktion und dem Sounddesign gearbeitet, um eine brodelnde Körperlichkeit zu schaffen, die brodelnde Tiefen mit eindringlichen Bewegungen gespenstischer Streicher kontrastiert. ,Alles, was ich je geschrieben habe, ist ein Requiem. Alles ist ein Ende. Der Tod ist überall in dieser Musik präsent. In meinen Werken geht es um das Verschwinden - der Gegenwart, der Vergangenheit, von allem. Afterlife Requiem wird im Laufe seiner Dauer immer langsamer, es ist ein einziges großes Ritardando, die Zeit verlangsamt sich nicht nur, sie verschwindet. Ohne dass ich darüber nachgedacht hätte, ereigneten sich zwei miteinander verbundene Tragödien, die während des Schreibens, Aufnehmens und Arbeitens organisch an die Oberfläche kamen: der Tod meiner Mutter und der Tod des Komponisten und Freundes Jóhann Jóhannsson. Wenn ich mit dem Schreiben anfange, denke ich an nichts Bestimmtes, ich schreibe einfach, komponiere, nehme auf und höre zu ... aber irgendwas macht sich immer auf unvorhergesehene Weise bemerkbar oder drängt sich in den Vordergrund. Nach dem medizinisch assistierten Tod meiner Mutter wurde mir beim Ausräumen ihrer Wohnung klar, dass ich auch die physische Manifestation ihrer Welt auslöschte - und dass ich genau dasselbe mit der Musik tat, die ich schrieb und aufnahm. Während dieser Zeit wurde mir auch Jóhanns Tod immer wieder bewusst. Für Afterlife Requiem habe ich kurze, verlassene Fragmente aus Jóhann Jóhannssons Festplatten genommen und diese körperlosen Audio-Geister abwechselnd in meine eigene Musik eingebaut, wobei ich sie unrein gelassen habe - und dabei die Grenze zwischen Schaffen und Zerstören verwischt habe. Nach seinem Tod hatte ich diese Festplatten aus Jóhannssons Berliner Studio zum Anhören bekommen. Diese Musik war aufgegeben worden, in verschiedenen Stadien der Entstehung und Auflösung: ein Verzeichnis zerfallener und toter Erinnerungen, vergessen und jetzt nur noch in einer Reihe ineinandergreifender mechanischer Teile vorhanden, die mit der Zeit selbst versagen und verschwinden werden, wie alles andere auch. Monatelang hörte ich mir diese Überreste von Jóhanns Musik obsessiv an und versuchte, Hinweise auf Jóhann vor seinem Tod zu finden. Oft stellte ich fest, dass er das Aufnahmegerät noch lange nach Ende der aufgenommenen Musik laufen gelassen hatte. Er schien nicht zu bemerken, dass die Musik aufgehört hatte, oder registrierte nicht, dass dies das Ende der Musik war, oder vielleicht war er durch etwas anderes abgelenkt. Aber ich fand diese langen Stillephasen zutiefst emotional und berührend. Die verschwindenden Elegien von Afterlife Requiem sind weniger Musik als vielmehr Überreste von Musik. Auf diese Weise arbeite ich immer auf die Subtraktion von Bedeutung hin. Die Musik ist fern und verschwommen, beschädigt, geisterhaft und gespenstisch und deutet nur wie eine halb vergessene Erinnerung an das, was einmal existierte, eine verdichtete Darstellung von Verfall und Auslöschung. Ich habe dieses neue Stück von Anfang bis Ende mit diesen körperlosen Stillephasen aus Jóhanns eigenem Werk, Raum und Zeit unterlegt. Jetzt für immer verschwunden, bleibt seine aufgezeichnete Stille zurück; eine monumentale Leere, die der Welt verloren gegangen ist. Im gesamten Stück, insbesondere in den Abschnitten ,Memorial Environment", habe ich auch unzählige Geräusche aus der Natur integriert, von vulkanischer Lava über Lastenaufzüge bis hin zum menschlichen Blutfluss, dem Zischen von Turbinen und Selbstmordinjektionen. Der Künstler Robert Smithson sagte vor Jahrzehnten: ,Es ist die Dimension der Abwesenheit, die es noch zu finden gilt." Für mich misst diese Musik auch, wie die Zeit abläuft. Tatsächlich ist die Zeit bereits abgelaufen. Die Ewigkeit hat bereits begonnen." - Matthew Patton (Those Who Walk Away)

