Buscar:stu w

35 Years of PROJECT PITCHFORK – The legendary debut ‘Dhyani’ returns! There are albums that make music history. And then there is ‘Dhyani’. For the 35th anniversary of PROJECT PITCHFORK, the debut album of the German electro-industrial pioneers is celebrating its triumphant re-release. Back in 1991, ‘Dhyani’ marked a milestone: a work full of energy, innovation, and dark beauty that revolutionized the scene and forever shaped the sound of PROJECT PITCHFORK. With this album, band founder, creative engine, and visionary Peter Spilles proved impressively that electronic music can be far more than dance beats. It can tell stories, unleash emotions, and connect generations. Now, 35 years later, ‘Dhyani’ returns in new splendor. For this special anniversary, the album has been carefully and expertly remastered by none other than Robin Schmidt (24-96 Mastering). Every tone, every nuance has been meticulously refined to preserve the timeless character of the songs while revealing fresh details that make the album feel even more powerful and vibrant today. ‘Dhyani’ is more than a debut. It is a testament to Peter Spilles’ creative force—an album that created sonic landscapes still captivating to this day. For fans, collectors, and new listeners alike, this re-release is a unique opportunity to experience a piece of music history in its purest form. Immerse yourself in the world of ‘Dhyani’ and feel the power that began 35 years ago and remains unbroken to this day. - Classy black vinyl - 2x180g 12” vinyl - All discs newly remastered for vinyl - Audiophile vinyl – German pressing - Sturdy cardboard sleeve - Printed inner sleeves containing all lyrics

A critical darling and beloved by fans, the success and recognition of Domestica changed the trajectory of Cursive's career. It was recorded over nine days at Lincoln, NE's Whoop-Ass studios (the original studio of Mike and AJ Mogis), and the album's bracing, jagged, cathartic, and visceral songs capture the urgency of the reunited young band_and continue to resonate with fans 25 years later.

Dennis Brown in fine 80s style singing classics such as

• Rocking Time

• Little Bit More

• Hold onto What You Got

• Tribulation

With typically heavy production from The Mighty Two.

Colored Der kreative, kollaborative Ansatz führt dazu, dass Next To Die im Wesentlichen in zwei unterschiedliche Seiten unterteilt ist - Death und Groove - was in einem klanglichen Meisterwerk resultiert, das SIX FEET UNDER als Künstler erfüllt und gleichzeitig jedem Fan etwas bietet. Das Album wurde von Owen und Barnes produziert sowie von Mark Lewis in den MRL Studios in Nashville, Tennessee gemischt und gemastert. Es folgt auf Killing For Revenge von 2024. Es ist das dritte Album, das Barnes und Owen seit ihrer Wiedervereinigung im Jahr 2017 gemeinsam geschaffen haben. "Wir sprechen nicht über lyrische Themen, wir schreiben jeweils das, was wir fühlen", erklärt Barnes. "Wir schreiben einfach das, was wir interessant finden." SIX FEET UNDER wurde ursprünglich als Nebenprojekt für Barnes während seiner letzten Jahre bei der Band gegründet, die er mitbegründet hatte: Cannibal Corpse. 1995 wurde es mit der Veröffentlichung des Debüts Haunted zu seinem alleinigen Fokus. Die aktuelle Besetzung - Barnes, Owen, Lead-Gitarrist Ray Suhy, Bassist Jeff Hughell und Schlagzeuger Marco Pitruzzella - bildet eine verheerende Einheit. Diese klangliche Zerstörung zeigt sich auf der Single "Unmistakable Smell Of Death", auf der Owen seine Blast- und Fast-Riffs mit dynamischen Pull-offs und Stopp-Passagen voll ausspielt. "Dieser Song entstand musikalisch, bevor ich überhaupt eine Idee für den Text hatte", sagt Owen. "Ich habe mein Riff-Archiv nach Blast- und Fast-Riffs durchsucht und sie mit einigen Pull-offs und Stopps auf den neuesten Stand gebracht. Auch die Riffs im Mittelteil stammen aus meinem Archiv. Bei meinen Demos mache ich grobe Lead-Spuren, aber Ray macht die Leads immer viel besser." "Lyrisch schreibe ich hier aus der Perspektive eines Killers, der mit seinem Opfer spielt und es fesselt und wieder losbindet, um ihm die Möglichkeit zu geben zu kämpfen. Er unterschätzt die Fähigkeit des Opfers, sich zu wehren - und das Opfer gewinnt die Oberhand, spießt den Killer schließl

180g Black Der kreative, kollaborative Ansatz führt dazu, dass Next To Die im Wesentlichen in zwei unterschiedliche Seiten unterteilt ist - Death und Groove - was in einem klanglichen Meisterwerk resultiert, das SIX FEET UNDER als Künstler erfüllt und gleichzeitig jedem Fan etwas bietet. Das Album wurde von Owen und Barnes produziert sowie von Mark Lewis in den MRL Studios in Nashville, Tennessee gemischt und gemastert. Es folgt auf Killing For Revenge von 2024. Es ist das dritte Album, das Barnes und Owen seit ihrer Wiedervereinigung im Jahr 2017 gemeinsam geschaffen haben. "Wir sprechen nicht über lyrische Themen, wir schreiben jeweils das, was wir fühlen", erklärt Barnes. "Wir schreiben einfach das, was wir interessant finden." SIX FEET UNDER wurde ursprünglich als Nebenprojekt für Barnes während seiner letzten Jahre bei der Band gegründet, die er mitbegründet hatte: Cannibal Corpse. 1995 wurde es mit der Veröffentlichung des Debüts Haunted zu seinem alleinigen Fokus. Die aktuelle Besetzung - Barnes, Owen, Lead-Gitarrist Ray Suhy, Bassist Jeff Hughell und Schlagzeuger Marco Pitruzzella - bildet eine verheerende Einheit. Diese klangliche Zerstörung zeigt sich auf der Single "Unmistakable Smell Of Death", auf der Owen seine Blast- und Fast-Riffs mit dynamischen Pull-offs und Stopp-Passagen voll ausspielt. "Dieser Song entstand musikalisch, bevor ich überhaupt eine Idee für den Text hatte", sagt Owen. "Ich habe mein Riff-Archiv nach Blast- und Fast-Riffs durchsucht und sie mit einigen Pull-offs und Stopps auf den neuesten Stand gebracht. Auch die Riffs im Mittelteil stammen aus meinem Archiv. Bei meinen Demos mache ich grobe Lead-Spuren, aber Ray macht die Leads immer viel besser." "Lyrisch schreibe ich hier aus der Perspektive eines Killers, der mit seinem Opfer spielt und es fesselt und wieder losbindet, um ihm die Möglichkeit zu geben zu kämpfen. Er unterschätzt die Fähigkeit des Opfers, sich zu wehren - und das Opfer gewinnt die Oberhand, spießt den Killer schließl

PRODUCED BY: Winston Edwards RECORDED AT: King Tubby's Recorded approximately 1973-1975, mixed by King Tubby.

Seminal dub album

With Neolithic Neon, Appleblim creates a kaleidoscopic reflection of the spirituality inherent within electronic music — the ineffable frequencies and communal traditions that spring from exploratory synthesis, deep-rooted rhythms and myriad other sonic codes.

Throughout his third album for Sneaker Social Club, Laurie Osborne continues to express a fascination with the ancient resonance held within modern rave as he guides his own studio practice towards more purposefully analogue processes. It's reflective of his desire to let go and trust his instincts within the more chaotic realm of voltages and signals, not to mention turning to a wider spread of instrumentation and opening up to noisier avenues. This direction defines the character of Neolithic Neon, which bristles with the living imperfections of the gear in the context of incisive and wide-ranging cuts touching on jungle, dubstep, techno, electro, acid and experimental electronic music of all stripes.

Across Osborne's solo output from 2018's Life In A Laser to 2021 tape Infinite Hieroglyphics, a strong melodic sensibility spills out of the richly layered production. It's equally audible in his Wrecked Lightship collaboration with Adam Winchester, and it charges Neolithic Neon with its star-gazing, contemplative streak. From the knotty plucks and licks weaving through opener 'Moorland' to the vaporous synths darting across the top of hardcore conductor 'Thunderstorm', a dreamlike evocation takes the sound off terra firma, musing on cosmic events and our connection to the enormity of the universe.

Eternally in thrall to the maverick vocabulary of pioneering beat scientists and fuelled by the inspiration of great thinkers dwelling on our purpose and place, Neolithic Neon unfurls big ideas without heavy-handed messaging. Instead, it trusts in the universal and time-honoured language of experimentation and rhythm to present its ideas, true to Appleblim's legacy to date while opening a new chapter in his ongoing sonic quest.

In 2021 September Jazzbois has released their second full length album "Jazzbois Goes Blunt II" - the album became the most listened album of the trio to this date

Jazzbois is a jazz-hiphop fusion trio from Budapest, Hungary. Their studio albums and live shows are all equally heavily rooted in improvisation and momentary self expression, each performance is absolutely unique and daring.
In the past 3 years Jazzbois has played SOLD OUT headline shows in: Melkweg Amsterdam NL, Jazz Café London UK, Village Underground London UK, Duc des Lombards Paris FR, La Hasard Ludique Paris FR, Gretchen Berlin DE, Knust Hamburg DE, Ekko Utrecht NL, Simplon Groningen NL x 2, Jassmine Warsaw PL x 2, AKvarium Budapest x 3
Played on festivals like: Montreal Jazz Festival CAN, Montreux Jazz Festival CH, SZIGET HU, X the Tracks London UK, Brick Lane Jazz festival UK, Jazz á Vienne FR, Istanbul Jazz Festival TR, Jazz Open Stuttgart DE, Blue Summer Festival PL, Jazz Around PL, Jazz in the Park RO, JAZZx RO…

Death Is Not The End collaborate with Uzbek label Maqom Soul to deliver an LP counterpart to last year's mixtape of the same title, compiling specially picked & fully licensed individual belters from the ex-soviet studios of Central Asian republics between 1978 and 1989 - incl. Uzbek, Tajik, Kurdish & Uyghur artists pulling traditional folk motifs together with pop & rock and psych elements.

"These recordings do not form a smooth or coherent history. They feel more like a sequence of discoveries made at different moments and in different circumstances. Songs and instrumental pieces that once lived inside specific contexts radio broadcasts, philharmonic programs, touring routes now sit side by side, revealing hidden connections as well as clear fractures between them.

Nasiba Abdullaeva appears here as a voice from the end of an era. Trained within a conservatory system, she worked inside the format of the Soviet pop song while filling it with melodic logic that did not come from Moscow or Leningrad. Her voice is soft and sustained, shaped by Eastern melisma, and it never functions as decoration. Even in tightly structured songs there is a sense of resistance, an effort to preserve a musical language rooted in Uzbek tradition rather than fully adapted to an all Union standard.

The ensemble Sintez, later renamed Navo, represents a different path. Beginning as a student rock group, the band was gradually absorbed into the official VIA system with all its limitations and compromises. Yet it was precisely within those boundaries that Sintez and Navo developed a recognizable sound. Electric guitars and jazz rock harmonies do not overpower the folk material but remain in tension with it. Their recordings feel like negotiations between what the musicians wanted to play and what they were allowed to perform.

The Tajik ensemble Gulshan reflects an institutional approach carried to a high professional level. Formed under television and radio structures, the group treated folk material almost as a written score. Carefully constructed arrangements, close attention to orchestration, and restrained use of pop techniques define their sound. There is less spontaneity here, but a strong sense of discipline and structure, where national melody becomes part of a carefully controlled sonic framework.

Koma Wetan occupies a very different space. Formed in the 1970s, this Kurdish rock group approached poetry and folklore as tools of cultural assertion. Their psychedelic rock never feels like a stylistic borrowing. Instead it functions as a contemporary vessel for language and themes that might otherwise have remained unheard. Even today these recordings sound fragile and stubborn at the same time.

The Uyghur ensemble Yashlik, closely connected to a musical drama theatre, operated somewhere between stage performance and popular music. Their songs are built on folk melodies but shaped for wide audiences. What emerges is a constant attempt to preserve the recognizability of Uyghur musical identity without freezing it in a folkloric frame. Yashlik's music exists in a state of balance between representation and development.

Digging Central Asia does not attempt to establish hierarchies or offer a single wayof listening. Names and dates matter less than the sound itself. Tape noise, abrupt transitions, and unexpected timbres remain part of the material rather than flaws to be corrected. This music existed at the crossroads of multiple routes geographic, cultural, and ideological. Heard today in a new context, it no longer feels peripheral. Instead it stands as a reminder that the history of popular music is far more fragmented, layered, and polyphonic than it is usually allowed to be."

