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‘BORN LIKE THIS.’ is MF DOOM’s last solo album. Featuring Ghostface Killah, Raekwon and seminal American poet and writer Charles Bukowski with beats from J Dilla, Madlib and ol’ Metal Fingers himself. “I’ve been a fan of Bukowski for a while. It was a friend of mine – damn, I forget the n*gga name – from Life Sucks Die, it’s a graffiti magazine but it’s real kinda edgy, out of Minneapolis. They did an interview with me and then me and Andrew Broder was friends ever since then. He said, ‘Your shit reminds me of this dude Bukowski, you gotta read his stuff.’ I was a little apprehensive at first, ‘cos I was like, ‘What kinda weird shit is this?’ Then he gave me a book, The Most Beautiful Woman In Town, and after that I just got into it. “So for this album, to celebrate all us writers, emcees, if you look at it, it’s a lot of words that we say, and we all write those words: if it was written down on a piece of paper it could be a short story or like a good book. So I saw where Andrew was coming from where he sees the similarities. In tribute to Bukowski I said let me get him as a guest appear ance…” DOOM as quoted in HHC. “Whatever caused DOOM to scale back his output and go off the grid, he’s only come back from it sharper, stronger, and more powerful than before.” Pitchfork “DOOM still has the sickest vocabulary, broadest frame of reference, and densest, most quotable rhymes in hip-hop… he has created an album of sublimely half-assed super-genius.” Onion AV Club

On his sixth studio release Roulette, the prolific producer, songwriter, pianist and MC Alfa Mist has created his own sci-fi universe - a vast dystopia where themes of revenge, forgiveness and redemption loom large.

Alfa Mist’s albums have always tackled big themes. This time, however, he explores an imagined near-future in which reincarnation is discovered to be a potent tool linking dreams and past lives. But with this discovery comes consequences: ethical, moral and philosophical. “If reincarnation is real, how does that shape society?” he explains. “If reincarnation means accumulation of knowledge, would you share it and enable everyone to understand more about the world? Or do you struggle for power? And do some people want to stop others from remembering who they were?”

Over 15 tracks, Alfa explores these ideas with heady potency. Each song is a spin of the wheel – a different song and character. The musician’s signature is still there – lambent keys, intuitive groove, free-flowing jazz improvisation – but Roulette is imbued with a smoky psychedelia. An immersive listen, this album is designed “to feel” on every level, says Alfa. It also contains some of his most impressive arrangements yet - see the eight-minute title track that effortlessly flips through time signatures – “because life’s like that,” says Mist; it’s not always linear.

Roulette underlines Alfa Mist as one of the most forward-thinking composers in UK music, with poignant, plaintive melodies that lodge deep in your psyche. “I’m exploring different parts of myself,” he says. “But obviously, as I grow, all of those parts change. Music is a constant; it’s my state of mind that I constantly chisel and work on and make sure that’s always growing and staying interested in new things. As long as I do that, it’ll come out in the music.”

On his sixth studio release Roulette, the prolific producer, songwriter, pianist and MC Alfa Mist has created his own sci-fi universe - a vast dystopia where themes of revenge, forgiveness and redemption loom large.

Alfa Mist’s albums have always tackled big themes. This time, however, he explores an imagined near-future in which reincarnation is discovered to be a potent tool linking dreams and past lives. But with this discovery comes consequences: ethical, moral and philosophical. “If reincarnation is real, how does that shape society?” he explains. “If reincarnation means accumulation of knowledge, would you share it and enable everyone to understand more about the world? Or do you struggle for power? And do some people want to stop others from remembering who they were?”

Over 15 tracks, Alfa explores these ideas with heady potency. Each song is a spin of the wheel – a different song and character. The musician’s signature is still there – lambent keys, intuitive groove, free-flowing jazz improvisation – but Roulette is imbued with a smoky psychedelia. An immersive listen, this album is designed “to feel” on every level, says Alfa. It also contains some of his most impressive arrangements yet - see the eight-minute title track that effortlessly flips through time signatures – “because life’s like that,” says Mist; it’s not always linear.

