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CORTIS’ ZWEITE EP „GREENGREEN_PLAYEXTENDED“ ist jetzt auf Vinyl erhältlich. Sie erscheint in
zwei Versionen: als Vinyl STREET ver. und als Vinyl STUDIO ver.
INHALT:
12”-Vinyl, Gatefold-Cover, Innenhülle, 16-seitiges Booklet, 6 Fotokarten, Fotokarten-Hülle
ABMESSUNGEN:
316 x 316 x 7 MM

CORTIS’ ZWEITE EP „GREENGREEN_PLAYEXTENDED“ ist jetzt auf Vinyl erhältlich. Sie erscheint in
zwei Versionen: als Vinyl STREET ver. und als Vinyl STUDIO ver.
INHALT:
12”-Vinyl, Gatefold-Cover, Innenhülle, 16-seitiges Booklet, 6 Fotokarten, Fotokarten-Hülle
ABMESSUNGEN:
316 x 316 x 7 MM

„Nur wenige zeitgenössische, vom Jazz beeinflusste Sängerinnen schaffen es, so intensiv nach sich selbst
zu klingen und dabei aus einer solchen Vielfalt von Genres, Sprachen und kulturellen Hintergründen zu
schöpfen wie die in Albanien geborene Sängerin Elina Duni“, hat schon der britische Guardian festgestellt
– und Reaching for the Moon spannt nun erneut einen weiten musikalischen Bogen. Es ist Dunis dritte
Aufnahme mit dem britischen Gitarristen Rob Luft. Während Lost Ships und A Time To Remember ihr
gemeinsam geleitetes Quartett in den Mittelpunkt stellten, tritt hier das Kernduo in den Vordergrund –
in einem Programm, das mit dem Titelsong aus der Feder von Irving Berlin beginnt und mit Ornette
Colemans „Lonely Woman“ endet. Dazwischen hören wir Eigenkompositionen von Duni und Luft, traditionelle Musik aus dem Kosovo, ein Wiegenlied der persischen Sängerin Mahsa Vahdat, eine Ballade des
italienischen Singer-Songwriters Pino Daniele, das Kunstlied „Les Berceaux“ des französischen Komponisten Gabriel Fauré, Filmmusikthemen des japanischen Komponisten Shigeru Umebayashi und des polnischen
Komponisten Krzysztof Komeda – und mehr. „Unser Duo, unser Projekt, ist eine musikalische Reise“, sagt
Elina. „Wir nutzen verschiedene Stile und verschiedene Sprachen, um die Distanz zwischen Menschen zu
überbrücken.“ Dunis Einfallsreichtum als Sängerin wird dabei von Lufts instrumentalen Fähigkeiten hervorragend ergänzt: Der Gitarrist bewegt sich mühelos zwischen unterschiedlichen Stilwelten, umhüllt Melodien
sanft, unterstreicht den emotionalen Ausdruck der Songtexte und vertieft die atmosphärische Wirkung der
Stücke. Reaching for the Moon wurde im Juni 2025 in den Studios La Buissonne im Süden Frankreichs
aufgenommen. Das von Manfred Eicher produzierte Album erscheint zeitgleich mit einer Europatournee
von Elina Duni und Rob Luft, die Konzerte in Italien, Deutschland, dem Vereinigten Königreich, der Schweiz
und Albanien umfasst.

Mit CONTINUUM II, dem zweiten Teil seines fortlaufenden Bach-Projekts, setzt Víkingur Ólafsson seine
gefeierte Auseinandersetzung mit der Musik von J. S. Bach fort. Das Album vereint Originalwerke, Transkriptionen und neue Arrangements des isländischen Pianisten und offenbart dabei eine intime und nachdenkliche Seite von Bachs Musik.
CONTINUUM II ist zugleich das erste Album, das vollständig in Ólafssons neuem eigenen Studio „The
Nutshell“ in Island aufgenommen wurde.
Nach dem Erfolg seiner bisherigen Bach-Aufnahmen vertieft das Album Víkingur Ólafssons lebenslangen
musikalischen Dialog mit dem Komponisten und verbindet bekannte Meisterwerke mit weniger bekannten
Werken und neuen Interpretationen.

Mit The Boy and the Heron – Symphonic Suite for Piano and Orchestra präsentiert Joe Hisaishi eine
vollständig neu konzipierte Konzertfassung seiner preisgekrönten Filmmusik zum Oscar-prämierten Studio
Ghibli-Film The Boy and the Heron von Hayao Miyazaki. Die Weltersteinspielung entstand mit dem Royal
Philharmonic Orchestra, wobei Hisaishi selbst den Solopart am Klavier übernimmt.
Anstatt die Filmmusik lediglich zu arrangieren, entwickelte Hisaishi ein eigenständiges symphonisches Werk
für den Konzertsaal. Bekannte Themen des Films erscheinen in neuer orchestraler Form und verbinden sich
zu einer atmosphärischen Suite voller emotionaler Tiefe. Ein eindrucksvolles Album eines der bedeutendsten
Filmkomponisten unserer Zeit.