Released independently and on her 30th birthday, "Water Baby" is Giorgia-May's stunning debut album. Spanning over 8 tracks & recorded live at The Famous Goldwatch Studios in Berlin, Giorgia collaborates with some of Berlin's finest musicians to enhance her craft at putting emotions into songs. Each track highlights something different in her ability to channel pain, desire, lust and heartbreak, all whilst (most of the time) making you want to dance & smile.

Stemming originally from Brighton (UK), Giorgia-May has been pursuing a musical career through the means of travel. Now based in Berlin, she combines sensual lyrics, mesmerising tones and exciting arrangements which draw upon her personal experiences of love, loss and coming into womanhood. Blending soulful melodies with jazzy chords and hints of RnB, she takes influence from writers such as Olivia Dean & Amy Winehouse.

Extensive independent European tour in August & September 2026 through the following cities: Berlin, Paris, Bilbao, Porto, Lisbon, Valencia, Barcelona, Marseille, Cannes, Milan, Lake Como, Zurich, Luxembourg, Brussles, Cologne, Amsterdam and more ...

Teenage Drug is the second studio album by the Irish indie-punk band Sultans of Ping F.C, originally released in 1994. The album continues the band's established sound across its 14 tracks, focusing on tight song structures and arrangements.

The album builds on the band's energetic indie-punk style, with sharp guitar riffs and songs containing the band's playful approach to lyrics. It features the singles "Teenage Punks", "Michiko" and "Wake Up And Scratch Me" and established the band's presence in the mid-1990s Irish and UK indie scene.

Teenage Drug is available as a limited edition of 1000 individually numbered copies on translucent blue vinyl and includes an insert.

FOR THE FIRST TIME EVER: THE LONG-LOST RECORDINGS OF BIRMINGHAM ROOTS REGGAE PIONEERS NATRUS Mastered from the original tapes by Guy Davie at Electric Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the archival release of newly-discovered recordings by Birmingham reggae band Natrus. Comprising members of the same family – seven in total – Natrus were a ubiquitous presence of the live circuit within and beyond the West Midlands in the late 1970s. Used as an ad hoc “Wrecking Crew” by local producer and promoter Toney Owens, NATRUS frequently provided live accompaniment to visiting Jamaican artists such as Sugar Minott, Johnny Osbourne and Freddie McKay. With an age span ranging from 9 to 25, NATRUS’S live work had to be structured around the educational obligations of their younger members. But when they weren’t playing live, they would frequently hone their own compositions at Owens’ studio in Saltley, Birmingham.

During their collective lifetime, NATRUS released one very limited edition single Mash It, with a stellar guest vocal from deejay Ranking Glad(Stone). Featured alongside Mash It on this release are a selection of recordings previously thought lost by the group who laid them down. They were only discovered after Toney Owens’ alerted Needle Mythology’s Pete Paphides to the existence of some 60 quarter-inch reels featuring all the music recorded by Owens over a period of ten years or so. When Paphides finally tracked down NATRUS rhythm guitarist Owen Taylor, he was stunned to hear of their existence. After a meeting with Taylor and his siblings, Needle Mythology collaborated with NATRUS on the restoration and remastering of the tracks featured on this, their very belated debut album. As well as Mash It and its original flipside Come From Africa, highlights on ‘NATRUS’ include a superb version of Slim Smith’s The Time Has Come and the deep roots entreaties of Freedom Inna Babylon, both showcasing the soulful vocal of lead singer Fitzdonald “Fitz” English and the almost psychic sense of musical attunement that percolates right down the the formidable rhythm section of Beverley Stewart (bass) and Clinton Gordon (drums).

Metric’s relentless pursuit of timeless songwriting and fiercely independent ethos have cemented their place as one of the most essential and ahead-of-the-curve bands of the last two decades. The trailblazing Toronto outfit was founded by songwriting and production partners Emily Haines and Jimmy Shaw, along with bandmates Joshua Winstead and Joules Scott Key. Though both were also founding members of the influential and sprawling Canadian indie rock outfit Broken Social Scene, Metric was always the top priority, and shortly after they met and cemented their mission, they left Toronto for New York in search of like-minded artists. There, they found themselves at the center of the city’s burgeoning indie sleaze scene alongside bands like LCD Soundsystem, The Strokes, TV On the Radio, Yeah Yeah Yeahs, Interpol.

Their 10th studio album Romanticize The Dive harkens back to the free spirit of that era, kicking off with Haines nostalgically imploring the listener to “let me take you back, it was the start of something...” before pulling back the curtain on a band that has consistently stayed true to each other and their ethics for decades. In a tribute to lifelong friendship, the album also reunites the dream team behind their 2009 breakout album Fantasies at Electric Lady Studios in New York. All at once a heartfelt reflection on their history, a celebratory gift to those who have been along for the ride, and an outstretched hand to new fans, Romanticize The Dive is another testament to the band’s unwavering love for each other and their insatiable desire to push themselves as artists.

On their seventh studio album, Lost Cause Lover Fool (due April 24th on Far Cry/Thirty Tigers), The Milk Carton Kids deliver 9 songs that, more than ever, invite listeners to lean in close and hover in the small moments the album magnifies. Much has changed since The Milk Carton Kids — Los Angeles-based singer-songwriters Kenneth Pattengale and Joey Ryan — burst on the Folk scene in 2011. And The Milk Carton Kids have changed too. But at least one constant remains. Pattengale and Ryan continue to make music that entices us turn down the volume on a chaotic world and dwell as long as possible on what matters most. With rootsy arrangements, Lost Cause Lover Fool expands on the duo’s signature minimalist sound their fans love while also, somehow, making it even smaller. Lost Cause Lover Fool begins with the lonesome pluck and strum of the banjo on “Blue Water.”

Often employed either for lightning-speed or rhythm, here the banjo is handled carefully, with reticence, so that it feels more like light cast across a stretch of grass than a whole bluegrass instrument. Lyrically, this album-opener zooms in on a snapshot of a man walking along a riverside, remembering the child that used to lay on his chest who has now grown to share his worried mind. It’s a moment so small it might easily have been dismissed, except that it holds an emotion as universal as it is fleeting. Lost Cause Lover Fool magnifies many such small moments, turns them into mesmerizing worlds, and reminds us — pleads with us — to pay attention to them as they go by.

Made in Hell is Hell Boulevard's new studio album, due for release in 2026. The band remains true to its distinctive style, combining dark gothic rock with cinematic orchestral arrangements and electronic elements to create a powerful, atmospheric sound. For the first time in the band's history, a Hell Boulevard album was mixed by Bengt Jaeschke at Chameleon Studios in Hamburg. The final mastering was done by Stefan Brown at the legendary Abbey Road Studios in London. This high-quality production chain marks an important step in the band's sonic evolution and gives the album a particularly striking and powerful sound aesthetic.

DYING VICTIMS PRODUCTIONS is proud to present WHIRLWIND’s highly anticipated second album, 1640, on CD and vinyl LP formats. WHIRLWIND was originally conceived as a studio-project by Mark Wild, from Körgull The Exterminator among other extreme metal bands, to satisfy his will to make a classic heavy metal album, a style that changed his life during his childhood – influenced mostly by ‘80s German metal bands like early Running Wild, early Helloween, Accept, Heaven’s Gate, Gravestone, Tyrant, Grave Digger, Steeler, and Stormwitch among others, but also all kinds of classic heavy metal like Mercyful Fate, Manowar, Iron Maiden, and Judas Priest. In 2022, WHIRLWIND released their debut album, 1714, marking the band’s beginning. WHIRLWIND also established a live lineup to bring their songs to life onstage, with musicians from other known bands, like Redshark, joining as permanent members of the band. The album immediately generated a big buzz in the underground scene and led them to perform at some of the best-known festivals in Spain like Pounding Metal Fest and Skulls of Metal, alongside such bands as Visigoth, Attic, Omen, Tentation, Mindless Sinner, Witchtower, IRON CURTAIN, and Phantom Spell. Now arrives WHIRLWIND’s second album, 1640. Like its predecessor, the album is focused on historical and epic episodes of their homeland; specifically, this album revolves around the Thirty Years War that took place around Europe and the inner conflicts within Spain.

Musically, WHIRLWIND deliver a masterclass in cruising, classy Teutonic metal, running from more traditional-minded mid-tempo stompers to surging, up-tempo gallops of glory. Riff and lead form a lethal tandem, balancing both energy and color, while the rhythm section stays locked in no matter the dynamic. The production, too, of 1640 honors the mid ‘80s with authenticity – underground in spirit, Big League in execution. All told, the album is true heavy metal for true heavy metal people: no more, but definitely no less. By the blood in their veins, WHIRLWIND are marching to victory, ready to explode!

Making his first appearance on Flat White Records, NYC’s Malik Hendricks arrives with Stretching, a four-track EP that leans comfortably into the grey space between Deep House and Techno. Across three original cuts, Hendricks delivers warm, hypnotic, and quietly confident sounds that are unmistakably his own.

Rounding out the release is a remix from London-based, Spain-born producer Beringei. Known for his broken-beat excursions, Beringei with a 4x4 workout that still carries his unmistakable percussive touch, proving that even when stepping outside his usual lane, his identity remains firmly intact.

With previous releases on respected imprints like Eglo, Darker Than Wax, and Phuture Shock Muzik, Hendricks arrives in trusted company, thus making it an easy call to hand him the reins for our 15th release.

Born in the ’80s and raised in the ’90s, Malik Hendricks is a product of transatlantic club culture, drawing inspiration from Detroit’s futurism, New York’s grit, and the UK’s rhythmic experimentation. A DJ for over a decade, he approaches music with an almost academic curiosity, seeing the dancefloor as a shared space for cultural exchange.

Recently, his work has caught the attention of heavyweights like Eli Escobar, Byron the Aquarius, James Bangura, and Roy Vision, all stepping in to remix his material. With Stretching, Hendricks continues to prove that subtlety, craft, and groove still go a very long way.

Early DJ Support from: Shy One, LDLDN, Louise Chen, Dam Swindle, LTJ Bukem, Christophe Salin, Franck Roger, Jazzanova, Mr Redley, Last Nubian, Glenn Davis, Seven Davis Jr, Stonie Blue, Stu Clark (WOLF), Adriatique, Marco Weibel, Mr Ties, Tereza, Cottam, Joyce Muniz + MORE

Jason Aldean schlägt mit der Veröffentlichung seines zwölften Studioalbums ein neues Kapitel auf. Das
Album ist ein Meilenstein mit 20 brandneuen Songs, die die ganze Bandbreite seines künstlerischen Schaffens zeigen – von mitreißenden Bühnenhymnen bis hin zu den ehrlichen, authentischen Geschichten, die
seine Karriere geprägt haben. Diese umfangreiche Sammlung unterstreicht Aldeans anhaltende Popularität
und seine kreative Weiterentwicklung und bestätigt einmal mehr, warum er zu den einflussreichsten und
prägendsten Stimmen der Country-Musik zählt. Mit über 25 Millionen Followern in den sozialen Medien
und einer Karriere, die die moderne Country-Musik maßgeblich beeinflusst hat, gilt Jason Aldean als einer
der größten Superstars und erfolgreichsten Hitgaranten des Genres. Bekannt für seine einzigartige Mischung aus stadiontauglichen Country-Hymnen und gefühlvollen Balladen, ist Aldean zu einer kulturellen
Größe geworden und verbindet sich mit seinen Fans durch Hymnen, die sowohl die Härte als auch die Seele
des amerikanischen Lebens einfangen. Die New York Times lobte seinen Sound als den des „Hardrockers
von nebenan“, während der Rolling Stone ihn als „einen der mutigsten Wagemutigen der Country-Musik“
bezeichnete.
Aldeans Vermächtnis ist durch eine Reihe von Auszeichnungen, darunter drei ACM-Awards als „Entertainer
des Jahres“, unzählige Platin-Schallplatten und ein umfangreiches Repertoire, das den Erfolg in Nashville
neu definiert hat, untermauert. Im Laufe seiner Karriere hat Aldean epochenprägende Songs wie „Big
Green Tractor“, „Dirt Road Anthem“, „Burnin’ It Down“, „You Make It Easy“ und „Try That in a Small
Town“ veröffentlicht, die allesamt sein Talent unter Beweis stellen, die Charts zu erobern und gleichzeitig
seinen Wurzeln treu zu bleiben.