Roulette underlines Alfa Mist as one of the most forward-thinking composers in UK music, with poignant, plaintive melodies that lodge deep in your psyche. “I’m exploring different parts of myself,” he says. “But obviously, as I grow, all of those parts change. Music is a constant; it’s my state of mind that I constantly chisel and work on and make sure that’s always growing and staying interested in new things. As long as I do that, it’ll come out in the music.”

Troubadours is a tentacular collective oscillating around Laura Lippie, Kim Khan and Dr Winzo.

“Everything Is Being Recorded All The Time” is the result of three years of sonic explorations in Lyon, Abbecourt, Berlin and Den Pasar, carving hours long studio jams into deep, narcotic mutated funkiness.

Traditional instruments and high-tech ones are invoked to confront beauty and misery : the system is contemplated through dilated pupils. We’re beyond happy to welcome you on board for the journey : whether you find it nerve-racking or soul-soothing is no longer our responsibility. Expect the unexpected…

Mastered by Miles Whittaker

Artwork By Clara Cimelli

Design by Local Service and Arthur Naulot

Eric Broucek war der Ur-Ingenieur der fruchtbarsten Ära der DFA Studios, etwa von 2003 bis 2008 (niemand weiß genau, wie es damals war, da alles im Nebel des Chaos verloren gegangen ist). Er hatte seine Hand im Spiel bei allen Remixen, LPs und Dance-12s. Er war fast jeden Tag in diesem überladenen Equipment-Keller, nahm auf, mixte und bemühte sich, Tim und mir nicht die Augen zu verdrehen. Und irgendwo in diesem Nebel veröffentlichte er still und leise drei limitierte 12-Inch-Veröffentlichungen auf seinem eigenen Label Stickydisc Recordings - zwei unter dem Namen Babytalk und eine als Watussi zusammen mit einem weiteren DFA-Stammgast, Morgan Wiley. Damals wollte Eric seine Musik nicht auf DFA veröffentlichen. Er wollte seine eigene Identität entwickeln, was ihm auch gelang, indem er Musik herausbrachte, die mit ihrer einzigartigen schrägen, umgekehrten und zurückhaltenden Kraft vom DFA-Pfad abwich. Seine Musik ist so anders als alles andere aus dieser Zeit, so einzigartig, dass sie immer noch völlig zeitlos klingt. Vor ein paar Jahren begann ich wieder, die Tracks aufzulegen, und sah, wie die Welt immer noch von dem überrascht war, was Eric geschaffen hatte, und so entstand die Idee zu dieser Compilation. Also, Eric, am Ende haben wir deine Platten doch veröffentlicht. Wir lieben dich, Mann. - James Murphy

Having established a reputation as one of the most versatile and respected producers in the game - with over a decade at the forefront of UK bass music, spanning UKG, grime, bassline and drum & bass, Flava D needs no introduction. Now, with her debut drum & bass album Here & Now, she levels up once again, channelling years of dancefloor know-how into a project that's as weighty as it is emotionally dialled-in.

A self-proclaimed fan of Hospital Records from the age of 14 - the first drum & bass CD she ever bought being 'Hospital Mix Vol. 1' - Here & Now marks a particularly paramount milestone for the Bournemouth-born beatmaker. Across 15 tracks, Here & Now captures the breadth of Flava D's musicality, offering a bass-charged, genre-spanning statement that's rooted in experience but tuned into the present moment. With a star-studded bank of collaborators, including MPH, Anais, Unglued, SOLAH and more, the album highlights Flava D's curatorial ear and the strength of her network across the scene.

At its core, Here & Now is a meditation on presence - a fresh, fearless chapter from one of the UK's most consistently innovative producers. The album is equal parts masterful and functional, giving fans what they came for while revealing new layers of Flava D's ever-evolving sound. Through its stacked line-up of collaborators, Here & Now also connects voices who are helping shape the future of dance music, from the underground up.