Mit The Boy and the Heron – Symphonic Suite for Piano and Orchestra präsentiert Joe Hisaishi eine
vollständig neu konzipierte Konzertfassung seiner preisgekrönten Filmmusik zum Oscar-prämierten Studio
Ghibli-Film The Boy and the Heron von Hayao Miyazaki. Die Weltersteinspielung entstand mit dem Royal
Philharmonic Orchestra, wobei Hisaishi selbst den Solopart am Klavier übernimmt.
Anstatt die Filmmusik lediglich zu arrangieren, entwickelte Hisaishi ein eigenständiges symphonisches Werk
für den Konzertsaal. Bekannte Themen des Films erscheinen in neuer orchestraler Form und verbinden sich
zu einer atmosphärischen Suite voller emotionaler Tiefe. Ein eindrucksvolles Album eines der bedeutendsten
Filmkomponisten unserer Zeit.

Das Christmas Album von Karajan vereint ausgewählte Aufnahmen seiner berühmten Barock-Weihnachtskonzerte
mit traditionellen Weihnachtsliedern, die er gemeinsam mit Leontyne Price aufgenommen hat.
Von Klassikern wie Stille Nacht und O Tannenbaum bis hin zu Tschaikowskis Tanz der Zuckerfee und
Vivaldis Winter bietet diese Sammlung den perfekten Soundtrack für die Winterzeit. Begleitet von den
Berliner und Wiener Philharmonikern entfaltet sich unter der Leitung von Herbert von Karajan ein festliches
Hörerlebnis.
Das Album ist erstmals als 1LP auf 180 g schwerem Vinyl erhältlich. Der Folienschnitt erfolgte durch
Sidney Claire Meyer in den Emil Berliner Studios.

Ein gesuchtes Stück britischer Rockgeschichte erstmals wieder auf Vinyl!
“Barbed Wire Sandwich”, das einzige Album der Black Cat Bones, ist ein Kultklassiker des britischen
Heavy Blues, jetzt in den Abbey Road Studios von den originalen Stereo-Analogbändern gemastert und
auf 180-g-Vinyl gepresst. Mit neuen Linernotes von Richard Morton Jack, einem ausgewiesenen Experten
für die Rockmusik der 60er und 70er Jahre. Das Album erschien ursprünglich 1970 in Deccas kurzlebiger
Nova-Serie und entwickelte sich über die Jahre zum begehrten Sammlerstück.
Mit seinem kraftvollen, gitarrengetriebenen Mix aus elektrischem Blues, Hard Rock und psychedelischen
Einflüssen dokumentiert es den Übergang vom britischen Bluesboom zum Heavy Rock der frühen 70er.
Paul Kossoff und Simon Kirke spielten bei Black Cat Bones, bevor sie Free gründeten; Gitarrist Rod Price
wurde später Mitglied von Foghat, während sich Black Cat Bones schließlich zur Kultformation Leaf Hound
weiterentwickelten.

Mit „The Sermon!“ erscheint ein Jimmy-Smith-Klassiker in der Blue Note Tone Poet Serie. Die 1957
und 1958 entstandenen Aufnahmen bringen die ungezügelte Energie einer Live-Session ins Studio und
zeigen den Hammond-B3-Meister in Bestform. Unterstützt wird Smith von einer außergewöhnlichen AllStar-Besetzung mit Lee Morgan, Lou Donaldson, George Coleman, Tina Brooks, Kenny Burrell, Art Blakey
und weiteren Blue-Note-Größen. Das Album besteht aus nur drei ausgedehnten Stücken, die den Musikern reichlich Raum zur Entfaltung geben. Der bluesige Titeltrack nimmt die gesamte erste LP-Seite ein,
während das treibende „J.O.S.“ und die eindrucksvolle Ballade „Flamingo“ – mit einem herausragenden
Lee Morgan – die zweite Seite bilden. Soul Jazz und Hard Bop in Reinkultur, brillant eingefangen von
Tonmeister Rudy Van Gelder.