“‘Round About Midnight At The Cafe Bohemia” von Kenny Dorham ist ein Blue-Note-Klassiker. Jetzt
erscheint der Konzertmitschnitt erstmals als Deluxe-LP in voller Länge auf Vinyl – in audiophiler Qualität!
Als Gründungsmitglied der Jazz Messengers war der Trompeter im November 1955 dabei, als Schlagzeuger
Art Blakey mit der Band im Café Bohemia bahnbrechende Live-Aufnahmen für Blue Note machte. Nur
sechs Monate später kehrte Dorham mit seinem eigenen Sextett in den berühmten New Yorker Jazzclub
zurück, um dort sein erstes eigenes Live-Album für das Label einzuspielen. Von dem über zweistündigen
Auftritt veröffentlichte Blue Note 1956 nur ein Album mit sechs Stücken. Elf weitere Titel erschienen erst
1984 auf zwei separaten LPs in Japan, die kompletten Aufnahmen gab es bislang nur auf einer im Jahr
2002 erschienenen vergriffenen Doppel-CD.
Jetzt erfüllt sich für Blue-Note-Fans ein Herzenswunsch: die Aufnahmen kommen erstmals komplett auf
Vinyl heraus - im Rahmen der audiophilen Blue Note Tone Poet Serie auf drei 180g-LPs im Deluxe-Tipon-Trifold-Sleeve, abgerundet durch ein großformatiges Booklet mit bisher unveröffentlichten Fotos von
Francis Wolff sowie einem ausführlichen Essay und einer Track-by-Track-Analyse von Syd Schwartz.
Parallel erscheint das komplette Konzert auch als remastertes 2-CD-Set in Jewelbox mit Booklet.

Diese erweiterte Ausgabe von „From A Page“ enthält die beiden CDs in einer Klappbox mit einem 16-
seitigen Booklet mit Liner Notes von Oliver Wakeman, einem Faltposter und fünf Kunstkarten.
und die erweiterte Ausgabe der 2LP von „From A Page“ wurde auf Halfspeedmastered 180-GrammSchwarzvinyl gepresst.
„From A Page“ ist ein Album mit Aufnahmen der Yes-Besetzung von „In The Present“ mit Chris Squire
(Bass), Steve Howe (Gitarren), Alan White (Schlagzeug & Percussion), Benoit David (Gesang) und Oliver
Wakeman (Keyboards). Die Songs wurden während der Sessions aufgenommen, aus denen schließlich das
Album „Fly From Here“ von 2011 hervorging, auf dem Geoff Downes nach Wakemans Ausstieg aus der
Band am Keyboard zu hören ist. Die 4-Song-Mini-LP „From A Page“ wurde 2019 veröffentlicht und enthält
Songs, die nicht auf „Fly From Here“ verwendet wurden.
Die 2-CD-Version von „From A Page“ enthält die ursprünglichen vier Songs sowie alternative Versionen von drei Songs aus „Fly From Here“ mit Oliver Wakemans Keyboard-Parts aus den ursprünglichen
Songwriting-Sessions und eine Studioversion des von Chris Squire geschriebenen Songs „Aliens“, der auf
der Tour 2008 gespielt wurde, auf Disc 1. Disc 2 enthält Demoversionen vieler Songs, darunter „Updraft“,
das die Grundlage für den Abschnitt „Army of Angels“ von „Into The Storm“ bildete, „Don’t Take No For
An Answer“, das nicht auf dem Originalalbum enthalten war, aber während der Sessions bearbeitet wurde,
und den Single-Mix von „To The Moment“, der zuvor nur auf Vinyl erhältlich war.

Los Angeles alt-punks Death Lens return with What"s Left Now?, an album that feels like a jolt of clarity after a year that never seemed to slow down. Fresh off touring with Militarie Gun, they dove into the studio with producer mixer Zach Tuch (Knocked Loose, Touché Amoré) to craft their first new music since 2024"s Cold World. The result is a set of songs that coil hooky guitar lines around lyrics about taking stock of what you have, what"s been taken from you, and confronting what remains without any sugar coating. Death Lens have always played with contrast: ferocity disguised by swagger, volatility wrapped in melody. Onstage, they transform that tension into something communal-cathartic enough to leave rooms wrecked, connective enough to leave people changed. Once a crew of partydriven garage punks, they"ve sharpened their voice into something broader and more urgent, speaking on life in heavily policed neighborhoods, immigration reform, and the responsibility to lift up the communities that raised them. What"s Left Now? pushes that vision forward, framing resilience not as a slogan but as a lived philosophy: one world, one community, one band refusing to stand still. Death Lens is comprised of Bryan Torres (vocals), Jhon Reyes (guitar, backing vocals), Tony Rangel (drums), and Ernie Gutierrez (guitar).

Your favorite weed sludgers are ready to come back with their fourth studio album, the aptly titled "Stoned Villains," out in April on your beloved Heavy Psych Sounds Records. The band's distinctive sound emerges immediately after the first listen: seven tracks of heavy, sulfurous doom-sludge, with influences ranging from the '90s to Turin-inspired hardcore punk, the scene in which our "villains" were formed and raised. Heavy and cutting guitars, a seismic rhythm section, and Gingerzilla's voice barking out ungraceful tales of weed abuse and uncontrolled eating. The song titles perfectly describe Tons: a band that doesn't take itself too seriously and uses irony as its strong point.

Pink vinyl, limited to 350 copies. Your favorite weed sludgers are ready to come back with their fourth studio album, the aptly titled "Stoned Villains," out in April on your beloved Heavy Psych Sounds Records. The band's distinctive sound emerges immediately after the first listen: seven tracks of heavy, sulfurous doom-sludge, with influences ranging from the '90s to Turin-inspired hardcore punk, the scene in which our "villains" were formed and raised. Heavy and cutting guitars, a seismic rhythm section, and Gingerzilla's voice barking out ungraceful tales of weed abuse and uncontrolled eating. The song titles perfectly describe Tons: a band that doesn't take itself too seriously and uses irony as its strong point.

Risk/Reward’s third installment comes from Brooklyn-based California native Chuwee, a rising star with records in the bags of the scenes most discerning selectors. Teaming up with homies Sasta, Seb Hall and Gaspar Muniz to form the Wizards on Waverly, they deliver a wildly creative and versatile collection of funk-drenched floor fillers.

On the a side: 4TJADEN combines crunchy electro house drums with a twisting, monstrous analog bass lead and 80s synth pop strings, before euphoric chords and a killer acid line send this one in to the cosmos!

Let’s Talk About Sex is a big, bad, booty bouncing slice of West Coast electro funk. An ultra groovy and addictive bass line, naughty vocals, spooky synth lines and rays of acid sunshine straight from California, make for an infectious party cut that gets the floor rocking every time.

On to the b-side: Slippy Jim’s is a laid back, dubwise, chugger, perfect for warming up, day time sessions or late in the afters. Crunchy analog drums patter over a warm, playful bass groove, speckled with dubby stabs, an imposing synth lead and vintage Jamaican spoken word vocals transport you to Kingston after party where the rum and vibes flow in equal measure.

Pioneer of the dub tech house sound Grant Dell delivers a gargantuan remix, with enough weight to break even the sturdiest of scales. Chunky yet detailed drums, a sub-heavy & driving bass line, acid squelchs and dubbed out stabs create an absolute weapon of a track, with a truly epic breakdown featuring a legendary vocal that gets right under your skin and stays there.

Heavy support from Enzo Siragusa, Harry McCanna, Bushwacka!, Dyed Soundorom, Anna Wall, CHKLTE and more.

- 2026 repress -

SHDW & Obscure Shape launch new label Mutual Rytm with powerful eight-track V/A "Federation Of Rytm I", featuring VIL & Cravo, Lars Huismann, Grindvik and more.

Favourites for many within today's modern techno landscape, Stuttgart-based pairing Marco Blasi and Luigi Urban, aka SHDW & Obscure Shape, continue to grow their profile and position as artists leading the current new wave of techno. Having launched their first label From Another Mind in 2014, releasing material from themselves alongside remixes from the likes of Rodhad, James Ruskin and Dax J, early December welcomes the arrival of a new project and a second imprint to the fold, Mutual Rytm.

Showcasing a new dimension of techno and electronic music, celebrating originality and innovation by combining timeless cuts from the past with cutting edge sounds of the present and the future, the label will serve as a breeding ground for new artists alongside established talent and legends from the scene. Opening the imprint in style, the label bosses head up the first-ever release and the first V/A "Federation Of Rytm I" as they welcome a selection of new and established talent.

"Since the beginning of the global pandemic, we have been diving deep into the roots of our music and working on the aesthetics of our sound. That's when we realized that now is the right time to start a new project which differs from FAM, in both musical and artistic direction. The project will showcase a new dimension that aims to channel the authentic perspectives of both established and up-and-coming talents. With our new label, we want to give all artists the opportunity of musical freedom and expression of their versatility as producers. It is an honour to accompany the young artists on their careers, to see them grow and to help them in their development as musicians." - SHDW & Obscure Shape

The duos rolling opener "Conquest Of Paradise" quickly sets the tone and builds to reveal a classy and slick offering, combining rich stabs with tough drums and sharp hats, while Invexis keeps the tempo high as he weaves escalating synths and pacy kicks across "Elektronenwind". VIL & Cravo combine on the jacking and lively "Apolonia Loop", as eerie synths work amongst warped vocals across a tweaked out peak-time effort, before Alarico keeps the energy levels up throughout the relentless funk of "I'm Into You".

The second half of the package sees Lars Huismann enter the fray with the no-nonsense, snaking grooves of "Hyper Dub", with Nicolas Vogler's "Sauva Bite" fusing hypnotic tones with straight regimented claps for an intense yet playful ride through sounds and sonics. "Your Dry Lips" switches up the aesthetic as Grindvik journeys down a wormhole of metallic percussion and warping low-ends, before closing the show with authority via Stigmata's grinding and menacing offering "Gestas".

O.B.F x Dubkasm.

Bristol, 10 AM. At the end of a garden, sub bass spilling out of a shed, the Dubquake crew had just stepped into the Dubkasm studio.

Rico jumped on the desk with Digistep, building riddims on the fly while Stryda and the crew bussed out some ninja moves. From that session, two raw dubz were born: Momentum and Shaku Dub.

Built for the dance, played on dubplate for a minute, it felt just right to press them onto heavyweight vinyl for the Teachings in Dub x Dubquake weekender that took place in Bristol and London last weekend.

Strictly dubplate pressure!

Following the sold-out first volume, the Belgian label Covadia presents a second chapter of Les Belgicains, focusing on the European rumba created by Congolese students in Belgium during the 1960s.

Volume 2 includes 11 rare tracks originally issued on 45 rpm singles or never released before. Highlights include the dancefloor favourite “Guaracha Fredo” by LOS NICKELOS and previously unreleased recordings by the orchestra EBUKA EBUKA, like the swinging “Merengue Soucouss” and the emotional “Mpenzi Niambiye”. The songs unmistakably express a longing for recognition and for a rightful place for a new nation.

Global icon and five-time GRAMMY® winner Angelique Kidjo returns with HOPE!!, a revelatory 16-track collection that serves as a vibrant antidote to the times. Following her 2021 success Mother Nature, this album bridges continents and genres, featuring a star-studded lineup including Pharrell Williams, Quavo, Ayra Starr, Nile Rodgers, and Davido among other A-listers

Produced by Pharrell and Shizzi, and featuring songwriting by the legendary Diane Warren, HOPE!! is more than an album—it’s a global musical movement dedicated to the resilience of the human spirit.

DIE BERNAUER STREETPUNKER MONA RELOADED LÄUTEN MIT "KEINE ZEIT" ZUR LETZTEN RUNDE BZW. GEBEN EINE ZUGABE: AUCH WENN'S TEILWEISE MIT MEINE FRESSE WEIERGEHT - BEI SO EINER HAMMERSCHEIBE FÄLLT DER ABSCHIED DOPPELT SCHWER! NACH GEFÜHLTEN SIEBEN LEBEN VOLLER HERZBLUT, SCHWEISS UND REICHLICH TRÄNEN ZIEHEN DIE FÜNF JUNGS AUS DEM LAGER DER BERNAU PUNKROCK LEAGUE IHREN IMAGINÄREN HUT. DIE 2008 AUSGERUFENE EWIGE JUGEND WICH, EIN JAHRZEHNT SPÄTER, EINER WAHNSINNIGEN KATERSTIMMUNG UND VERABSCHIEDET SICH 2025 ENDGÜLTIG MIT EINEM LETZTEN, DAFÜR UM SO LAUTEREN LEBENSZEICHEN. ALS FINALEN RAUSSCHMEISSER WERDEN 11 (FAST) NEUE ABSACKER ÜBER LIEBE, LEID UND TRINKGELAGE SERVIERT. AUFGENOMMEN, ZWISCHEN 2021-2022, IN BANDTYPISCHER DO-IT-YOURSELF MANIER SAMT DAZUGEHÖRIGER VERSPÄTUNG, WIRFT DIE MANNSCHAFT NOCH EINMAL ALLES IN DIE WAAGSCHALE WAS DIE HAUSEIGENE WAFFENSCHMIEDE ZU BIETEN HAT. MIT "KEINE ZEIT" MACHEN MONA RELOADED ALLEN FREUNDINNEN, ANHÄNGERN UND WEGGEFÄHRTEN, VOR ALLEM ABER SICH SELBST, EIN WÜRDIGES ABSCHIEDSGESCHENK VOLLER SPIELFREUDE, OHRWÜRMERN UND EINER FLATRATE AN GRATISDRINKS. ALS LANGJÄHRIGES HAUS- UND HOFLABEL HABEN ES SICH SUNNY BASTARDS NICHT NEHMEN LASSEN DAS FINDELKIND, TROTZ AUFLÖSUNG DER BAND ENDE 2023, DOCH NOCH AUF DIE STRASSE ZU BRINGEN. FÜR FANS VON OXO 86, GUMBLES, MEINE FRESSE, BARNEY ARMY...