Introducing Small Great Beats – a boutique vinyl series born from the legacy of our flagship release, Small Great Things. The SGT Series offers collectors and music lovers an exclusive dive into curated sounds that blend anthem-worthy melodies, emotive grooves, and floor-focused energy. Each release is strictly limited to 200 hand-numbered vinyl copies, making every edition a true collector’s item. The second chapter SGB002 in the Small Great Beats journey is Luca Olivotto’s spellbinding 4-track EP, Say Who?!, pressed on a stunning light turquoise vinyl. This release showcases Olivotto's diverse sonic range, with the A-side delivering two melodic highlights – the title track Say Who?!, with its anthemic atmosphere, and Work, a groovy cut infused with disco flair, while the B-side shifts the focus to the club, featuring the driving bass of I’ll Show You and the deep, dub-influenced closer, Love Spreader. A must-have for fans of timeless dance music with character and depth, Small Great Beats is where collectibility meets curated quality.

Ben Liebrand is back with a brand-new single, Together, a masterclass in Nu-Disco groove.. This isn’t a remix; it’s a full-bodied original, featuring stunning solo work by Canadian virtuoso Anomalie (also known as Nicolas Dupuis), who is renowned for fusing jazz, classical, hip-hop, funk, and electronic styles into his unmistakable live electronic sound.

Together oozes retro charm with a modern twist. Funky slap basslines, shimmering disco strings, and soulful, uplifting vocals build with lush pads and arpeggiated elements that all go to create the track’s uplifting vibe. Disco-style string stabs and filtered synths give it that retro-modern hybrid sound, all wrapped in Liebrand’s unmistakably clean and warm production style.

Together’s soulful Nu-Disco groove hits all the right spots for dancefloors, poolside sessions, or classy warm-ups.

Die Cinematic-Funk-Visionäre The Diasonics liefern mit ihrem neuen Album ,Ornithology", das am 3. Oktober über Record Kicks veröffentlicht wird, ein weiteres solides Set aus östlich angehauchtem Psychedelic, Cinematic und Disco-Funk. Nach ihrem 2022 von der Kritik gefeierten Debütalbum ,Origin of Forms", das von PopMatters zum Library Music Album of the Year gekürt wurde, kehren die in Moskau ansässigen Instrumentalisten The Diasonics mit ,Ornithology" zurück, einem zweiten Album, das ihre klanglichen Grenzen erweitert und gleichzeitig ihrem unverwechselbaren Stil treu bleibt. Aufgenommen in ihrem eigens errichteten Studio 23, das sich in einer umgebauten Lampenfabrik aus der Sowjet-Ära befindet, ist das Album das Ergebnis von zwei Jahren intensiver kreativer Erkundungen und Experimente. Mit ihrer ganz eigenen Mischung aus cineastischem Funk, östlich angehauchten Melodien, instrumentalem Hip-Hop und analogem Soul haben sich The Diasonics einen einzigartigen Platz in der globalen Funkszene geschaffen. ,Ornithology" markiert ein neues Kapitel: Inspiriert von wiederkehrenden Vogelmotiven in ihrer Umgebung, von Zügen und Bahnhöfen bis hin zu lokaler Folklore und den Schreien der Vögel, die über ihrem Studio kreisen, kanalisiert die Platte Ideen von Bewegung und Freiheit, sowohl thematisch als auch musikalisch. ,Das Thema Vögel und Ornithologie ergab sich ganz von selbst - wir fingen einfach an, überall um uns herum vogelähnliche Namen zu bemerken: Züge und Bahnhöfe, Geschäfte, Orte, Nachnamen von Menschen, Bücher und Filme", sagt die Band. "Wir besorgten uns ein paar alte Synthesizer und stimmten die Oszillatoren, während wir den Schreien der Möwen lauschten, die um die Fabrik flogen, in der sich unser Studio befand. Die Ideen von Flug, Freiheit und Raum wurden zentral für die Musik des neuen Albums." Klanglich gehören zu den wesentlichen Merkmalen von Ornithology nicht nur die Synthesizer, sondern auch Diana Grebs hypnotischer Gesang, der sich nahtlos in die Klangpalette einfügt und dem instrumentalen Funk Leben und Seele einhaucht. ,In unserer Vorstellung balancieren wir wie Vögel zwischen der Erde und dem Himmel und haben versucht, unsere eigene musikalische Sprache innerhalb des Konzepts der Ornithologie zu erschaffen, die den Wunsch eines jeden Menschen widerspiegelt, den Vögeln näher zu kommen und frei zu schweben, jenseits von physischen oder mentalen Grenzen." Die 2019 gegründete vierköpfige Band, bestehend aus Daniil Lutsenko (E-Gitarre), Kamil Gazizov (Keyboards), Maksim Brusov (Bass) und Anton Moskvin (Schlagzeug & Perkussion), erlangte durch eine Reihe von begehrten 45er-Scheiben auf Mocambo Records und Funk Night Records schnell Kultstatus. Ihr von der Kritik hochgelobtes Debütalbum Origin of Forms,, das von Henry Jenkins, dem Produzenten der australischen Kultband Surprise Chef, gemischt wurde, erschien 2022 auf Record Kicks und wurde von PopMatters (US) zum Library Music Album" des Jahres und von FIP (Radio France) zum Album des Monats gekürt. Das Vinyl war innerhalb weniger Wochen ausverkauft und ist nun in der internationalen Cinematic-Funk-Szene sehr gefragt. ,Origin of Forms" erhielt begeisterte Kritiken von Zeitschriften wie Wax Poetics, Mojo, Rolling Stone FR, Clash, Uncut und wurde von Jamie Cullum (BBC2), KEXP, Radio France und Huey Morgan, Don Letts, Cerys Matthews und Tom Ravenscroft von BBC 6 Music, um nur einige zu nennen, unterstützt und gespielt. Mit dem neuen Album Ornithology tauchen The Diasonics in üppige Synthesizer, stripped-down Grooves und rohes instrumentales Zusammenspiel ein, schöpfen aus der Library-Musik der 1970er Jahre, sowjetischer Jazz-Fusion und Disco-Funk und liefern eine weitere supersolide Veröffentlichung, die all die Einzigartigkeit bestätigt und vorantreibt, die ,Origin of Forms" so verlockend machte. Unverzichtbar für Fans von Khruangbin, Surprise Chef und instrumentalen Funk-Grooves.