Die bei Jazzfans legendäre Serie BRITISH JAZZ EXPLOSION wird mit einem weiteren Kultalbum des
britischen Jazz fortgesetzt. Es wurde in den Abbey Road Studios von den originalen Stereo-Analogbändern
gemastert und auf 180-g-Vinyl gepresst. Enthalten ist ein vierseitiges Faltblatt mit Abbildungen der Bandkartons und einem neuen Text des Jazz-Experten und Serienproduzenten Tony Higgins.
“Child Song”, das 1970 auf Deram erschienene Debütalbum von Henry Lowther, zählt zu den gesuchten
Raritäten des britischen Jazz. Der Trompeter, Flügelhornist und Violinist spielte unter anderem mit John
Mayall, Manfred Mann und der Keef Hartley Band, mit der er 1969 beim legendären Woodstock Festival
auftrat. Auf “Child Song” verbindet Lowther Post-Bop und freie Improvisation mit den neuen elektrischen
Klängen des Jazz-Rock. E-Piano, E-Bass und Violine sorgen für einen bemerkenswert modernen Sound,
der Einflüsse von Miles Davis’ “In A Silent Way” und “Bitches Brew” erkennen lässt.
Ein faszinierendes Dokument aus der kreativen Hochphase des British Jazz – erstmals seit 1970 wieder
auf Vinyl.

Die spektakulärste Veröffentlichung zu John Coltranes 100. Geburtstag im Jahr 2026 kommt jetzt: ein
bislang von vielen Gerüchten begleitetes Kapitel seines Vermächtnisses wird erstmals zugänglich gemacht!
Die 4-LP-Box und das 3-CD-Set ”The Tiberi Tapes” versammeln bislang unveröffentlichte Live-Mitschnitte,
die der Saxofonist Frank Tiberi zwischen 1960 und 1964 insgeheim in Clubs in New York und Philadelphia
aufnahm. Mehr als sechs Jahrzehnte blieben die Bänder weitgehend ungehört. Sie dokumentieren Coltrane
gemeinsam mit seinen legendären Mitstreitern in einer der aufregendsten Phasen seiner künstlerischen Entwicklung.
Dies sind keine konventionellen Konzertmitschnitte – ihr historischer Klang kann nicht mit Studioaufnahmen verglichen werden, zeugt aber von den abenteuerlichen Umständen ihrer Entstehung. Dafür kommt
man als Hörer John Coltrane auf der Bühne erstaunlich nahe: suchend, experimentierend und seine Musik
immer weiter vorantreibend. Für die Jazzwelt ist diese Veröffentlichung ein außergewöhnliches Ereignis!
Ausstattung 4-LP-Box: schwarze 140-g-LPs in einer stabilen Lift-off-Box, dazu ein LP-großes Booklet
mit ausführlichen Essays von Ashley Kahn, Lauren Du Graf, Lewis Porter und Mastering Engineer Kevin
Reeves
Ausstattung 3-CD-Set: Digipack plus Booklet mit o.g. Inhalt

Die bei Jazzfans gefeierte Serie BRITISH JAZZ EXPLOSION präsentiert mit „Voyages – The Argo Studio Albums Vol. 1“ vier Schlüsselwerke des britischen Modern-Jazz-Pianisten und Komponisten Michael
Garrick erstmals wieder auf Vinyl. Die limitierte 4-LP-Box vereint „The Heart Is A Lotus“ (1970), „Mr
Smith’s Apocalypse“ (1971), „Home Stretch Blues“ (1972) und „Troppo“ (1974) und führt durch Garricks
eigenständige Klangwelt zwischen Post-Bop, Modal Jazz, freien Formen und Poesie. Mit dabei sind Größen
wie Norma Winstone, Don Rendell, Ian Carr, Art Themen, Henry Lowther und Coleridge Goode.
Alle Alben wurden in den Abbey Road Studios rein analog von neu den originalen Stereo-Masterbändern
gemastert und auf 180-g-Vinyl gepresst. Die hochwertige Box enthält die Alben in den Original-Artworks
(3 Single- + 1 Gatefold-Sleeve) und schwarzen, gefütterten Innenhüllen sowie ein 20-seitiges, LP-großes
Booklet mit neuen Texten, Fotos und Tape-Box-Abbildungen.

Im Jahr 1973 folgte nach dem Debutalbum von Roxy Music das zweite Album mit dem Titel „For Your
Pleasure“. Für die Produktion des Albums konnte die Band mehr Zeit im Studio verbringen, was zu einer
aufwändigeren und experimentelleren Produktion führte. Brian Enos Mischung aus Tape-Loop-Effekten ist
in „The Bogus Man“ unüberhörbar und „Do the Strand“ wird als die typische Roxy Music-Hymne gefeiert.
Das Album schaffte es bis auf Platz 4 in den britischen Albumcharts.
„For Your Pleasure” wurde von Miles Showell in den Abbey Road Studios neu gemastert. Um die verbesserte
Audioqualität widerzuspiegeln, wurde das Artwork überarbeitet und mit einer glänzenden Laminierung versehen, sodass das Album nicht nur eine Schallplatte, sondern ein Kunstwerk ist.