Zehn Jahre war es still um moskovSKAya - jetzt sind die Ska-Veteranen zurück. Die 9-köpfige Band steht für schnellen Ska mit markanten Bläser-Riffs, treibenden Rhythmen und einer explosiven Live-Energie. Mit Elementen von Polka bis Punk, von Reggea bis Jazz bringen sie ihr Live Publikum in Clubs oder bei großen Open Airs zum Tanzen...schwitzen garantiert! Bei unzähligen Auftritten, auch als Support von z.B. Bob Geldof, Manfred Mann oder The Specials haben sie das unter Beweis gestellt. Dabei stehen moskovSKAya weder für Mainstream, noch für Rebellion, sondern für Verbundenheit und der gemeinsamen Leidenschaft für die Musik, das Miteinander und dem unbeschreiblichen Gefühl, wenn auf und vor der Bühne alles zusammenpasst: die Baseline groovt, Gitarre und Orgel schwingen im Offbeat und die Bläser schieben nach vorne, bis das ganze Publikum mit dem Sänger um die Wette springt. Nun bringt die 1989 gegründete Band mit "Dancehall Schwof" ihr sechstes Studioalbum, das bei Sunny Bastards Records erscheint. Und moskovSKAya stellen mit den zehn Songs unter Beweis, dass sie nichts von ihrer Sound-Vielfalt und ihren knackigen Bläserriffs verloren haben...treibender Offbeat, musikalische Präzision, Charakter und ungebremste Spielfreude. Ska, wie er heute klingen muss - lebendig, auf den Punkt und jenseits von Nostalgie. Absolute 'Must-Dance' Anspieltipps wären unter Anderem 'Night Train', 'Let You Down', 'Eso Es' oder 'Only Once'. Hier bleibt kein Bein ruhig, Kopf und Körper wollen zwangsläufig in Bewegung gehen. Und wer damit nicht bis zum nächsten Live Auftritt der Band warten möchte, dem sei dieses Album klar ans Herz gelegt!

Zehn Jahre war es still um moskovSKAya - jetzt sind die Ska-Veteranen zurück. Die 9-köpfige Band steht für schnellen Ska mit markanten Bläser-Riffs, treibenden Rhythmen und einer explosiven Live-Energie. Mit Elementen von Polka bis Punk, von Reggea bis Jazz bringen sie ihr Live Publikum in Clubs oder bei großen Open Airs zum Tanzen...schwitzen garantiert! Bei unzähligen Auftritten, auch als Support von z.B. Bob Geldof, Manfred Mann oder The Specials haben sie das unter Beweis gestellt. Dabei stehen moskovSKAya weder für Mainstream, noch für Rebellion, sondern für Verbundenheit und der gemeinsamen Leidenschaft für die Musik, das Miteinander und dem unbeschreiblichen Gefühl, wenn auf und vor der Bühne alles zusammenpasst: die Baseline groovt, Gitarre und Orgel schwingen im Offbeat und die Bläser schieben nach vorne, bis das ganze Publikum mit dem Sänger um die Wette springt. Nun bringt die 1989 gegründete Band mit "Dancehall Schwof" ihr sechstes Studioalbum, das bei Sunny Bastards Records erscheint. Und moskovSKAya stellen mit den zehn Songs unter Beweis, dass sie nichts von ihrer Sound-Vielfalt und ihren knackigen Bläserriffs verloren haben...treibender Offbeat, musikalische Präzision, Charakter und ungebremste Spielfreude. Ska, wie er heute klingen muss - lebendig, auf den Punkt und jenseits von Nostalgie. Absolute 'Must-Dance' Anspieltipps wären unter Anderem 'Night Train', 'Let You Down', 'Eso Es' oder 'Only Once'. Hier bleibt kein Bein ruhig, Kopf und Körper wollen zwangsläufig in Bewegung gehen. Und wer damit nicht bis zum nächsten Live Auftritt der Band warten möchte, dem sei dieses Album klar ans Herz gelegt!

Zehn Jahre war es still um moskovSKAya - jetzt sind die Ska-Veteranen zurück. Die 9-köpfige Band steht für schnellen Ska mit markanten Bläser-Riffs, treibenden Rhythmen und einer explosiven Live-Energie. Mit Elementen von Polka bis Punk, von Reggea bis Jazz bringen sie ihr Live Publikum in Clubs oder bei großen Open Airs zum Tanzen...schwitzen garantiert! Bei unzähligen Auftritten, auch als Support von z.B. Bob Geldof, Manfred Mann oder The Specials haben sie das unter Beweis gestellt. Dabei stehen moskovSKAya weder für Mainstream, noch für Rebellion, sondern für Verbundenheit und der gemeinsamen Leidenschaft für die Musik, das Miteinander und dem unbeschreiblichen Gefühl, wenn auf und vor der Bühne alles zusammenpasst: die Baseline groovt, Gitarre und Orgel schwingen im Offbeat und die Bläser schieben nach vorne, bis das ganze Publikum mit dem Sänger um die Wette springt. Nun bringt die 1989 gegründete Band mit "Dancehall Schwof" ihr sechstes Studioalbum, das bei Sunny Bastards Records erscheint. Und moskovSKAya stellen mit den zehn Songs unter Beweis, dass sie nichts von ihrer Sound-Vielfalt und ihren knackigen Bläserriffs verloren haben...treibender Offbeat, musikalische Präzision, Charakter und ungebremste Spielfreude. Ska, wie er heute klingen muss - lebendig, auf den Punkt und jenseits von Nostalgie. Absolute 'Must-Dance' Anspieltipps wären unter Anderem 'Night Train', 'Let You Down', 'Eso Es' oder 'Only Once'. Hier bleibt kein Bein ruhig, Kopf und Körper wollen zwangsläufig in Bewegung gehen. Und wer damit nicht bis zum nächsten Live Auftritt der Band warten möchte, dem sei dieses Album klar ans Herz gelegt!

D.Dan returns to his own summerpup imprint with his 'sequence.01' EP. Six lean stripped-back techno sequences, all recorded in live-takes in the studio.

Having played Sold Out tours and supercharged festival appearances across the UK & Europe, It's no wonder that Jim Jones All Stars were personally selected by The Black Crowes on their 'Happiness Bastards' UK & European dates in 2024.The band also recently joined The Wildhearts on their Spring 25' tour dates.The band's debut album, 'Ain't No Peril', was released in September 2023 to universal praise. Their sophomore studio album 'Cat Fight', produced by Chris Robinson (The Black Crowes) is due on April 3rd 2026 via the Black Crowes 'Silver Arrow' Imprint. But, not ones to rest on their laurels, the band just completed a Sold Out tour of the U.K in support of their brand new Live Album 'Get Down - Get With It - Jim Jones All Stars Live (Released October 24th Via Assai Recordings) 'Get Down & Get With It! Is an unvarnished document of a deep, immersive, and mind- bending journey, a transcendent and hypnotic rock and roll experience. It highlights the band's gritty, unapologetic sound, brimming with raw authenticity and attitude. Visceral and uncompromising, it is an electrifying live performance that true believers will never forget

Notoriously spirited, hard parrtyin' West Coast rap trio Tha Alkaholiks have returned with their first new studio album in over 10 years!

Combining fresh takes on some of the band's best known singles including "Daaam!" and "Make Room" PLUS several new songs, this album hits that '90s rap nostalgia spot!

Features special guests Planet Asia and spookybands!

Having established themselves as one of the leading live bands in Europe, grooving to improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP, Still Blunted, which sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. Still Blunted was released after the band performed at the legendary Montreux Jazz Festival in 2024 summer, but before they sold out The Jazz Cafe, London, and three more venues (Paris, Antwerp, Utrecht) on their album release tour in October 2024.

Fog On Mirror Glass introduces a new aesthetic amongst Donald Beaman albums. After four albums of varied full-band arrangements, this album emerged as an idea to present solo performances in conversation with full-band work. The bulk of the songs were recorded in the same place they were written: Beaman’s living room. Long time bandmate and producer Kirt Lind set up a makeshift studio at Beaman’s house to record the guitar parts in the same room where they were written, using the same guitars on which they were first played.

Unfurling with a measured pace, the resulting album combines elegiac lyrics with elemental arrangements played with an almost jazz-like reverential expressiveness, calling to mind the works of Cass McCombs, Will Oldham, and Jake Xerxes Fussell. Album opener “Glass Bottom Boat” sets the tone for the album with just Beaman and his guitar – written during the final months of a decade-long stay in New York City, the song was finished upon his arrival back in California. Meanwhile the title track, long a staple in live sets, lands near the middle of the album to recalibrate the mood, featuring the ghostly guitar work of longtime collaborator Ken Lovgren. “Old Universe” lifts things up a bit, propelled by the brushwork of drummer Michael Nalin and the jaunty bass playing of Kirt Lind. Finally, the album ends much the way it began, with Beaman and his guitar on album closer “Bamboo”.

“The dictionary definition of less is more.” - ---- Mojo
“His ability to carve universal empathy from mundane domesticity is remarkable.” - ---- RNR Magazine
“...a collection of evocative scenes and vivid emotions sung to sparse musical arrangements in Beaman’s distinctive sonorous tones” - Americana UK
“...pure and simmering, like a tattoo dedicated to a long lost friend, slightly fading from years in the sun, a memory that will always bring a tear in those quiet reflective moments.” - Psychedelic Baby Magazine

Onna Last Live 1983 includes the final performance by the original line-up of Onna, the psych-rock project of revered Japanese manga artist, Keizo Miyanishi. Onna’s legend has largely rested, until now, on one self-released and self-titled seven-inch from 1983. Reissued by Holy Mountain in 2009, its rediscovery, along with several archival live and studio sets that leaked out across the 2000s, signalled to a wider audience the power of Miyanishi’s strikingly hypnotic songwriting. With Onna Last Live 1983, though, we hear the group’s perfect line-up performing at its peak.

While Miyanishi was the core member and conceptualist of Onna, the other members of the group would also go on to make significant contributions to the Japanese underground. Guitarist Michio Kurihara would eventually be known for his membership of YBO2, Ghost and White Heaven, and collaborations with the likes of Boris and Damon & Naomi. Drummer Ken Matsutani formed Marble Sheep & The Run-Down Sun’s Children and The Mickey Guitar Band, while also running the Captain Trip label. Joined by the late bass player Yasui Yutaka, to whom the album is dedicated, this quartet only performed live in 1983; the live set here was recorded at Silver Elephant.

It’s a different line-up to the Onna duo that’s documented on their single. After Miyanishi and fellow manga artist Mafuyu Hiroki recorded that material, Miyanishi decided he wanted to start playing gigs; Hiroki left, and Kurihara, Matsutani and Yutaka joined soon after. This line-up allowed Miyanishi to significantly expand Onna’s powers, leading to a sound that Kurihara once described to Ptolemaic Terrascope magazine as “repetitive and heavy, yet quite orthodox.”

The songs here are simple yet deeply effective in their repetitive power, generally revolving around two or three simply strummed chords for guitar. Bass and drums repeatedly lock into mantra-like grooves as Kurihara’s guitar scales the walls, with Miyanishi’s consumptive moans and sighs sent torquing through FX. The cumulative effect of the seven songs here is very heavy indeed; if the prologue “Always…” drifts beautifully through five minutes of placid, beseeching melancholy, the epilogue, “Never Seen A Light Like This”, spirals out into sixteen minutes of glazed-over psych-rock, completely monomaniacal and thrilling in its slow-motion tumult.

Throughout, you can hear Miyanishi and co. reaching for something ineffable, something beyond and between the notes. It’s a phenomenal performance; it’s also no surprise that the group disintegrated after this show, given its intensity. Matsutani and Yutaka left after the Silver Elephant show, with Miyanishi and Kurihara continuing through the first half of 1984 firstly as a duo, and then a trio with new drummer Yoshiki Ueonyama. Kurihara left soon after. But Onna Last Live 1983 is proof plenty of the powers of the original Onna quartet, sending their Rallizes/Velvets dream-mantras off into darkened, stormy skies.