Enabilizer is the second full-length album from The Albinos. It’s a focused and emotionally direct record that examines the space between belief and doubt—what it means to hold on to ideals in a world that often doesn’t reflect them. The songs explore themes of connection, disillusionment, and the fragile narratives people use to make sense of things. Sonically, the album moves fluidly between stripped-down garage rock and layered psychedelic arrangements. Built on live, organic instrumentation and a minimal production approach, the sound is raw but intentional—combining driving rhythms, textured guitars, and unpolished vocal performances to create something that feels both grounded and expansive. Formed in Houston, The Albinos have spent the past few years refining their sound, drawing on psych and garage traditions while keeping their songwriting emotionally grounded. Enabilizer marks a step forward for the band—more confident, more cohesive, and more willing to lean into discomfort in search of something honest.

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

In the pantheon of classic free jazz, Noah Howard's The Black Ark looms large. Recorded at Bell Sound Studios in New York City in 1969 – just prior to the alto saxophonist's relocation to Europe – the album was eventually released in 1972.

The Black Ark exhibits not only the power and imagination of Howard's playing, but also his breadth as a composer and bandleader. Listeners expecting unrelenting blasts of "energy music" might be surprised to find a cohesion atypical of free jazz; amidst the wild, impassioned solos, Howard weaves in Latin rhythms and fat-bottomed grooves.

The first side, consisting of "Domiabra" and “Ole Negro,” sets the album's tone. Both tracks sound as if they could have appeared on some of Blue Note's proto-spiritual jazz, groove-heavy releases – evoking the likes of Lou Donaldson or Horace Silver – before ceding the floor to the horn players' anarchic firepower.

As John Corbett writes in the liner notes, "Two players stand out. Bassist Norris Jones – who would soon consolidate his name into a one-word reversed amalgamation/permutation of the two, Sirone – is given ample room, largely unaccompanied; his corporal approach foreshadows later work with the Revolutionary Ensemble. But the secret weapon on The Black Ark is Arthur Doyle. Straight from basement rehearsal sessions with Milford Graves, whose ensemble he had joined and who remained a favorite of the drummer for decades, Doyle is a human flamethrower."

Trumpeter Earl Cross' guttural, vocal effects complement Doyle's take-no-prisoners approach, while the estimable combination of Muhammad Ali (Rashied's brother) on drums and Juma Sultan on congas adds an ever-shifting propulsion. The septet is rounded out by the enigmatic pianist Leslie Waldron, who anchors the group with imaginative accompaniment and occasional boppish flourishes.

Every bit worthy of its reputation as an "out-jazz" holy grail, The Black Ark only sounds better with age. It remains the ideal record to convert the remaining free-jazz skeptics.

Julius Hemphill's debut record, 1972's Dogon A.D., was self-produced for his Mbari imprint, and it was issued with a beautiful black-and-white cover. Very DIY. The label's name writ large along the bottom edge, like it was the band's name. It's a quartet record featuring Hemphill on alto and flute, with Baikida Carroll on trumpet, Abdul Wadud on cello, and Phillip Wilson on drums – a classic jazz front line/rhythm section format, but nothing conventional about the way the music sounds.