Dive deep into the full spectrum of acid with SOUR's striking new solo EP, X-00F - a cryptic nod to the hex code for blue, both in name and in vinyl color.
From hypnotic grooves to peak-time rave tools and deep electro-infused trips, this record delivers a rich and versatile blend of acid sounds - all pressed on stunning translucent blue wax.

- For dancefloors that remember - and for those about to find out.
- Pressed on stunning transparent blue vinyl - a must-have for collectors and DJs alike.

DJ Support: Fred P, Mark Farina, Harvey Sutherland and more

When two underground icons like James Curd and Fred P join forces, the result is more than just acollaboration-it's a cross-continental meeting of deep house minds. The track was born in James Curd's Adelaide studio while Fred P was in Australia, capturing a rare and organic creative moment between two respected figures in house music. James Curd, known for his work with Greenskeepers and his extensive catalog across labels like Classic, Defected, and DFA, brings a playful yet precise groove, while Fred P, the introspective deep house pioneer behind Black Jazz Consortium, adds soulful depth and hypnotic finesse. The remix package elevates things even further. Harvey Sutherland, a staple in Australia's modern funk and electronic scene, brings his analog synth wizardry-his remix credentials include Disclosure and Jamiroquai. Austin Ato, a UK house innovator with a DFTD remix for Groove Armada, injects vibrant dancefloor energy. And Junior Sanchez, a long-time figure in New York's club culture, rounds it out with a heavyweight version - he's flipped everyone from A-Trak to Madonna. This is a lineup that speaks volumes before you even hit play.

Recursivity is a reflection on inspiration, derivations, cycles of life, environments, and the
consequence of time.
Written and produced by Maro Kariya
Artwork by Maro Kariya
Layout by Cookhouse Studio
Mastered & Cut by Tim Xavier at Manmade Mastering Berlin

2026 Repress

This one has been in the works for some time and PDD, in conjunction with Armada Music & BEAT Music Fund, are delighted to announce the return to vinyl for KMS. And what better way to kick things off again with this powerful 4 tracker, gathering some of the most in demand and genre defying tracks from the E-Dancer vaults for the first time on one EP.