SRC were no strangers to the Detroit Grande Ballroom live scene (that also featured The Stooges, MC5 & Alice Cooper), but SRC’s anglophile-leaning compositions made their records stand out from that pack. Beloved and championed by GENESIS' PETER GABRIEL & DJ JOHN PEEL, SRC were a band that sonically was a cross-section of the UK pop of The Zombies and the inventive, garage rock leanings of The Pretty Things (with a healthy dose of Blue Cheer thrown in!). For their second album, Milestones, SRC added new, ambitious sonic elements, creating a high-wire act that now encompassed funk, prog, and heavy rock. Anchored, as always, by the stun-ray lead guitar playing of Gary Quackenbush and keyboards of his brother Glenn, the band finds themselves still able to crush the listener with unforgettable hooks, but now with an added healthy side of sonic theatrics. This new re-issue joins our trio of other late 60s Capitol re-issues, including the original SRC S/T LP, the reverb-drenched debut masterpiece from Gandalf, and Europhia’s Abbey Road-produced genre-hopping A Gift From Euphoria. Now reissued from the original analog master tapes with the original cover artwork, exclusively for RSD 2026.

Back in 1990 the New Bomb Turks got together as four Ohio State University students who just wanted to rock. 10 years later they are already on their 7th studio album: Nightmare Scenario.

New Bomb Turks return to their snaggle-toothed first mistress — hard-driving, no-holds-barred American punk rock. With the guitar jive of Chuck Berry, the blinding ferocity of Motörhead and the snot of The Dead Boys, singer Eric Davidson and his backing trio fire off a dozen grenades of authentic old-school three-chord riff-rock in little over a half-hour, with nary a pause for breath between tracks. You can’t quibble with the four-on-the-floor intensity of tunes like opening salvo Point To A Point Blank. It was recorded over four days and nights, the only break being a jaunt over to a bar to see a reunited Real Kids, their first show in years, which floored the band and only added more mezcal to the fire.

Nightmare Scenario is available as a limited edition of 500 individually numbered copies on violet vinyl and includes an insert.

AN INSTANT CLASSIC FROM ANORAX.

GARDEN OF EDEN becane an instant sensation via white label promotion copy plays,

It instantly picked up support from radio stations Mi-Soul (instant playlist), Panacea, Solar and Starpoint, became Terry Jones breakout record at the recent Southport Soul Weekender and had Modern Soul DJs begging for a copy,

A special reaction to a very special record. Produced by veteran House Heads Phil Hooton and Mark Gamble, the duo have created a monster track that straddles Soul, Jazz and House. Commentator Yogi Haughton highlighted the “ambiguous nature” of GARDEN OF EDEN as it merges Soul and Jazzy House.

The bedrock of the track is a newly recorded (with ace musos lured into the recording studio) version of Mezzoforte’s Iceland jazz-funk classic GARDEN PARTY.
Phil and Mark then composed a brand new composition to go over the top of the track,and to regally complete their new concoction got UK Soulful House royalty vocalist extraordinaire Pete Simpson to sing it. And what a performance Pete delivers!

There’s two equally beguiling mixes - on the a side the 4.37 Vocal Edit V.3 With Horns edit and flip it over for the 4.34 Vocal Trombone Mix - on this 7” single.

First press is 300 copies only.

It’s Not Me, It’s You' is the multi-platinum second studio album by Lily Allen. The #1 album is now available for the first time on crystal-clear vinyl and includes the hit singles 'The Fear', 'Not Fair', 'Fuck You' and '22'.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

There’s this feeling that House Music is sometimes diluted into a pleasant, non-offensive and conformist formula. Well, Jackie Gritness - you may have heard of her big bro Gary - is bringin’ all the sweat, the attitude and the filth down - take it or leave it.

Jackie introduces herself from both sides on this well-strapped debut 12” - the slick swingin’ & sangin’
on the bass-heavy A side, and the raw clave trax and cunty snarls of the acid-laced B side.

No trace of over-production or tired sampling here: this is just Jackie, her mic and her lil’ groovebox -
gettin’ raw in the studio just like she does onstage. Only thing added is some wall-shaking mastering by New York OG Dietrich Schoenemann.

This is the kinda House that’s supposed to make regular folks wanna turn it off. This ain’t rated E for Everyone, it’s rated F for Freaks.

It’s music from the underground, for the underground - as it was first revealed on the runway of Glastonbury’s infamous NYC Downlow last summer.

And if that’s more than you can take - it’s alright. It’s not like Jackie will hold it against you.

Jackie Gritness
“Gary’s little sister.” His studio session resume reads like a House music who’s who - from David Morales to Fred P. He’s also been rockin’ clubs with the Playin’ 4 The City and MLIU crews - but she’s also been seen on Gideon’s fierce Homo-Centric Records. See, this bitch’s true feelings about House are stripped-down, bare-bones, and unapologetically sexual. With a radical ‘live’ attitude, she’s serving the realness with an irresistibly acidic zing.

Oliver Koletzki Releases Twelfth Studio Album 12

The beautifully crafted twelve-track opus is out now via Stil vor Talent.
Berlin-based artist, DJ, producer and Stil vor Talent co-founder Oliver Koletzki today releases his twelfth studio album, “12” — a deeply considered, emotionally rich long-player that marks the next chapter in a career spanning more than two decades at the forefront of electronic music. The album is out now on Stil vor Talent in digital formats and as a 2x12” gatefold vinyl.

Serving as both a milestone and a manifesto, “12” distils Koletzki’s evolving sound into its most refined form yet. Across twelve tracks, the album explores atmosphere, restraint and emotional clarity, balancing slow-burning club energy with introspective storytelling. It’s a record shaped by experience, patience and an unwavering attention to detail; qualities that have long defined Koletzki’s output as both an artist and a label curator.

The journey begins with album opener “Petrichor”, a quietly powerful introduction built around wistful organ chords that gradually unfold into a warm, hypnotic groove. Acting as the album’s emotional threshold, the track sets the tone for what follows: music that rewards immersion, thrives on nuance and unfolds with deliberate pace. From there, 12 moves seamlessly between introspective moments and more direct dance floor statements, always guided by Koletzki’s unmistakable melodic sensibility.

Singles released in the lead-up to the album offered carefully sequenced glimpses into its breadth. December’s “Trip With Me”, a collaboration with Frida Darko, brought playful energy and sharp modern club dynamics, while January’s “I Don’t Need Your Love” delivered a confident, emotionally charged statement rooted in Koletzki’s introspective yet club-ready DNA. February’s “Petrichor” revealed the album’s cinematic depth, followed by “Schnapsidee” in March — a track that leans into groove, character and subtle eccentricity.

Elsewhere on the album, tracks like “Logic”, “It’s All Gone” and “Tick Tick” showcase Koletzki’s ability to create tension and release through finely balanced arrangements, while “La Hora de Mosquitos” and “Calle Sur” hint at the global influences that continue to shape his sound. The closing stretch — from “About the Fox and a Tiger” through “What Remains” to “Voice or Noise” (with Frida Darko) — brings the album to a reflective, yet characteristically playful conclusion.

As a whole, “12” feels purposeful and cohesive, guided by a clear narrative arc rather than fleeting trends. It reflects the maturity of an artist with nothing left to prove, yet still driven by curiosity and a desire to evolve. Much like Koletzki’s previous albums, “12” stands as a self-contained world, inviting listeners to step inside and stay.

Released on Stil vor Talent, the album also reinforces the label’s ethos of artistic freedom, quality and long-term vision. Now over 20 years strong, the imprint continues to shape contemporary electronic music while remaining deeply rooted in underground culture: a balance Koletzki himself has embodied throughout his career.

2026 Repress

London based composer, multi-instrumentalist and producer Akusmi announces 'Lines', an exhilarating new collection of works born from the desire to take where the acclaimed debut album 'Fleeting Future' left off - in search of new forms.

" 'Secant', I must have listened to this tune 3 times in a row, this one soundtracked my night drive through the winding roads" - Benji B, BBC Radio 1

'Lines' is presented as a Limited edition clear vinyl (500 copies only worldwide), printed in heavy-weight reverse board sleeve with a hand-numbered edition sticker. The vinyl edition also features 'Oblique' (A2), an exclusive version for the vinyl format, plus the now revered 'Longing for Tomorrow' - (Brandt Brauer Frick Remix), previously unreleased physically and now pressed on vinyl format, ending side B. The cover artwork features another collaboration with Dutch visual artist Sigrid Calon and design by label founder Adam Heron.

Formed with a sense of urgency and a reductive approach 'Lines' is almost entirely comprised of alto saxophone, clarinet and piano with embellishments of ambience and minimal percussive elements. Recorded in full at his home studio in London, Pascal Bideau speaks about the process:

"I wanted to go a bit more a bit more horizontal and ambient, work with layers of lines, might they be dotted or straight, and leave them to unfold and see where they would take me."

Akusmi uniquely finds the spaces in between experimental jazz, crossover classical and ambient music.

Music From Memory presents inrain, a collaborative project by Rudy Tambala of A.R. Kane and Alison Shaw of Cranes, originally recorded in the early 1990s.

inrain brought together two artists who were at the time shaping distinct yet quietly influential currents within alternative music. Through A.R. Kane, Tambala had helped redefine the possibilities of guitar music, placing atmosphere, abstraction, and emotional ambiguity at its centre in ways that would later resonate across dream pop, shoegaze, trip hop and experimental pop. At the same time, Shaw’s work with Cranes was establishing a singular vocal presence and a deeply intuitive approach to mood and space. inrain emerged at the intersection of these sensibilities.

The project began after Tambala was introduced to Shaw by Geoff Travis, leading to sessions at H.Ark! Studios in Stratford, East London. Working outside the expectations of their primary bands, the pair recorded informally over several months, building songs from minimal foundations. Early sampling technology, drum machines, acoustic guitar, and voice were used sparingly, with arrangements left open and space treated as an active element within the music. Vocals were often improvised, first takes preserved, and the atmosphere of the studio — calm, unhurried — became part of the sound itself.

Originally released in limited form during the early 1990s, the recordings carried subtle traces of the surrounding musical landscape: the low-end experimentation of emerging jungle, dub-influenced rhythmic structures, and a restrained melodic sensibility shaped as much by classical textures as by contemporary underground culture. Though modest in scale, the music feels quietly expansive — intimate, patient, and emotionally direct.

For this release, all tracks have been newly remastered from the original DAT tapes. This edition also includes the additional track 'Biology', written and recorded in 2012

Six track 12" collecting all the cuts of Wayne's first recording for Wackie's, from 1976. A classic of raw underground vibes from the Sounds Unlimited studio early days of Wackie's productions. This 12" contains: the original NY 45 vocal & dub cuts, the second mix of the vocal from the first 'Reggae Goodies' LP, the rare horns cut by Baba Leslie & Mark, the dub cut from the very rare 'Dub Unlimited' LP, a finally a previously unreleased raw rhythm drum & bass dubplate cut (NB: this last cut is taken from a 50 year old acetate and is appropriately crunchy!)

TALISMANN strikes again with a third drop on his KLINIEK series. Examining the human eye as an instrument of clarity, a study in truth seeking and international recalibration. The point where vision, truth and self-reflection converge and collapse. An expanded 15 minutes on the A-side transfers you through a dark wormhole into the good old times of 90's pounding dub-techno. With the B-side covering three essential highly effective techno tools in true TALISMANN form.

Returning to Peak Oil for a second expedition, veteran Russian producer Kirill Vasin, aka Hoavi, explores an untrodden path on 'architectonics', drawing from his lifelong appreciation of Indonesian gamelan musics to mastermind a rhythmelodic hybrid sound that's sinuous, subtle and remarkably dubby. Over the last three and a half years, Vasin has used the music's methodologies and rhythmic forms to evolve his existing processes and signatures and transform his musical philosophy. To start the exercise, he knew he needed percussion, so used his phone and a contact microphone to pick up nearby sounds, drumming on various tables, railings, empty glasses and other objects to create a library of textured, tonally complex percussive sounds. But the work wasn't done yet - in fact, it was just the beginning of a long process of trial and error: Vasin created two full versions of the album before 'architectonics' was finished.

There are still echoes of the chrome-plated sci-fi atmospheres and complex, stuttering beatscapes that underpinned 2021's 'Invariant', but 'architectonics' asks very different questions, prompting fresher, more innovative responses. Leaning on his bank of organic percussive sounds, Vasin is able to concoct a tactile aura that he fills with eerie fluctuating repetitions that shift subtly, sometimes imperceptibly. The cavernous reverb and booming bass that supported his last few albums is still present, now employed as scaffolding for different architectures: skittering sequences and ornamented overlapping phrases that owe as much to Steve Reich's hallowed minimalist compositions as they do to Indonesian traditional forms. Lulling, almost hypnotic tessellations appear like fractals on the polished surfaces, morphing from jazz to techno and dub while retaining gamelan's haunting xenharmonic resonances and Vasin's concept becomes crystal clear. 'architectonics' isn't an attempt to make a gamelan album, it's Vasin's way of developing his own artistic process by looking far beyond the traditional boundaries of electronic music.