The long track – from where the LP takes its title – is one of the key epic statements of new jazz in the era. Among its remarkable distinctions, it manages to draw on Wilson's schizoid experience having been a member of the Paul Butterfield Blues Band and the first drummer for the Art Ensemble of Chicago, in making an 11/8 rhythm into a staggeringly funky thing of joy. Over the course of fourteen and a half minutes, Hemphill builds a nearly continuous solo, his spiritual blood brother Wadud sawing the cello with a deep blues soulfulness that is raw and mantra-like in its repetitive incantation. It feels right and wrong in equal measure, the theme carrying its own piquancy with honked barnyard dissonances and some contrary motion between the horns and string. Most of all, it takes its own sweet time, in no hurry to get anywhere in particular, but out for a righteous stroll. – John Corbett (excerpt from the liner notes)

Decca Classics präsentiert Lise Davidsen: Live at the Met - aufgenommen während des bahnbrechenden
Soloauftritts der Sopranistin an der Metropolitan Opera im September 2023.
„Es kommt selten vor, dass die Met einen Künstler zu einem Solokonzert in ihrem Auditorium mit 3.800
Plätzen einlädt. Und noch seltener ist es, dass diese Sängerin ihr Debüt in New York City gibt. Aber
Davidsen ist etwas ganz Besonderes: eine echte dramatische Sopranistin.“ (The New York Times). „Keine
Kulissen, keine Kostüme, kein Orchester: Aber die ganze Oper war da.“ so die Zeitung weiter.
Davidsen hat eine enge Beziehung zur Met, wo sie seit ihrem Debüt 2019 regelmäßig in Hauptrollen von
Tschaikowski, Wagner, Strauss, Verdi, Puccini und Beethoven auftritt. „Ich betrachte die Met als mein
zweites Zuhause“, sagt Davidsen. „Aber um so etwas gebeten zu werden, war etwas ganz Besonderes.“
Zu den Höhepunkten zählen Wagners „Dich, teure Halle“ aus Tannhäuser, Amelias Arie aus dem dritten Akt von Verdis ”Un ballo in maschera” und Puccinis „Vissi d’arte“. Dazu kommen Lieder von Schubert
sowie Musik von Grieg und Sibelius als Hommage an Davidsens skandinavische Herkunft.
Die Veröffentlichung folgt auf Davidsens gefeiertes Wagner-Album ”Der fliegende Holländer”, welches den
Gramophone Award 2025 für die beste Opernaufnahme gewann und von Kritikern weltweit hoch gelobt
wurde.

Mit seinem Debütalbum "Mesdames, Messieurs !" sorgt Sam Sauvage für einen elektrisierenden Neustart der französischen Popmusik. Seine 13 Songs sind gleichermaßen ungestüm, poetisch und kompromisslos ehrlich - ein Sound, der zwischen Synth-Poesie, Rock-Theatralik und intensiver Erzählkraft oszilliert. In Stücken wie "Avis de tempête" oder "La fin du monde" entfacht Sam eine dramatische Energie, die den Nerv unserer Zeit trifft: der Tanz am Rand des Chaos, gepaart mit einer eindringlichen Botschaft, den Moment festzuhalten. Gleichzeitig zeigt er in "Boulogne" oder "Roi du silence" eine zerbrechliche, fast intime Seite, die seine Songs zu emotionalen Miniaturen macht. Sam Sauvage ist ein Ausnahme-Performer: körperlich, direkt, nahbar. Seine Stimme und Präsenz - geschärft durch Straßenmusik, Bar-Gigs und Support-Shows für u. a. Zaho de Sagazan, Eddy de Pretto und Benjamin Biolay - machen jede Live-Situation zu einem Ereignis. Ein Album, das berührt, provoziert und bleibt. Ein neuer Name, der nicht mehr zu überhören ist.

XDCVR_ unveils 'I HATE THAT SHIT, I HATE ALL THAT SHIT' a blistering sonic manifesto on the 'performativity of decay'.

In a world saturated with digital perfection, the album emerges as a vital, hand-made act of electronic rebellion.

Framed as a "soundtrack for the end stretch" the record explores the notion that societal decay is not a passive process, but an active performance—a machine chugging along long after its wheels have fallen off.