Anlässlich des 20-jährigen Jubiläums von „The Open Door“ greift diese Deluxe-Edition das zweite Studioalbum von Evanescence aus dem Jahr 2006 wieder auf, auf dem Singles wie „Call Me When You’re
Sober“, „Lithium“, „Sweet Sacrifice“ und „Good Enough“ zu finden sind. Die erweiterte Ausgabe enthält
vier Bonustitel aus B-Seiten und Raritäten, darunter eine Demoversion von „Good Enough“.

Anlässlich des 20-jährigen Jubiläums von „The Open Door“ greift diese Deluxe-Edition das zweite Studioalbum von Evanescence aus dem Jahr 2006 wieder auf, auf dem Singles wie „Call Me When You’re
Sober“, „Lithium“, „Sweet Sacrifice“ und „Good Enough“ zu finden sind. Die erweiterte Ausgabe enthält
vier Bonustitel aus B-Seiten und Raritäten, darunter eine Demoversion von „Good Enough“.

DJ Support: Marco Carola, Jamie Jones, Joseph Capriati, Ilario Alicante, Bradley Zero, Carista, Josh Baker, Saoirse, Djebali, Archie Hamilton, John Dimas, rich NXT and many more

Kepler’s sound sits somewhere between deep house, garage swing and low-slung club pressure. Based in Leeds, he has developed a sound built around weighty basslines, rolling drums and an instinct for keeping ideas sounding fresh. Releases on Up The Stuss, Semi Delicious, Constant Sound and Rossi’s HOME//GRXWN. have helped establish and elevate that approach, with support from selectors including Ben UFO, Raresh, Chris Stassy, Four Tet and Interplanetary Criminal. Alongside his own productions, plus his labels Contact Music and Perspective, his Studio Orbit has grown into an online production community supporting thousands of artists, and he now returns to FUSE after his appearance alongside founder Enzo Siragusa in 2024 as part of the label’s X Series for his first solo release on the imprint.

His ‘Sunday Service’ EP brings four original cuts to digital and vinyl, moving between different shades of his UK-influenced, wide-spanning sound. ‘Inner Motion’ opens with a cosmic groove, sweeping melodies and tightly placed percussion, while ‘Jump Up Crew’, featuring MC Secret Agent, pushes into garage territory with an animated vocal presence and heavy low-end weight. On the B-side, ‘Unity’ settles into a deep, fluid rhythm that packs a punch before title track ‘Sunday Service’ journeys through hazy textures and shuffling drums for a late-night finish.

Second Storey launches new record label High Canopy - with Ladakh EP, 20 years since the artist's first vinyl release. Storey's working template has always been to take on the observations of his inner and outer world experiences, folding them into his expertise as a highly skilled drummer, knack for dream-scape sound design and love of rave and soundsystem culture. High Canopy promises to be an environment that platforms full artistic freedom and homes the mechanised, cerebral dancefloor workouts of Second Storey's studio life alongside his deeper, more experimental terrain. The EP's first stop is 'Blue Eye' named after the spring source of the Bistrice river in Albania. Crystal-clear sound design that echoes the flow of this natural water and sits alongside softly distorted low end. Contrasting 'Urban Hermit' was written in Berlin, during a bout of cabin fever and is a heavy case of gnarled up, spat out, paranoid machine funk. 'Post Columbia' - recorded after an eye opening trip to Bogota- then shifts the tone for the B side into more heady melodic territory with luminous, floating synths evolving throughout the track. ' ABC Conjecture' builds an intense atmosphere as it crawls and morphs across growling, distorted bass with a creeping shuffle of layered elements building overhead. Title track 'Ladakh' completes the EP, inspired by the remote town in the Indian Himalayas on the border of Tibet, AKA snow leopard country. It takes on a special and expansive ambient quality of this deeply precious and spiritual mountain land.

„No Tourists“ wurde von Liam Howlett in seinem Studio in London-Kings Cross geschrieben, produziert
und abgemischt – auch wenn es sich, wie Liam betont, „durch und durch um ein Band-Album“ handelt.
Maxim und Keef Flint sind voll und ganz mit von der Partie und steuern ihre legendären Vocals zu diesem
siebten Studioalbum der Formation aus Essex bei. Zwar gibt es vereinzelt Gastbeiträge, doch im Kern
ist dies der Sound des Prodigy-Kerntrios, das sein explosives Klanggewand sowohl altem als auch neuem
Publikum präsentiert – fast drei Jahrzehnte, nachdem die Band mit dem epochalen Album „The Fat Of
The Land“ das Gesicht und den Sound der elektronischen Musik nachhaltig verändert hat.

Underpinned by spoken folktales stretching from Indonesia to Poland, a new collaborative EP from Warszawa/Berlin-based Jerzy Mączyński and London-based Flora Yin-Wong arrives via Accidental Meetings. Demons rising from the wind, unknown beings lurking in the forest — the record conjures a landscape built from heady layers of saxophone and the tormented strings of zither, harp and kemence.