Building a temple of sound from reduced elements, Decoder's Alchemy EP on T3R allows selected components to generate a strong and steady drive. Using a distinctly organic sound palette, the tone of the release is wordly, sometimes almost wooden with space taking the role of an active element. When melodies or chords appear, they introduce a subtle sense of melancholy, adding emotional weight without pulling the music away from its physicality. In its unfolding storyline, the EP suggests a broader narrative. While each piece explores a slightly different soundscaping approach, a consistent DNA runs through the release - reinforced by Sanskrit and Hindu references as an underlying conceptual thread. Percussion is handled with precision and imagination: Grooves shift, evolve, and reconfigure. Dark, driving sequences are softened by airy pads and atmospheric layers, creating a dual feeling of intensity and serenity. Filters and reverbs are applied with restraint, giving the music a sense of movement and breath. Alchemy showcases an emerging artistic voice driven by aspiration and exploration. Through confident craftsmanship, genuineness and self-reflection translate into a perfectly balanced, inspiring release. ? 2026 The Third Room Written and Produced by Gautham Gaug Mixdown and Mastering by Ahmet Sisman (The Third Room Studios) Artwork by Daniel Bornmann & Lennard Makosch (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Xerrox Vol. 2 is the sixth studio album, released in 2009 by German electronic artist Alva Noto. It is the second installment of the Xerrox penthalogy, based on the concept of digital replication of source material.

As with the first Xerrox album, the starting point is a set of samples culled from external sources. This time, snippets and recordings from Sunn O))) collaborator Stephen O'Malley and composer Michael Nyman are featured, as is an excerpt from the 2004 Insen tour with Ryuichi Sakamoto.

While Alva Noto's oeuvre is predominantly affiliated with pristine sound design, the Xerrox series holds more intimate gestures and emotional sensibility. This volume moves further from the conceptualism and orderliness of prior musical outputs, ranging from heart-warming elegies to mind-bending sci-fi projections in extrasolar territories.

This remastered version will be reissued on NOTON in 2026


Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1

Artist: Alva Noto
Title: Xerrox Phaser Acat 1
Playtime: 00:12:11
Explicit Lyrics: No
ISRC: DE1N62500015
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2

Artist: Alva Noto
Title: Xerrox Rin
Playtime: 00:00:51
Explicit Lyrics: No
ISRC: DE1N62500016
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 3

Artist: Alva Noto
Title: Xerrox Soma
Playtime: 00:07:11
Explicit Lyrics: No
ISRC: DE1N62500017
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 4

Artist: Alva Noto
Title: Xerrox Meta Phaser
Playtime: 00:06:23
Explicit Lyrics: No
ISRC: DE1N62500018
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 5

Artist: Alva Noto
Title: Xerrox Sora 1
Playtime: 00:06:54
Explicit Lyrics: No
ISRC: DE1N62500019
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 6

Artist: Alva Noto
Title: Xerrox Monophaser 1
Playtime: 00:08:04
Explicit Lyrics: No
ISRC: DE1N62500020
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 7

Artist: Alva Noto
Title: Xerrox Monophaser 2
Playtime: 00:05:31
Explicit Lyrics: No
ISRC: DE1N62500021
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 8

Artist: Alva Noto
Title: Xerrox Teion
Playtime: 00:02:03
Explicit Lyrics: No
ISRC: DE1N62500022
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 9

Artist: Alva Noto
Title: Xerrox Teion Acat
Playtime: 00:05:26
Explicit Lyrics: No
ISRC: DE1N62500023
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 10

Artist: Alva Noto
Title: Xerrox Tek Part 1
Playtime: 00:05:27
Explicit Lyrics: No
ISRC: DE1N62500024
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 11

Artist: Alva Noto
Title: Xerrox Monophaser 3
Playtime: 00:06:14
Explicit Lyrics: No
ISRC: DE1N62500025
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai

Xerrox Vol. 1 is the third studio album by German electronic artist Alva Noto. It was released in 2007 as part of the ongoing Xerrox pentalogy, based on the concept of digital replication of source material.

Using the process of copying as a basis, the Xerrox series deals with the manipulation of data through endless reproduction. Due to the inherent fallacy of making copies from other copies, everyday sounds become so altered that they are hardly associated with their source material. As a result, entirely new sounds are created: copies of originals become originals themselves.

Together with Christoph Brünggel, Nicolai designed a "sample transformer" that takes audio fragments and manipulates them beyond recognition. In this process of taking something familiar and defamiliarizing it, samples from obvious sources-advertising jingles, airport tones, telephone hold music, and film soundtracks-were used and altered, resulting in sounds totally unlike their original source. The result is a series of haunting, intricately realised pieces that recontextualise Nicolai's "glitches and bass" sound into extended, cinematic, organic, and almost orchestral works.

Xerrox Vol. 1 was followed by Xerrox Vol. 2 (2009), Xerrox Vol. 3 (2015), Xerrox Vol. 4 (2020), Xerrox Vol. 5 (2024). This remastered version will be reissued on NOTON in 2026

---------------------------------------------------------
Medium: 1 // Side: A // Track: 1

Artist: Alva Noto
Title: 10-22-38 Astoria
Playtime: 00:00:19
Explicit Lyrics: No
ISRC: DE1N62500001
(P):
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2

Artist: Alva Noto
Title: Haloid Xerrox Copy 4
Playtime: 00:03:53
Explicit Lyrics: No
ISRC: DE1N62500002
(P):
---------------------------------------------------------
Medium: 1 // Side: A // Track: 3

Artist: Alva Noto
Title: 03-10-06 Astoria
Playtime: 00:00:38
Explicit Lyrics: No
ISRC: DE1N62500003
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 4

Artist: Alva Noto
Title: Haloid Xerrox Copy 3 (Paris)
Playtime: 00:11:17
Explicit Lyrics: No
ISRC: DE1N62500004
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 5

Artist: Alva Noto
Title: 03-10-06 Astoria 2
Playtime: 00:00:36
Explicit Lyrics: No
ISRC: DE1N62500005
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 6

Artist: Alva Noto
Title: Haloid Xerrox Copy 2 (Airfrance)
Playtime: 00:05:07
Explicit Lyrics: No
ISRC: DE1N62500006
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 7

Artist: Alva Noto
Title: Haloid Xerrox Copy 6
Playtime: 00:06:40
Explicit Lyrics: No
ISRC: DE1N62500007
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 8

Artist: Alva Noto
Title: 05-10-06 Astoria
Playtime: 00:00:22
Explicit Lyrics: No
ISRC: DE1N62500008
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 9

Artist: Alva Noto
Title: Haloid Xerrox Copy 11
Playtime: 00:03:40
Explicit Lyrics: No
ISRC: DE1N62500009
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 10

Artist: Alva Noto
Title: Haloid Xerrox Copy 1
Playtime: 00:09:16
Explicit Lyrics: No
ISRC: DE1N62500010
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 11

Artist: Alva Noto
Title: 02-10-06 Astoria 1
Playtime: 00:00:51
Explicit Lyrics: No
ISRC: DE1N62500011
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 12

Artist: Alva Noto
Title: Haloid Xerrox Copy 111
Playtime: 00:07:56
Explicit Lyrics: No
ISRC: DE1N62500012
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 13

Artist: Alva Noto
Title: 09-10-19 Astoria
Playtime: 00:00:18
Explicit Lyrics: No
ISRC: DE1N62500013
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 14

Artist: Alva Noto
Title: Haloid Xerrox Copy 9
Playtime: 00:11:04
Explicit Lyrics: No
ISRC: DE1N62500014
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai

Continuing his inspired path into fractalised micro-dub-techno, John Howes lands his Paperclip Minimiser project amongst kindred spirits on Blank Mind. Crooked rhythms and tender machine hums hang in crisply defined virtual space — a gallery of science and soul that follows a natural lineage from the breakthrough years of the clicks n' cuts era by way of UK bass permutations.

Operating out of the UK's North West, Howes has been incubating a singular sound through his ongoing development of intuitive production and performance tools under the Cong Burn banner. The sometime record label and software stamp has a long-standing friendship with Blank Mind—the affinity is easy to hear in their shared exploration of modernist broken techno. Having just released a second album under his Paperclip Minimiser alias for similarly spirited West Coast US lodestar Peak Oil, Topology Transform extends the project's sound world with three tracks carved from the same period of studio orienteering. Free of the constraints of the LP format, these three tracks open up broader possibilities from Howes' customised systems, navigating the outer edges of the Paperclip paradox.

The A side opens on a 150BPM cascade of crunchy percussion and pin-prick ripples, driven by twitchy kinesis while maintaining a light-footed dexterity. If the first track finds its locomotion through double-time intensity, the second track celebrates the space that opens up around half-time pacing — two sides of the same tempo that radiate distinct energies. Conversely, the B side stretches out into an extended ambient repose. The consistency between this beatless excursion and the more propulsive A side speaks to the clarity of Howes' craft—a shimmering, blue-hued pool of advanced sonic treatment from a producer in command of a truly personal studio practice.

April 1, 1996, saw Tina Turner release her ninth studio album, Wildest Dreams. It peaked at #26 in the Billboard R&B Chart, #4 in the UK Album Chart, and secured numerous Top 5 placements across European charts, earning double platinum status in the UK and Europe. The album featured the hit song "Goldeneye", the James Bond theme tune which saw the franchise relaunch with Pierce Brosnan in the starring role, the song was penned by U2’s Bono and The Edge. Five further singles were also released, including collabs with Sting and Barry White.

The set will be rounded out with Live In Amsterdam / Wildest Dreams Tour, originally released on Eagle Rock DVD, with newly remastered audio and on Blu-ray for the first time, and with a new booklet featuring new liner notes by UK music writer and former Record Collector editor, Jason Draper.

The 2LP 140g vinyl will feature the remastered album, now spread across two vinyl for superior sound.

Mysticisms’ returns to the music of the Conscious Sounds label and their short-lived but highly prized Dub meets Funk project, Dub Specialists. Created by label head Dougie Waldrop and Chris Petter (Love Grocer) to explore their interest in samplers and a love of Funk and Jazz.

A hugely respected “Digital” and “Roots Reggae” label, Conscious Sounds has been a mainstay of the East London digidub sound for over 30 years. Dub Specialists released 3 albums on the Crispy Music sub label, they have recently gained considerable interest in digger circles, with rising prices to match.

As with their first Dubplate outing, the release features extended re-edits by the label and friends, this time featuring versions by Lexx, Miles J Paralysis, Chuggy and Vanity Project. Working with the simplicity and skill of his studio craft, Dougie utilised the Atari 1040, Cubase and Soundcraft mixer to effect. Petters’ chords sit atop reggae basslines, funk samples, loops and this time, a heavy dose of cut up vocals in to the mix.

While the first EP came from their debut album, Breat To Break, here the source material for the re-edits comes, in the main, from their second outing “Dub To Dub Beat To Beat”. A more expansive album that also dipped in to 4/4 rhythms and touches of House / Techno.

Opening track Dynamic Duo is a 4/4 stepper bomb – with samples from Adam West’s iconic interpretation of Batman – expertly extended by long-standing DJ, producer and edit master, Zurich’s own Alex Storrer aka Lexx, who dials things to max for a club stop. A new name on many lips, Miles J Paralysis takes it all back down with a beautifully drawn out, acid-tinged tripper. Bumpin’, the mid-tempo groove sucks you in, psychedelic and mind expanding.

The flip returns to the more traditional Dub Specialist vibes of Breaks’n’Funk’ cut ups, first with (co-)label head Chuggy’s faithful extension of Heavy Dub. Featuring the classic Ijahman Levi’s vocal, the breaks flow and piano / horns stab, a dance floor shaker for the discerning. To close, secret studio fixer to many, Matt Bruce again dons his Vanity Project moniker to perfectly tease and live dub (out) the half-stepper, Reality Dub and close this latest in the Dubplate series.

Beat The Mystery.

The Dubplate series comes to the label’s spiritual home of Hackney, the stomping ground of the Douglas “Dougie” Waldrop and his Conscious Sounds label with the spin off Dub meets Funk project. The music of the Dub Specialists is presented with extended re-edits by label owners Piers Harrison and Stuart “Chuggy” Leath, alongside rising selector star Millie McKee and studio master extraordinaire Matt Bruce (Vanity Project).