This is cyborg music for a bifurcated reality: carbon-fiber toughness shielding a core of systemic rot. The sound palette is intentionally raw and imperfect, a direct challenge to the sterile, automated order of what the artist calls the "techno-fascist oligarchy."

Tracks eschew conventional temporality, mirroring the feeling of existing in two concurrent timelines—one hyper-aware of the collapse, the other numbly consuming it.

Drawing a line from the Cold War anxieties of the past to the data-farming dystopia of the present, 'I HATE THAT SHIT…' posits art as the last authentic incubator for societal change. It is, in the artist's words, "a deliberate 'fuck you' to the oppressive order of the status quo. This is not easy listening; it is a contested space, a lit fuse, and a necessary noise for our complicated times."

Michel Houellebecq is, of course, well-known for his novels, translated into more than 40 languages, and his Goncourt Prize (The Map and the Territory, 2010), but perhaps less so for his debut album, released exactly a quarter of a century ago on Tricatel label. One can sense the influence of Serge Gainsbourg's L'Homme à la Tête de Chou, a disillusioned Procol Harum and a world-weary Burt Bacharach hovering over Houellebecq's poems in Présence Humaine, a now cult classic album orchestrated by Bertrand Burgalat and the musicians of Eiffel. Twelve thousand copies sold and a few concerts later, the writer decided (or so we thought) to bid farewell to the stage, only to generate more media attention though his literary success. Frédéric Lo is, of course, known as an exceptional lyricist, composer, arranger, and producer, author of a sublime fourth solo album (L'Outrebleu, released last March) and a master of collaborative work, notably with Bill Pritchard, Peter Doherty and Daniel Darc. Initially, Michel Houellebecq and Frédéric Lo met for the tribute album that the latter was planning for the tenth anniversary of Daniel Darc's death, but their recording of "Psalm XXIII" was, to their great disappointment, rejected by the label and therefore did not appear on the final version of Cœur Sacré (2023). Fortunately, every cloud has a silver lining, and the two men decided to take their collaboration a step further. Lo decided to set the writer's words to music, in his studio in Pantin. Raw, stripped-down music draped in electronica, adorned with piano and antediluvian drum machines, often minimalist, sometimes repetitive, provides the perfect backdrop for twelve tracks that question and reflect on humanity's past and future (if indeed there is one). Reflections on the human condition, 21st-century style, a work of speculative fiction conceived by two eternally modern "young lads," Souvenez-Vous de l'Homme (Remember Man) is an album that might occasionally evoke The Stranglers' La Folie, and, given the title, that's probably no coincidence. But above all, it's a hypnotic and melancholic album, uncompromising and captivating. Most importantly, it's an album like no other.

On Days Like These , is a respectful and soulful interpretation of Quincy Jones ' masterpiece, while Warren original, Jenny, concerns a hope for assistance from Rod Serling and H.G. Wells, in a time-travel romance. Michael Warren's voice is joined by the creative team from Mariocki, Keiron Phelan (Peace Signs, State River Widening) Flute / Guitar, James Stringer (Peace Signs, Hilbert Space) Piano / Keyboards, with indie luminaries Ian Button (Papernut Cambridge, ex- Death In Vegas) Drums / Percussion, and Giles Barrett (The New Starts, Moebius Delta ) Bass.