Recorded across two intense studio sessions, the EP also features idiosyncratic contributions from London-based guest vocalists and musicians Aga Ujma and Laila Sakini.

Flora Yin-Wong is a London-born experimental sound artist and writer of Chinese and Malaysian heritage, known for weaving field recordings and traditional instruments. Her album Holy Palm (Modern Love) and book Liturgy (PAN) cemented her as a singular voice in experimental music today.

Jerzy Mączyński is a Polish saxophonist, producer and composer whose jazz training feeds into genre-melting work spanning kosmische, prog, industrial techno and minimalism. One of his collaborations being a record of free jazz and rhythmic cubism with Chicago's Hieroglyphic Being.

Pariter continues its acclaimed archive series with another essential London tech house reissue from the Strange Weather Studios catalogue. Produced by two of the scene's key figures, Timmy S and Justin Bailey, this release captures a defining moment in the evolution of the UK sound.

Originally released on Wiggle in 2001, the EP arrived during the golden era of Nathan Coles and Terry Francis's legendary Fabric residency, when Strange Weather was helping shape the future of London's underground tech house. More than twenty years on, these tracks have lost none of their impact.

Meticulously remastered from the original DAT masters, the EP features three deep, tripped-out, acid-tinged tech house cuts, now presented on heavyweight 180g vinyl for the first time. Gold.

New formation Broken Code gets their first release on Natural Positions with remixes by Will Hofbauer and Patrice Meiner. Papi can’t get to the phone right now. It’s late, but eventually the elusive late night lover picks up and the game is on. Will Hofbauer and Patrice Meiner make sure you make it through the night, rewired, refreshed and ready for a new dawn.

Papi Pt. II is the product of a late night jam session at Max Bulk studios, re-coded for the wax aficionado by four of South East London’s loneliest robots. Their soundsystem affiliates Will Hofbauer and Patrice Meiner reinterpret the original, picking up the pace and then breaking it down for a final early morning rotation. This release has all the flavours to bake the cake that keeps you awake.
credits

Rio de Janeiro producer, composer and multi-instrumentalist Fabio Santanna returns with Copa Astral, an eight-track journey through modern Brazilian boogie, disco and Balearic grooves. Released by Rio’s Onda Boa, a label founded by Joutro Mundo, the album captures the warmth of the city's sunlit days and the cinematic glow of its nights, blending lush synths, live horns, percussion and rich vocal arrangements into an unmistakably Brazilian sound.

Opening with the slow-burning title track, introduced by the unmistakable cry of a cuíca, Copa Astral sets the mood before unfolding into the rolling grooves of "Ponto de Areia" and the Afro-Brazilian pulse of "Odoya Beat". Elsewhere, "Nesse Tempo" drifts into dreamy nostalgia, while side B moves effortlessly through the carefree boogie of "Jabuticaba", inspired by Brazil's beloved fruit; the warm, enveloping feeling of longing in "Senti Saudade"; the seaside romance of "À Beira Mar"; before closing with "Cantagalo", a heartfelt tribute to the neighbourhoods, memories and spirit that continue to shape Santanna's music.

Inspired as much by Rio's beaches as its neon-lit avenues, Santanna draws from Brazilian boogie, 1980s cinema, vintage record sleeves and classics such as Junior Mendes' Copacabana Sadia, filtering those influences through the city's unique rhythm. Produced at his Copacabana studio with live brass, percussion and vocal harmonies, Copa Astral is both timeless and contemporary - an album equally at home on the dancefloor, by the ocean or during a late-night drive along the coast.

With their sixth studio album, ASN reveal a project in full command of its identity. “Reverie Machine” moves confidently through the many shades of post-punk, grounding its sound in analogue textures while embracing the electronic foundations of dancefloor-oriented wave.

Founded by Libero Volpe in 2007, the project now features Lorenzo Ceccarelli on bass, Alessio Rossetti on guitars and Gianpaolo Cesarini on analogue synths. Together, they carry ASN’s original fascination with kosmische music, science fiction and distant futures into a fully realised interplay of synthesizers, guitars and bass.

Across the eight tracks that make up this outstanding album, dreamlike instrumental passages meet darker songs shaped by evocative vocals, allowing atmosphere and melody to guide the journey. Rooted in the ’80s yet driven by its own imagination, “Reverie Machine” brings these influences together with the assurance and depth of a band at its most mature.

Energy Exchange Ensemble follow-up on the acclaimed 'Vol.1' continuing the legacy of label-curated studio sessions by in-house production duo, Lewis Moody and Ziggy Zeitgeist.

Offering a unique take on the 'Various Artist' compilation in the sense that the production team have enlisted an A list of players in informal jam sessions, gracefully guiding the sessions into their own unique brand of dancefloor and spiritual jazz.