Formed in 1989, Conscious Sounds and the Conscious Music studio have been mainstays on the UK Digital Roots scene to this day, working with the likes Bush Chemists, Johan Dan, Kenny Knots and Pablo Gad. The Dub Specialists was a project created by Dougie to put aside studio sessions and explore a new interest in samplers, working with friend Chris Petter (Love Grocer) and his interest in Jazz and Funk.

Using the Atari 1040 running Cubase, with a Soundcraft mixer, drum loops and Reggae basslines were played over Funk samples and layered with Petter’s chords to create a series of short tracks for DJ play. Releasing 3 albums between 1995 and 1999 on the sub label Crispy Music, they have more recently been gaining cult status.

The tracks chosen all come from the first and increasingly sought after LP, Dub To Dub Break To Break and have been extended, stretched, looped and dubbed by the label family to form a club friendly EP. From the dance floor jams of Dub De Funk and Funkin’ Dub to the deeper Movin Ya (with additional flute by Millie) and Murderous Style, this is a unique fusion of Funk and Digidub that fits perfectly the ideals of the Dubplate Series.

Break The Mystery.

Foxbam Inc is building up a fine head of early steam and after featuring the likes of LFO's Gez Varley and Mark Archer, that looks set to continue into 2026 with this latest various artists EP. It's a white knuckle ride through panel beating techno fervour, starting with Foxtrot's 'Tartam Tripper', which could be called paint stripper, it's that caustic. Collision lays down flat, hard, distorted drums on 'Plop Projekt', Egebamyasi offers up a stuttering, bass-driven club take on an unmistakable 80s electronic classic and Minimum Syndicat's 'Tunnel Chase' is a slower, darker, more foreboding closer that carries serious weight and a soot-black atmosphere from which there is no escape.

An EP of the darker side of electronic dance music is always a welcome addition to Especial. Up and coming producer / DJ Miles J Paralysis steps away from releasing on his own Crying Outcast label to explore left of centre, new wave and cosmic sounds; songs woven from his own vocals and samples.

A love of Dub, Hip Hop and Electro-Funk led into electronic music. Sampling TV shows, making beats, jamming. Exposed to Leeds and Manchester club cultures, seeking the more experimental. African Head Charge, Muslimgauze, The Rootsman and Weatherall were early influences in forming a no rules philosophy.

Born and raised around West Yorkshire, the beauty and bleakness of the moors have a strong bond on Miles Henry aka Miles J Paralysis and his music. Folklore and the occult link and connect an interest in Northern Hauntology. Unresolved histories, stuck between past glory and phantoms of possible futures.

The EP starts with It’s Only Shadows Talking. A play on the Paralysis persona, the spectral dub house groove meets industrial overtures, encasing his own eerie and unsettling vocals to begin the narrative.

Don’t Forget The Ritual takes a direct link from British folk traditions. Sacred and ceremonial; the laid-back breakbeat, samples and delays are the transition to the evocative embrace of melancholia.

Come On Fleet, the hypnotic Latin (vocal) sample creates a lurking murmuration, rimshot percussion meets gothic sound design for the EPs’ most straight forward and direct club cut.

Surreal and dreamlike soundscape, closing track The Delicate Fairytale is the perfect platform for Miles own phantasm. Inspired by the stories of Dorothy K Haynes and Robert Hickman, the pervading sense of a David Lynch aesthetic, exploring the nostalgic nature of memory.

2026 Repress

Akusmi is the project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album 'Fleeting Future.' With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. 'Fleeting Future' stands apart as an inventive and inspirational debut.

The creation of the album's richly colourful and multi-layered sound world was originally inspired by Bideau's journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on 'Fleeting Future' seed from the 'Slendro' scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; "the compelling way things dramatically change when you shift from any given scale to another."

The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track 'Fleeting Future', on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece 'Neo Tokyo' is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo's Akira, a dizzying work of art set in a sprawling futuristic metropolis.

'Yurikamome', meanwhile, is an imaginary soundtrack inspired by Bideau's yearning to visit Japan which he fuels by watching Youtube videos of drives and rides through Japanese landscapes and cities. "It's amazing" he adds, "that we have the ability to access almost anywhere in the world and see what it's like, that people document it and upload it. It's never going to be any replacement for the real thing, but with places that really touch you, it works." The track is named after a Japanese monorail train line which rides from Shinbashi to Toyosu, a last journey that feels like a new beginning.


'Fleeting Future' was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiralling into the unknown is the future, about which Bideau leaves us with a final thought:

"The future is fascinating: It is constantly readjusting to new events. I feel we left a linear approach to the future to enter an arborescent one where all the data and information we have about what could happen is exponentially ever-growing. Following a branch might allow you to glimpse into what it may become, but the evolution of the whole picture might very well render the prediction totally obsolete, and even meaningless. In that sense, there is not one future but innumerable ones all cancelling each other. That's what makes it fleeting."

Leuchtende Pop-Hymnen aus der diorama-Dunkelkammer. a substitute for light kreist um das Motiv des Lichts - als Verheißung, Orientierung und Täuschung. Es flackert in Monitoren, spiegelt sich in Oberflächen und lässt Erinnerungen im Schatten verschwimmen. Zwischen ausrangierter Liebe und digitaler Erstarrung suchen die Songs nach einem echten Funken - geboren aus Bewusstsein, nicht aus Strom. Auf ihrem elften Studioalbum zeigen diorama, dass weniger mehr sein kann: klare Arrangements, prägnante Melodien und Vocals mit ordentlich Punch. Zwischen clubtauglicher Wucht, hypnotischen Balladen und schwebender Melancholie entsteht ein Sound, der sofort zündet - und lange nachhallt. Trost in der Dunkelheit. Ein Ersatz für Licht.

This first-time reissue of Quinteplus’ 1971 album revives a key moment in Argentine jazz, featuring crisp trumpet and tenor sax, electric piano-driven funk and modal grooves, and a tight, spacious rhythm section. It showcases prominent figures like Jorge Anders and “Pocho” Lapouble.

==================================

Quinteplus was born in Buenos Aires at the end of the 1960s, emerging directly from the ideas and experiments of the legendary Agrupación Nuevo Jazz. Founded in the early ’60s, this collective brought together some of the most forward thinking figures in Argentine jazz functioned as a creative lab where musicians questioned where jazz could go next. Among the key ideas discussed was the fusion of jazz with Argentine folk styles such as zamba, chacarera, malambo, cueca, and candombe, as well as a deeper look into African rhythms as a bridge between musical worlds.

Two members of that collective, keyboardist Santiago Giacobbe and bassist Jorge “Negro” González, carried those ideas forward when they formed Quinteplus in 1969. The group came together naturally: all the musicians already knew each other and had played in different projects around the Buenos Aires scene. They shared a strong admiration for Julian “Cannonball” Adderley’s quintet, along with a clear goal—to develop a modern jazz language grounded in local Argentine rhythms.

From the start, Quinteplus stood out for its openness and adventurous spirit. Rhythm was central, and so was experimentation. The band belonged to a generation of Argentine jazz musicians eager to explore electric instruments and new textures, anticipating what would soon be known as jazz-rock. This was happening in Buenos Aires at the very same time Miles Davis was opening new doors with “In a Silent Way” and “Bitches Brew”. Giacobbe introduced one of the first Fender electric pianos in Argentina, while González pioneered the amplification of the upright bass and even developed a hybrid electric, boxless version of the instrument. Trumpeter Gustavo Bergalli, meanwhile, maintained close ties with the emerging Argentine rock scene, collaborating with Luis Alberto Spinetta and appearing on Almendra’s first album.

In 1971, Quinteplus recorded its first and only studio album for EMI. The original lineup featured Jorge Anders on tenor saxophone, Bergalli on trumpet, Giacobbe on keyboards, González on upright and electric bass, and Norberto “Pocho” Lapouble on drums and percussion—who also illustrated the album’s iconic sleeve. The record is a refined showcase of the band’s musical vision: original compositions, fluent jazz language, folk-derived rhythms, funky electric textures, tight ensemble playing, and standout brass solos. Though critically praised, the album received little label support and sold modestly, eventually becoming a sought-after collector’s item.

Quinteplus disbanded in 1973, their music was perhaps too bold and unconventional for its time.

Xerrox Vol. 3 is the eighth solo studio album by German electronic artist Alva Noto, released in 2015 as part of the ongoing Xerrox penthalogy, which began with Xerrox Vol. 1 (2007) and Xerrox Vol. 2 (2009).
Inspired by formative influences such as Andrei Tarkovsky's 1971 film Solaris, La Isla Misteriosa y el Capitán Nemo by Juan Antonio Bardem, and Henri Colpi, Carsten Nicolai exchanges austerity for cinematographic lushness in the remarkably widescreen third volume of his Xerrox series.

In line with the series' focus on "using the process of copying as a basis," the eleven compositions of this volume can be heard as copies of memories, exploring emotional data patterns that are reflected as melodic vectors and noise.

This remastered version will be reissued on NOTON in 2026


Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1

Artist: Alva Noto
Title: Xerrox Atmosphere
Playtime: 00:01:22
Explicit Lyrics: No
ISRC: DE1N62500026
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2

Artist: Alva Noto
Title: Xerrox Helm Transphaser
Playtime: 00:06:45
Explicit Lyrics: No
ISRC: DE1N62500027
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 3

Artist: Alva Noto
Title: Xerrox 2ndevol
Playtime: 00:03:44
Explicit Lyrics: No
ISRC: DE1N62500028
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 4

Artist: Alva Noto
Title: Xerrox Radieuse
Playtime: 00:06:00
Explicit Lyrics: No
ISRC: DE1N62500029
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 5

Artist: Alva Noto
Title: Xerrox 2ndevol2nd
Playtime: 00:05:04
Explicit Lyrics: No
ISRC: DE1N62500030
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 6

Artist: Alva Noto
Title: Xerrox Isola
Playtime: 00:08:07
Explicit Lyrics: No
ISRC: DE1N62500031
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 7

Artist: Alva Noto
Title: Verrox Solphaer
Playtime: 00:06:08
Explicit Lyrics: No
ISRC: DE1N62500032
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 8

Artist: Alva Noto
Title: Xerrox Mesosphere
Playtime: 00:05:55
Explicit Lyrics: No
ISRC: DE1N62500033
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 9

Artist: Alva Noto
Title: Xerrox Spark
Playtime: 00:06:10
Explicit Lyrics: No
ISRC: DE1N62500034
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 10

Artist: Alva Noto
Title: Xerrox Spiegel
Playtime: 00:03:32
Explicit Lyrics: No
ISRC: DE1N62500035
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 11

Artist: Alva Noto
Title: Xerrox Exosphere
Playtime: 00:03:47
Explicit Lyrics: No
ISRC: DE1N62500036
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai

Coming in hot on Berlin's Toy Tonics label: a new EP by the talented duo ALMA NEGRA!

Founded in 2013, Alma Negra is a Swiss collective centered around the brother duo Dersu and Diego Figueira, whose diverse roots in Switzerland and Cape Verde inform their sound. The project was launched with the ambitious vision to explore the world's diverse rhythms and drive musical innovation by mixing different styles. Their work is anchored in a process of digging and sampling, skillfully blending traditional sounds-from Fela Kuti-influenced Nigerian afrobeat and Angolan Lamento to Caribbean Zouk and the Maloya sound of Réunion-into a contemporary dance music context.

The Figueira brothers' eclectic DJ sets embody this ethos, peppering disco and house with salsa, samba, jazz, and Afro-Caribbean carnival rhythms, all under their guiding motto: "As long as it's Funky."

Since 2014, Alma Negra has made an important contribution to intercultural exchange in their hometown of Basel. Their international presence began in 2015 with their first shows abroad in countries like France, the Netherlands, and Portugal. From 2016 to 2019, their reach expanded significantly, with performances in major hubs like London, Paris, and Berlin, as well as Istanbul, Tel Aviv, and Tunisia. Highlights from this period include sets at the Montreux Jazz Festival, Dimensions Croatia, and Fuse Club in Brussels. Their standing is further cemented by releases on respected labels like Heist Recordings, Sofrito, and Basic Fingers, alongside remixes from an elite group of peers, including Soulphiction, Kuniyuki, and Yuksek.

Parallel to their studio and DJ work, the project expanded into the Alma Negra Live Band, formed with jazz musicians from Basel. While the band is currently on hiatus, this collaboration made live instrumentation increasingly central to their productions, creating a dynamic they feel is essential for any dancefloor. The live band has performed in cities like London and Hamburg and has led to collaborations with artists such as French singer Pat Kalla and jazz trumpeter Bodo Maier.

Shokolokobangoshay was a collaboration between three members of Pogo Ltd. The three of us felt we were crazier than the other members of Pogo Ltd. and decided to work together on the Kosmik 3 album. Robo was worked in the graphics department of NTA Benin. He was an amazing artist, a crazy guy, he was extremely creative, he invented a musical notation language that only he understood. He was amazing, he took me to his place in Asaba and showed me his compositions, he must have had over 500 songs.