Die lang erwartete Rückkehr der schwedischen Dream-Pop-Romantiker. Ein verschwommener Schleier aus düsterem und fesselndem Shoegaze-Pop. Die skandinavische Indie-Pop-Band Hater beendet nach ihrem beeindruckenden dritten Album ,Sincere" ihre dreijährige Pause mit der Veröffentlichung von "Mosquito", einem faszinierenden Dream-Pop-Drama, das sich über elf packende Episoden der Selbstreflexion erstreckt. Auf "Mosquito" klingt die in Malmö ansässige Band Hater wie neu belebt - sie greift den rohen Indie-Pop-Ansatz auf, für den sie bekannt geworden ist, jedoch mit einem direkteren, ausgefeilteren Songwriting. Die Band hat ihre Shoegaze-Wurzeln zu etwas Schärferem, Melodischerem und Tiefgründigerem verfeinert. Das Album strotzt nur so vor Geschichten, in denen mythische Wendungen (Vampire, Amor, Mücken) von der traurigen Sehnsucht nach wahrer Liebe untermauert werden. Aber dies ist kein typisches Album über die Liebe, wie die Band betont, es ist eine emotionale Achterbahnfahrt, die von halb vergessenen gebrochenen Herzen und gebrochenen Versprechen, voller Qualen und Kribbeln, aber auch von Hoffnungen und Träumen für zukünftige Lösungen geprägt ist. "Mosquito" wurde in der herrlichen Abgeschiedenheit der AGM Studios in Vollsjö, Schweden, aufgenommen, mit dem langjährigen Mitarbeiter Joakim Lindberg an den Reglern und dem Bassisten Adam Agace, der wieder zum Team zurückgekehrt ist. Sie vollendeten das Projekt in Lindbergs berühmtem Studio Sickan, wobei Caroline Landahl, Måns Leonartsson, Rasmus Andersson und Adam Agace gleichermaßen zu einem Sound beitrugen, der zwischen kraftvoller Introspektion und melancholischer Erkenntnis wechselt. Immernoch "Your next Scandinavian indie pop obsession." Flood. Klares Vinyl mit bedruckter Innenhülle und DLC sowie Digisleve-CD

London-based Irish singer-songwriter Seamus Fogarty returns with 'Ships', his most expansive and uplifting album to date, released March 6, 2026 on limited-edition 12” coloured vinyl, CD and digital formats. Praised for crafting “magical journeys through fable and modern life and back again, often in the same song” (----- – The Guardian), Fogarty blends motorik rhythms, folk traditions and leftfield electronics into a richly detailed collection that channels influences from Tortoise to early ’90s hip hop. Following 2023’s 'Hee Haw EP,' 'Ships' is packed with poignant, funny and deeply human vignettes touching on love, loss, DIY coffins, chance encounters and the quiet determination required to keep going.
Written in the wake of 'A Bag Of Eyes' and road-tested on tour with Lisa O’Neill, 'Ships' was brought to life with an esteemed cast of collaborators including Emma Smith, Chris Vatalaro, Aram Zarikian, Joe Auckland, Leo Abrahams and Mike Lindsay. Recorded across London, St Leonards-on-Sea and Margate, and fine-tuned in Fogarty’s Walthamstow home studio, the album moves effortlessly from the urban hum of ‘Come Down To The Square’ to the romantic sweep of the title track ‘Ships’ and the defiant crescendo of closing track ‘Doer Undoer’. “There’s something strangely uplifting about this collection,” Fogarty says. “It’s more honest than anything I’ve released before.”

London-based Irish singer-songwriter Seamus Fogarty returns with 'Ships', his most expansive and uplifting album to date, released March 6, 2026 on limited-edition 12” coloured vinyl, CD and digital formats. Praised for crafting “magical journeys through fable and modern life and back again, often in the same song” (----- – The Guardian), Fogarty blends motorik rhythms, folk traditions and leftfield electronics into a richly detailed collection that channels influences from Tortoise to early ’90s hip hop. Following 2023’s 'Hee Haw EP,' 'Ships' is packed with poignant, funny and deeply human vignettes touching on love, loss, DIY coffins, chance encounters and the quiet determination required to keep going.
Written in the wake of 'A Bag Of Eyes' and road-tested on tour with Lisa O’Neill, 'Ships' was brought to life with an esteemed cast of collaborators including Emma Smith, Chris Vatalaro, Aram Zarikian, Joe Auckland, Leo Abrahams and Mike Lindsay. Recorded across London, St Leonards-on-Sea and Margate, and fine-tuned in Fogarty’s Walthamstow home studio, the album moves effortlessly from the urban hum of ‘Come Down To The Square’ to the romantic sweep of the title track ‘Ships’ and the defiant crescendo of closing track ‘Doer Undoer’. “There’s something strangely uplifting about this collection,” Fogarty says. “It’s more honest than anything I’ve released before.”