In the spirit of cultural exchange and spontaneity the sessions are gathered over the course of a few years between Berlin, London and Melbourne. Naturally boasting a long list of collaborators including Erica Tucceri (Deep Matter), King Owusu (Jembaa Groove), Oscar Jerome, Hurcules (Kokoroko), Nathan Haines (ChilliFunk records) to name a few.

This is a unique and creative setting for the duo to explore a more intimate and exploratory approach in the studio further cementing their reputation as a dynamic and innovative team in contemporary jazz crossover.

When the first JIM album Love Makes Magic was released in 2023, it was the end product of an experiment that had begun during the strange days of the pandemic. Cooped up in his studio, James Baron started fiddling about with an as-yet unnamed new album idea. It became Vicious Charm’s first LP release. Labelled variously as Balearic, folktronica, blue-eyed soul and Laurel Canyon, Love Makes Magic was perhaps all and none of those things: a record rooted less in Californian mythology than in Baron’s own musical world, somewhere between Sherwood, Nottingham, classic songwriting, electronic soul and the no-nonsense good times that have long run through his work under his other monikers (principally the anagrammatic Ron Basejam and, of course, Crazy P) One thing was indisputable, it connected with people... and still does.

The album was a minor hit, appearing in many a Best of 2023 chart and voted Album of the Year in Bill Brewster’s Furtive 50. A tour and a few memorable festival appearances – his 2024 We Out Here Festival being one of those wonderfully timed ‘moments’ - perfectly captured the horizontal vibes on the album, while injecting some live energy into its delivery. While there was a follow-up remix album for Love Makes Magic, JIM was already preparing a sophomore LP: “I wrote the majority of The Curious Case Of Existence in a couple of months at the beginning of 2024, then it was just a case of making the record over the next couple of years in between everything else.”

Psychedelic rock, pop punk, and trippy hop tracks against animal exploitation.


Canine Cracks is the new artistic project of Benedetta and Romain Play (aka Camion Bazar). Known as DJs, event organizers, producers, and vinyl collectors, they're now returning to their roots and their first love: rock, post-punk, and massive mosh pits, instruments plus drum machines, and intense live performances. Everything is created in their own studio, located in the French countryside, where they retreat to escape the mad world. These two friends are animal rights activists fighting for animal liberation and are using this album and project to say ""fuck"" to animal exploitation and human supremacy over minorities."

We are so excited to welcome back Tigerskin with a brand-new Album. This 12” is the vinyl version
showcasing six deep, euphoric and banging tracks taken from the full album.

The digital album features twelve brand new tunes by Alex Krüger and delivers his 3rd studio album as Tigerskin.
“Image” not only continues his search for the ultimate dance floor deepness, and contrary to just imitating his own “best selling” club grooves, it rather displays his ongoing artistic progress as a producer and composer of electronic music.

Opposed to his 2013 album “All Those Goodbyes”, which musically rooted in the early 90s and included a ton of collaborations with friends and long time partners, “Image” focuses more on Alex’s general musical roots and shows his compositional preferences. Apart from a few samples, this time around it doesn’t feature any co-productions at all nor did Alex use crazy or special gear to create the tunes. Many sounds are coming from natural and acoustic sources. Expect 80s New Wave references or spooky Wagner-esque bits to pop up next to dusty downbeat interludes. Euphoria next to relaxation. Tigerskin’s journey leads him from ironic comments on the present times via deep, occasionally melancholic or dark and hypnotic material up to the final tune, a homage to the infamous German brothers, Thomas and Klaus.

Tigerskin’s love for experimentation and cross-genre diversity on “Images” is more tangible than ever before.

Dive into this great deep journey, Enjoy!

Fully licensed from Public Radio of Armenia, with additional clearance from all composers or their living descendants / estates: Yerevan Nights (Soviet Armenian City Pop 1986-1992) features 16 tracks remastered from the original reel-to-reel tapes by award–winning Osiris Studio, accompanied by liner notes containing historical analysis and a digital download card.

Yerevan Nights honors the simple pleasures that saturate the senses to make such a relatively small city feel so big in perception, and illustrates Soviet Armenian life outside of daily service to the greater good – moments caught in the twilight hours that follow the calming sunset behind the mountains, crescendo up and down Yerevan’s bustling city streets, and peak at the glorious dawn that paints the sky with pink and lavender brushstrokes. This compilation captures the pace of Yerevan throughout all times of the day and is tailored for the occasions dedicated to friends and family that constitute an individual’s shrjapat (“social circle”). The rhythms and melodies of these songs go perfectly with a cocktail of sidewalk strolls alongside honking car horns, toasting glasses raised over boisterous laughter, and meeting familiar faces in the most unexpected places, all wrapped up in a tranquil haze of cigarette smoke that lingers until the morning light breaks and garnished with a sprinkle of sentimental heartache.