Label owner Kevin Saunderson aka The Elevator, is largely credited as one of Detroit Techno’s founding fathers goes by many names, with the E-Dancer signature reserved for his more underground Detroit explorations, which in turn have influenced and spawned many new genres.

Almost 4 decades on, Saunderson remains as relevant as a DJ and producer today, testament to the fact that regardless of the production moniker, no one does it better. This collection of hi-octane floor fillers signals KMS are back with a bang and to ensure the best possible sound for the vinyl, the audio has been lovingly remastered by AIR Studios and their team of celebrated engineers, fully utilising their mastering knowledge.

Dabrea is the first release by Kliche, a new alias from Biri. The record features three timeless and dubwise dancefloor cuts alongside a closing downtempo roller. Steeped in lush ambiance, and with a sense of urgency echoing the exploratory energy of rave’s formative years.

Following a move to London from Berlin, these tracks were recorded early 2025 and mixed at Willem Twee Studios in Netherlands. The record represents a fresh start for the producer after stepping away from club music, seeking a freedom of expression beyond the conventions of techno.

Fusing the melodic ideations of braindance with soundsystem weightiness and a deftness of craft, Dabrea is an impressive statement that ignites new energy into the contemporary club continuum.

Paradise Lost’s sixth studio album (1997), which charted well across Europe, marked something of a change of direction for the West Yorkshire group: a transition from gothic metal to a more electronic approach, epitomised by the lead single ‘Say Just Words’, which remains a fan favourite and one of their biggest streaming tracks. This re-tooled aesthetic proved slightly controversial at the time but by the time of its acclaimed 20th anniversary reissue (mirrored here), for which it was remastered by Jaime Gomez Arellano, the general consensus was that the riffs, lyrics, and compositions on One Second are all vintage Paradise Lost. As noted by Decibel magazine, “There is a natural flow on display throughout the 12 songs that is akin to watching a favourite actor take on a somewhat different role than he or she is known for— and killing the performance.”

NOW Music proudly presents the next release in our “NOW That’s What I Call An Era” series - Such A Good Feeling: 1988-1995 – a euphoric celebration of a truly transformative time in music.

This stunning 3LP set pressed on blue, white and yellow vinyl showcases 46 essential tracks that soundtracked the dancefloors, charts, and airwaves from the late ’80s through the ’90s — an era when dance culture reshaped the mainstream, soundtracked a generation, and lit up the charts across the UK and beyond

LP1 – Side A opens in style with ‘Such A Good Feeling’ from Brothers In Rhythm, this collection’s inspiring title…followed by Black Box with ‘Ride On Time’ — the best-selling UK single of ’89, and one of dance music’s defining tracks. Massive club classics continue with C+C Music Factory’s ‘Gonna Make You Sweat (Everybody Dance Now)’, house anthems from Inner City with ‘Good Life’, and ‘Dirty Cash (Money Talks)’ from Adventures Of Stevie V, plus dance-pop gems ‘Not Over Yet’ from Grace, and Billie Ray Martin with ‘Your Loving Arms’…Flip the LP over for the pioneering ‘Theme From S-Express’, a chart-topper from 1988, before dancefloor earworms from Kenny “Dope” Presents The Bucketheads with ‘The Bomb! (These Sounds Fall Into My Mind)’, Nightcrawlers with ‘Push The Feeling On’ and ‘People Hold On’ from Coldcut and Lisa Stansfield. The influential ‘Beat Dis’ from Bomb The Bass is up next ahead of Tony Di Bart’s #1 ‘The Real Thing’, Saint Etienne’s sophisticated dance-pop nugget ‘He’s On The Phone’, and LP1’s closer from D:Ream with the Perfecto radio remix of ‘U R The Best Thing’.