The ultimate deep listening experience from two masters of dark ambient. A slow descent into the blackened watery abyss, where light cannot reach. The first release from Sleep Research Facility since 2012's "Stealth" (Cold Spring) is inspired by the deep sea ocean floor. The Canadian-based composer explores notions of awareness and perception in the sub/unconscious listener. Focusing primarily on sound bereft of rhythm based energies, SRF provides an environments wherein the music adds texture to the silence. Using form without structure and concentrating on space as opposed to narrative, SRF entertains the idea that music can reside in the very fabric of sound itself. The brand new material here was created specifically for this split release.Taking inspiration from the beautiful, but often harsh landscapes and environments of his home on Anglesey, North Wales, Llyn Y Cwn has built on the nautical theme of "Du Y Moroedd" (Cold Spring). These tracks are based on field recordings relating to the ocean, and could be seen as a companion piece to the album. 'Dale Dawn' features a recording of the dawn chorus made from the floating pontoon at Dale, Pembrokeshire. 'Pebble' includes the sound of waves crashing on a Dorset cobble beach, thousands of rocks colliding in chorus. 'Doppler Current Profiler' is based on the sound of an ADCP, an acoustic sonar instrument used to measure water currents - a 600Khz ping slowed to a heartbeat. CD in mini-LP sleeve, replicating the vinyl design. The artwork features a separate front cover design with individual art for each side, making this a true split release.

Out of Baltimore, Maryland comes The S.E.T. who are crafting 100% unapologetic hardcore music. Formed between bassist Che (founder of Flatspot Records), guitarist Brady (formerly of Turnstile), and drummer Ryan (formerly of End It), the band started through jam sessions in early 2024. Before they knew it, they had instrumentals for seven songs written and were ready to put lyrics to the tracks, and the search for a vocalist began. Che spotted Tim hopping on stage and grabbing the microphone at Disturbin’ The Peace Festival, invited him to try out for vocalist, and The S.E.T. was then complete.
The S.E.T. will release their debut Self Evident Truth EP, on February 27th through Flatspot Records. It’s 15 minutes of fury and groove, taking cues from Baltimore acts such as Gut Instinct (whose Sebastian Gorgone features on “White Lies”) and Stout and the crossover sounds of New York like Leeway and Judge. Recorded and mixed by Justin Day at New Noise Recording and mastered by Brad Boatright at Audiosiege, the tracks roar with thick bass lines, fast-paced drums, and rage fueled vocals. Lyrics come from a place of candor, expressing the basis of equal rights and defying the propaganda the current administration is spewing.
As The S.E.T. comes into fruition, the band wants to exist as a place to put words to action and come together as a community through both their music and live shows

Out of Baltimore, Maryland comes The S.E.T. who are crafting 100% unapologetic hardcore music. Formed between bassist Che (founder of Flatspot Records), guitarist Brady (formerly of Turnstile), and drummer Ryan (formerly of End It), the band started through jam sessions in early 2024. Before they knew it, they had instrumentals for seven songs written and were ready to put lyrics to the tracks, and the search for a vocalist began. Che spotted Tim hopping on stage and grabbing the microphone at Disturbin’ The Peace Festival, invited him to try out for vocalist, and The S.E.T. was then complete.
The S.E.T. will release their debut Self Evident Truth EP, on February 27th through Flatspot Records. It’s 15 minutes of fury and groove, taking cues from Baltimore acts such as Gut Instinct (whose Sebastian Gorgone features on “White Lies”) and Stout and the crossover sounds of New York like Leeway and Judge. Recorded and mixed by Justin Day at New Noise Recording and mastered by Brad Boatright at Audiosiege, the tracks roar with thick bass lines, fast-paced drums, and rage fueled vocals. Lyrics come from a place of candor, expressing the basis of equal rights and defying the propaganda the current administration is spewing.
As The S.E.T. comes into fruition, the band wants to exist as a place to put words to action and come together as a community through both their music and live shows