[a] A1 - Tatevik Hovhannisyan / Oor E Ayn Lapteruh? ("Where Is The Lamp?") [1988]
[b] A2 - Georgi Minasyan / Karnaval ("Carnaval") [1988]
[c] A3 - Gayané Tunyan / Bari Luys, Yerevan ("Good Morning, Yerevan") [1988]
[d] A4 - Mikayel Zakaryan / Zartonk ("Awakening") [1988]
[e] B1 - Nadezhda Sargsyan / Moshahav ("Blackbird") [1988]
[f] B2 - Ashot Ghazaryan, Margarita Avanesyan / Yerevanyan Meghedi ("Yerevan Melody") [1989]
[g] B3 - Zara Tonikyan / Yes Chem Karogh Ayspes ("I Can't Go On Like This") [1989]
[h] B4 - Elvina Makaryan / Kez Hamar ("For You") [1986]
[i] C1 - Nariné Harutyunyan / Garnan Khostoum ("Promise Of Spring") [1988]
[j] C2 - Samvel Danielyan / Yerazank ("Dream") [1991]
[k] C3 - Garry Ayvazyan / Mysteria ("Mystery") [1989]
[l] C4 - Anzhelika Topalyan / Ashough Em Ko Sev Acherid ("I'm A Bard For Your Black Eyes") [1989]
[m] D1 - Raisa Mkrtchyan / Anound Vakhov Em Talis ("I Utter Your Name With Awe") [1989]
[n] D2 - Artashes Avetyan / Voske Ashoun ("Golden Autumn") [1988]
[o] D3 - Anzhelika Topalyan / Lusabatsn Aydpes Kga ("And So The Dawn Will Come") [1988]
[p] D4 - Aspram Khizandyan / Chem Hishi ("I Won't Remember') [1992]

This November, Brownswood Recordings will release Mek Do & Mend, the debut album from self-taught producer, multi-instrumentalist, composer and artist Wonky Logic. Although his name may not yet be familiar to everyone, Wonky Logic (AKA Dwayne Kilvington) has spent the past two decades quietly becoming one of the UK's most respected musical collaborators. His career has moved comfortably between London's jazz, electronic and contemporary music scenes, performing and recording with artists including Nala Sinephro, Yussef Dayes, Nightmares On Wax, Shabaka Hutchings and Emma-Jean Thackray. Alongside his work as a producer and composer, he's been musical director for projects with Eddie Chacon, John Carroll Kirby and I.G Culture's LCSM, scored the feature documentary Zandra With A Zed, contributed music to A24's The Smashing Machine, and continues to lead music workshops with young people, refugees and people experiencing incarceration.

Far more than a collection of compositions, Mek Do & Mend is a deeply personal reflection on the people, places and experiences that have shaped Kilvington throughout his life. It's the story of growing up on a Leeds council estate, where music became both a creative outlet and a way of understanding the world. Making music often meant working with whatever was available: a second-hand keyboard, a makeshift studio desk or ageing equipment that simply had to last a little longer. The title itself came from a conversation with his mother, capturing the resourcefulness that defined his upbringing and continued into the making of the album itself, which was written and produced to a tight deadline around touring, family life and Kilvington's work as a musician and educator.

Built from material spanning more than fifteen years, Mek Do & Mend brings together some of Wonky Logic's earliest compositions alongside brand new pieces written during the making of the record itself. Childhood ideas sit alongside music conceived only months before recording, creating an album that draws together a lifetime of writing rather than documenting a single moment. Running throughout are voice notes from family members, teachers, friends, mentors and collaborators—not simply as interludes, but as a reminder that no creative life is ever self-made. Rather than telling his own story outright, Kilvington invites listeners to discover him through the people who've shaped him: an aunt remembering him playing in church as a child, lifelong friends recalling early experiments making beats together, fellow musicians from different stages of his career and his mother describing him in her own words. Together they reveal the invisible network of relationships, philosophies, communities and experiences behind the music. "The album exists somewhere between being a biography and an autobiography," says Dwayne. "The biography is in the voice notes and how other people see me. The autobiography is in the music."

That same philosophy extends to the musicians who appear on the record. Every contributor has played a meaningful role in Wonky Logic's life beyond the studio. Long-time collaborator Luke Wynter, Steam Down drummer Benji Appiah, partner Vanessa Rani, Jonathan Enser, Joe Bristow, Brother Portrait and Nubiya Imani all feature not simply because of their musicianship, but because they form part of the album's story.