LP2 – kicks off with a run of electrifying Eurodance – all massive club anthems. ‘Rhythm Is A Dancer’ from SNAP! leads off; a UK No. 1 and another defining track of the decade – followed by smashes from Corona, Real McCoy, Dr. Alban, Haddaway, KWS and Cappella, before the side closes with the techno-pop of Opus III with ‘It’s A Fine Day’… The party continues on Side B with an irresistible lineup led by Deee-Lite with ‘Groove Is In The Heart’, their brilliant fusion of funk, house and pop that continues to be a massive floor-filler… as is ‘Dreamer’ from Livin’ Joy, a 1995 No. 1 smash, and vocal house classic ‘Finally’ from CeCe Peniston. Urban Cookie Collective scored a huge hit with ‘The Key, The Secret’, which is followed by the rave energy of Oceanic, N-Trance, Felix – and Utah Saints who sign-off LP2 with the epic ‘Something Good’.

Kicking off the final LP, Side A explodes into life with massive feel-good tunes:- Yazz & The Plastic Population’s ‘The Only Way Is Up’ – a 1988 No. 1 and landmark UK house hit ahead of 49ers with ‘Touch Me’ and Baby D with their #1 ‘Let Me Be Your Fantasy’. Another run of floor-fillers from Rozalla with ‘Everybody’s Free (To Feel Good)’, JX with ‘Son Of A Gun’, Blue Pearl’s ‘Naked In The Rain’ and ‘U Sure Do’ from Strike follows and the side closes with the electronic acid house of ‘Killer’ from Adamski that hit the top of the charts and introduced Seal… and over on the final side, the collection moves toward it's close with stunning and enduring tracks of the era – opening with Soul II Soul & Caron Wheeler’s #1 ‘Back To Life (However Do You Want Me)’ blending soul, R&B and club rhythms to perfection, while Beats International’s fusion of dub reggae and house: ‘Dub Be Good To Me’ (another chart-topper) follows with its iconic bassline and leads us into the stylish and smooth ‘Turn On, Tune In, Cop Out’ from Freak Power. The journey through this incredible era is completed with genre pioneers The Prodigy with ‘Charly’, ‘Infinity’ from Guru Josh, and closing with ambient house, ‘Pacific - 707’ from 808 State, and the timeless ‘The Sun Rising’ from The Beloved.

An unforgettable journey through the sounds that defined an era:- NOW That’s What I Call An Era - Such A Good Feeling: 1988-1995 — the definitive celebration of a golden age of dance music.

Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis' first full-on fusion effort and part of his "electric" era, the 1969 landmark claims a Who's Who line-up that sends the music into an ethereal stratosphere.

Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the bevelled compositions melt away all preconceived notions of "jazz," ˜rock," and "ambience," following a loose theory Davis dubbed "New Directions."

Few albums are so delicately textured. And on Mobile Fidelity's meticulous reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch – he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight – is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys.

If the record's only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons – not the least of which is the seemingly telepathic communicative methods employed by the group's members. The line-up is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.

Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis' decorative spirals. And as colour is the primary unit of currency on Davis' Sketches of Spain, laid-back episodes, geometric spaces, and quiet sensuality reign here, with the set's maverick reputation attained via musings on solitude rather than explosions of noise.


Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producer's could attempt – and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.

The creative visionary behind a remarkable catalogue of widely celebrated releases and two critically acclaimed albums, Monolink returns this fall with his most thought-provoking and introspective project to date. Titled The Beauty Of It All, the multi-faceted German artist's third studio album is slated for worldwide release on September 26, 2025.
Marking a bold new chapter in Monolink's artistic evolution, The Beauty Of It All will dive deep into themes of beauty, impermanence and human connection, blending his signature fusion of live instrumentation, soulful song-writing and electronic innovation. The announcement arrives on the heels of two standout singles already this year - "Mesmerized" (January) and "Powerful Play" (March) - both of which will feature on the new album. With The Beauty Of It All, he builds on the foundations laid by his first two long players, pushing his sound into new, uncharted territory while staying rooted in the organic, humanistic qualities that have defined his career. The album is poised to be his most revealing and boundary-defying release yet; a sonic statement from an artist who continues to redefine what it means to be a modern musician.

Grandbrothers are internationally regarded as one of the key acts redefining the intersection of modern classical and electronic music.
Elsewhere is their fifth studio album and marks their most transformative work to date.
The album sees a bold creative evolution: expanding beyond their signature grand piano sound into analog synths, drum machines, and a more physical, rhythm-driven aesthetic.