Emman Osagie was my floor manager when I was a producer at NTA (Nigerian Television Authority) Benin. We were all on the same wavelength. He was a member of Severe 7, and heavily involved in the Bini music scene working with Ehi Duncan and others. we really enjoyed making Shokolobangoshay, it’s a river of influences, a bit of this, a bit of that, but it is really our thing. The musical ideas we were playing with at the time.

Emmanuel Ogosi. 3rd March 2026.

This record is why I went into reissuing records with Odion. The feeling to sharing records that went under the radar when they were initially released, with a greater audience. Shokolokobangoshay is uniquely Nigerian in a very personal way, it makes references to the societal and political ills that plague us in Africa. It’s title, Shokolokobangoshay, references a play song, kids in Lagos and western Nigerian sing when they play in the streets. Most Nigerians can relate. The music references afro beat, country music, reggae without falling firmly on any side. This is one for the ages. Amazing production, I personally love this record for the free spirit, creativity and excellent song selection. We had to licence it, we just had to. Limited repress only 500 copies.

It is also excellently produced. Big up to all involved, from the Vinyl Rip (James Law, Fidgit Studio, South Africa), to the master production by DJ Simbad (Cape Town, SA) and the cover restoration by Angelo Mitchell (SA). I am so happy to be doing it with the boys in the motherland. Peace and appreciation to all. Special dedication to Mother Tongue for creating a great pressing. Please file under Afro.
Blessings,

Temitope Kogbe, Odion Livingstone

Tauchen Sie ein in das glitzernde Lebensgefühl der 1970er Jahre! Mit „70s Disco Hits Vol. 3“ holen Sie sich die größten Dancefloor-Klassiker einer unvergesslichen Musikära direkt nach Hause – energiegeladen, zeitlos und voller Groove.

Diese exklusive Vinyl-Compilation vereint ikonische Künstler und Welthits, die die Disco-Welle geprägt haben:
• Donna Summer – Die „Queen of Disco“ begeistert mit ihren elektrisierenden Hymnen und unverwechselbarer Stimme.
• Barry White – Samtweiche Soul-Vibes und unverkennbarer Groove.
• Blondie – Disco trifft New Wave mit ikonischem Sound.
• Stevie Wonder – Funkige Rhythmen und musikalische Meisterwerke.

„70s Disco Hits Vol. 3“ bringt das Gefühl von Spiegelkugeln, Plateauschuhen und durchtanzten Nächten zurück – eine musikalische Zeitreise in die goldene Ära der Disco.

Let the music play – und machen Sie Ihr Wohnzimmer zur Tanzfläche!

This album brings together key tracks from Doug Carn recorded for Black Jazz Records in the 1970s.

Doug Carn is one of the most-important (and least-recognised) forces in the creation of the canon of 'deep and spiritual jazz music' - full of powerfully emotive intensity, consciously-uplifting lyricism and addictively beautiful melodies.

All of his LPs during this period have since achieved cult classic status including 'Infant Eyes', 'Adam's Apple', 'Spirit of the New Land' and 'Revelation'.

Aside from his songwriting and keyboard skills, many of the tracks here feature the stunning and powerful 5-octave range vocals of Jean Carn (later Carne), his wife at the time.

Musicians featured on this album include Alphonse Mouzon, Charles Tolliver, Henry Franklin, Michael Carvin, Walter Booker, Ronnie Laws and others. Aside from Carn’s compositions there are also striking interpretations of music by Lee Morgan, Miles Davis, John Coltrane, McCoy Tyner, Bobby Hutcherson and Wayne Shorter.

Black Jazz became one of the defining labels of independent and conscious jazz music in the 1970s alongside other important labels such as Strata-East and Tribe Records. As well as this Best of Doug Carn release, Soul Jazz Records are also releasing a Best of Black Jazz Records collection at the same time.

Les Rallizes Dénudés returns with Disque 4 -’76 Studio et Live-, the latest in the ongoing series of official archival releases from the celebrated Japanese underground band.

In 1991, Les Rallizes Dénudés released what would become the only official albums issued during the band’s lifetime: ’67-’69 STUDIO et LIVE, MIZUTANI / Les Rallizes Dénudés, and ’77 LIVE. What no one knew at the time was that Takashi Mizutani was already deep into preparing another record.

Disque 4 reconstructs the track list Mizutani had put together for that fourth album. This includes the single “White Awakening," recorded in 1976 at the studio in Takadanobaba BIG BOX as part of the sessions that would become known among collectors as the “Virgin Demos.” Production and mastering of this archival release were handled once again by Makoto Kubota, assembling the album from the masters left behind by Mizutani, utilizing newly discovered tapes as additional sources.

Prepared by Mizutani using a variety of formats, including U-Matic, open reel, and DAT, the tracks were originally labeled with working titles such as “Disque 4” and “Record No. 4,” indicating that Mizutani intended them for inclusion on a possible fourth album. The recordings were taken primarily from studio sessions that all seemed to have taken place around 1976, which aligns with the claim that Mizutani himself once made that “there exists an album of studio recordings made with the same members as ‘77 LIVE.” His notes also suggest an attempt to sequence the tracks as a vinyl LP, splitting them into A and B sides. It's not hard to imagine that in the era of CDs in the early 1990s, an album on analog LP would have been an extremely difficult sell. Thus, the “Fourth Album” had become another lost piece of the intricate Rallizes myth.

Les Rallizes Dénudés may be notorious for the colossal volume and extended song lengths in their live settings. But this work, centered around studio recordings and condensed onto a single LP record, transcends the common impression of the band’s aggressive flood of noise. Instead, the “lyricism” at its core emerges with striking clarity. And needless to say, this is precisely the charm of the Rallizes that continues to captivate fans worldwide today.

Call it soulful dream pop, proto-trip hop or downtempo jazz - "Tender Rain" is the follow-up LP to the successful "This Is" album and continues to deliver Ghia's unmistakable sonic magic. On this release, the band shares a selection of previously unreleased vocal songs alongside instrumental pieces, all carried by their trademark chilled and almost meditative atmosphere. Most of the recordings date from the early 1990s, while early demo versions of "New Love" and "Teardrops in Your Eyes" may reach back as far as the late 1980s.

The album opens with the title track "Tender Rain," where smooth vocal jazz harmonies merge effortlessly with soulful pop elements. The track originally appeared only on CD in 1993 on the small Mikado label run by renowned German guitarist Ulli Bögershausen. The band recalls that the piece was first pre-recorded using MIDI equipment and a Tascam 16-track recorder before being completed in the studio with drums by legendary drummer Mickie Stickdorn (Carsten Bohn's Bandstand, Cyklus, Elephant, Lake), percussion by Corinna Ludzuweit, and the final touch-Lisa Ohm's remarkable vocals.

At the time, Mikado was also looking for instrumental material for radio and synchronization use. They selected the track "Tropfstein" for a sampler CD and requested more pieces. In response, "und recken ihre schlanken Glieder" (roughly translated as "and stretching their slender limbs") was composed especially for the project, as Frank Simon remembers. Both tracks appeared on the now rare Mikado sampler CD under the alias z. Zt., short for "zur Zeit" ("at present" or "these days").

Several further pieces in a similar vein were created during this period, including the previously unissued "Auf unserm grünen Sofa," "Reise bei Nacht," and "Was ich Dir noch sagen wollte." These tracks are beautifully crafted downtempo pieces featuring smooth, jazzy piano lines combined with touches of ambient and New Age aesthetics. "Auf unserm grünen Sofa" stands out in particular and will likely resonate with all downtempo enthusiasts. Lutz Boberg recalls that many of these recordings were captured during a single afternoon in the studio, fueled by spontaneous ideas and creative momentum.

On tracks such as "Teardrops in Your Eyes," "New Love," and the haunting Dark Spirits Mix of Ghia's song "What's Your Voodoo?", singer Lisa Ohm delivers soulful pop performances with her clear and captivating voice. "Change Your Sex," the third track previously featured on the Mikado sampler, leans more toward late-1980s funk and was aimed at radio and DJs at the time. Its subject matter was relatively daring for the period, telling the story of someone contemplating a change of sex "to get rid of the troubles."

Together with "This Is" and "Curacao Blue", "Tender Rain" forms another essential chapter in the rediscovery of the band's work. More than thirty years after their creation, these recordings still sound strikingly fresh, reflecting a unique style that in many ways anticipated the rise of trip-hop in the early to mid-1990s.

'We Fell In Turn' is the solo debut from Brooklyn-based trombonist, composer, and quartet leader Kalia Vandever. Vandever, who plays with Harry Styles and Japanese Breakfast, “sculpts her trombone’s golden tones into dazzling compositions” (Pitchfork), writing music that tends to “dip you into a feeling or a pattern or a breathing speed, and keep you there” (The New York Times). In 2022, Vandever released Regrowth, an album that “features the ecstatic, brilliant melodies that have become Vandever’s signature sound” (Bandcamp). This spring, Vandever brings contemplative reflection to We Fell in Turn, a brave and understated work from an ascending voice in American jazz.

Recorded over three days in upstate New York, 'We Fell In Turn' is improvisational — a stark palate of solo trombone, voice, effects, and little more. “My solo process has always been heavily rooted in improvisation,” says Vandever. “I wanted the process to feel similar to the way I perform. Lee Meadvin, who engineered and produced the album, had a heavy hand in the creative process as well. He would dictate prompts before I started improvising and those pieces ended up shaping a lot of the imagery that comes up throughout the record.”

Connecting the dots between Jeff Parker’s 'Forfolks', and early releases from Grouper, 'We Fell In Turn' is a study of space and patience, embracing vulnerability in its sparse adornment. At times, the album is reminiscent of Patrick Shiroishi’s 'Hidemi', both in its familial inspiration and solo instrument study, while sharing the ineffable feel of William Basinski’s 'The Disintegration Loops' — the traces of her trombone folding in on themselves in an organic loop. Emotionally generous throughout, Vandever acts as a torchbearer for jazz’s historical yearning for connection.

On 'We Fell in Turn' Vandever draws inspiration from childhood memories — events that shaped her approach to love, community, and partnership, and her maternal homeland of Hawaii. “We were exploring childhood memories, earliest experiences with disappointment and pain, and my Hawaiian roots,” says Vandever. “We Fell In Turn came after I titled the track "We Wept In Turn". Both come from the intangible feeling of waking up from vivid dreams, particularly the experience of falling right before waking up or waking up in tears.”

Through this exploration into her heritage, Vandever also found guidance. “In Hawaiian mythology, ‘aumākua are known as ancestral spiritual guides that manifest in different forms, whether physical or intangible,” says Vandever. “My ‘aumākua visits me in my dreams, usually with a reassuring hug or a reminder of my past. Memories and early experiences seem to escape me, but find their way back in dreams.” And now they’ve found their way into 'We Fell in Turn', Kalia Vandever’s stunning solo debut.

Steve O’Sullivan returns under his Bluetrain alias, channeling the essence of dub into groovy,
endlessly cycling patterns shaped by submerged chords and tectonic low-end pressure. The influence of Mike Ink’s monolithic Studio One era is unmistakable, where reduction becomes
propulsion and each delay-trail etches its own pulse into the haze. Limited colourec vinyl.

Steve O’Sullivan returns under his Bluetrain alias, channeling the essence of dub into groovy,
endlessly cycling patterns shaped by submerged chords and tectonic low-end pressure. The influence of Mike Ink’s monolithic Studio One era is unmistakable, where reduction becomes
propulsion and each delay-trail etches its own pulse into the haze. Limited colourec vinyl.

Reissue 2026

The track "I'm So Crazy" by Par-T-One vs. INXS (a remix of INXS's "Just Keep Walking")

is widely praised in dance/electronic circles for successfully fusing classic rock attitude with driving house beats,

retaining the iconic guitar and vocals while adding powerful drums,

making it a timeless and energetic club anthem that captured the spirit of the original for a new generation.

Produced in 2001 by the Italian electronic duo Par-T-One (Sergio Casu aka Sergione and Andrea Pareo),

reviews highlight its infectious energy, inspiring guitars, and effective dancefloor appeal.

The song has been classified as "Punk House" because the video depicts people performing the Pogo move and Michael Hutchence's skinhead-like vocal style.

The song also features samples of Dennis Parker's "Like an Eagle" and "I'm So in Love."

The single reached number 19 in the UK singles chart and the video (directed by Sam Brown and Paul Gore,

who later found success directing videos for James Blunt and The Bravery) won and was nominated for various awards

in the Short Film category and Best Promotional Video.

2026 re-release remastered by Gianni Bini at HOG Studio