As one of the Netherlands' most famous saxophonists and the daughter of Hans Dulfer, Candy Dulfer needs no introduction. The self-taught musician started playing at age six and already made her first recordings in 1981, at 11 years old. In 1990 she released her hit album Saxuality (selling more than a million copies worldwide) for which she received a Grammy nomination, and followed this record up with Sax-a-Go-Go, Big Girl and, in 1997, she released For The Love Of You.

For The Love Of You is a continuation of the funk, R&B, and dance path she started following. But make no mistake: Candy's blowing is as fierce, gritty, direct as ever, providing a striking juxtaposition. Like on Big Girl, Dutch vocal mainstays Trijntje Oosterhuis and Berget Lewis are featured again. The album features the songs "Saxy Mood" and "Smooth" and reached #8 on Billboard's Top Contemporary Jazz albums for the year 1998.

For the Love of You is available as a limited edition on purple vinyl and includes an insert.

Taking the exploratory spirit of groups like Polar Bear and Malija (both also featuring Mark Lockheart ) the trio move together through a common language of jazz, rock, classical and free improvisation exploring dark textures and dramatic musical shifts as they revel in the unexpected. High energy jazz improvising combined with spatial and ambient sounds gives this trio its unique and bold concept. The music shifts effortlessly moment to moment, gracefully and spontaneously stitching together sound landscapes and grooves. The subtle use of electronics (particularly on the saxophone), fat rich bass lines and tantalising drum rhythms give his band a unique sound that although firmly rooted in jazz has rock, folk and classical influences too. The album's specially commissioned artwork by Tim Edgar perfectly reflects the shifting shapes of Shapeshifter

The new EP is released on limited edition 'Scissorhands Ice Blue' coloured vinyl with a hand-numbered gold riso print sleeve art with obi strip. Sarah/Shaun wooed hearts and wowed critics with debut EP It's True What They Say? in 2024 plus follow-up EP Someone's Ghost in 2025.

They have been featured across the media including BBC Radio 6Music, BBC Radio Scotland, The List and The Skinny. They've played gigs supporting French legends Air, Glaswegian 80s pop legends The Bluebells, Glasgow's huge Glasvegas, a slew of venues across Glasgow and Edinburgh, not to mention the festivals: Kelburn Garden Party, Fringe By The Sea, Kendall Calling, Dunbar Music Festival and Hidden Door Festival. The duo are set to release a full length album in late 2026.


[b] A2 Heart Started Beating [Backwards] (4:10)
[c] B1 Desperation Looks Ill [From The Other Side] (4:26)

After being out of print for a good number of years, we are making 15 titles out of our Elvis Presley back catalogue available again between August 2025 and February 2026. Each title will see two different editions: one on regular-coloured vinyl and one very limited on mix-coloured, marbled vinyl, both housed in deluxe sleeves with a linen look and feel.

That’s The Way It Is is Elvis’ 12th studio album, consisting of eight studio tracks recorded at the RCA studios in Nashville and four songs performed live at The International Hotel in Las Vegas. It accompanied the theatrical release of the eponymous documentary film, although it is not generally considered a soundtrack album.

Added to this definitive 4LP legacy edition are four single sides from the period and a selection of fly-on-the-wall outtakes from the June Nashville sessions that produced the majority of tracks for the LP. Disc 3 and 4 feature the first complete release of a concert from Elvis’ 1970 "Summer Season” recorded on August 12. The 20-page booklet features an insightful essay, photos and memorabilia.

That’s The Way It Is (Legacy Edition) is available as a limited edition of 500 individually numbered copies on yellow and black marble vinyl.