Across its fourteen tracks, Mek Do & Mend moves effortlessly between dynamic jazz arrangements, pulsating broken rhythms, delicate, twinkling piano passages, interstellar synth textures and elegant brass lines. Album opener and first single 'Strange Attractor' begins with a shimmering introduction before unfolding into an exhilarating surge of rhythm and momentum. Named after the mathematical concept of the same name, it serves as the conceptual point of origin for the album. Written when Kilvington was just seventeen, the composition reflects the idea that even the most unpredictable lives are guided by hidden patterns that often only become visible with time. Second single 'A Thousand Hands' features the unmistakable vocal tones of Brother Portrait, whose cerebral lyricism drifts over a low-slung, constantly shifting groove as woozy synth lines ebb and flow overhead. At its heart, the track celebrates the family, friends, mentors and collaborators whose often unseen influence shapes who we become, echoing the album's belief that every achievement is, in some way, a collective one. LP focus track 'BAME (Beyond All Marginalised Expectations)' is a lush, spiralling composition, brimming with both emotion and resolve. Reclaiming an acronym long imposed on racialised communities in the UK, the piece transforms it into a statement of possibility rather than limitation: a defiant rejection of stereotypes and a refusal to let identity be defined by other people's expectations.

The album itself only exists because other people believed in it. Isabel Gracefield made the RAK sessions possible, Rick David brought the record together with his characteristically thoughtful mix, and Gilles Peterson committed to releasing it on Brownswood before hearing any of the music. Away from the stage, Kilvington works with the charity Finding Rhythms, writing and producing original records with people experiencing incarceration, while also leading workshops with Arts Train and Dovetail Orchestra.

Recorded live in a single day in Studio One at RAK, Mek Do & Mend was mixed by Rick David through an analogue Cadac console before being mastered by Stuart Hawkes at Metropolis. The aim wasn't nostalgia or audiophile perfection, but to create a record people could return to throughout their lives, discovering something new with each listen.

As Dwayne puts it: "I don't want this body of work to be reduced to a jazz record. It's more like a novel about life told through music."

Tip-on Cover, Special Varnish

Available in the following Territories: Wordwide minus Japan & Korea

NOTON is pleased to announce12 Conversations, a collaborative album by Ryuichi Sakamoto and Alva Noto to be released on 18 September 2026.

The partnership between the legendary musician and composer Ryuichi Sakamoto and the German artist Carsten Nicolai (aka Alva Noto) has produced some of the most distinctive and enduring works in contemporary electroacoustic music. Beginning with Vrioon in 2002, the artists spent more than two decades fusing and expanding their disciplines, with Sakamoto's evocative, sustain-drenched piano compositions finding their counterpart in Nicolai's skilful and sensitive electronic detailing.
Each successive project further deepened their artistic dialogue: from the five studio albums of the V.I.R.U.S. series (Vrioon, Insen, Revep, Utp_ with Ensemble Modern, and Summvs), to their score for Alejandro G. Iñárritu's The Revenant; Glass (2017), a wholly improvised performance inside Philip Johnson's iconic Connecticut landmark, in which the pair fixed contact microphones to the glass walls, playing the architecture itself as an instrument; and Two (2019), a document of their live performance at the Sydney Opera House.

Across these works, their distinct approaches achieved a rare synthesis, a brilliantly sustained dialogue between piano and electronics, Sakamoto's warmth and melodic finesse meeting Nicolai's abstract electronic formalism to invoke a mesmeric quietude as deeply satisfying in its melodic resolutions as in the merger of its filmic romanticism and meditative subtlety.
12 Conversations brings together musical exchanges recorded in November and December 2022. Rooted in the same creative period that gave rise to Sakamoto's final solo album 12, these recordings were not originally intended as a standalone release. It was only after the completion of 12 that Sakamoto and Nicolai decided to present these exchanges as a work in their own right.
The album reflects the vitality and curiosity that defined more than two decades of shared inspiration: fluid, exploratory, and forward-looking. Created with openness and trust, it captures a creative process in constant transformation - sounds expanding, altering, and evolving through attentive listening.

Conceived as the continuation of an artistic dialogue extending beyond the physical, 12 Conversations honours Sakamoto's wish that these encounters should exist beyond the archive, offering an enduring testament to one of contemporary music's most revered collaborations.


Carsten Nicolai writes:
"A heavy breath can be heard in the recordings. Yet this work is not about remembrance but continuation, vitality, curiosity, and the spirit of experimentation that shaped an artistic relationship over decades.
The twelve pieces we exchanged in November and December 2022 possess extraordinary density: sounds expanded, altered, recontextualized. Initially, every intervention felt almost inappropriate. Yet this was part of our openness and trust: adding, shifting and radically yet softly transforming.
Even in these final exchanges, plans for future projects continued to take shape, mindful of finite yet firmly believing in the power of new ideas. We chose the name Conversations, which has become a space of memory and vision, where past, present and future intertwine.
For a long time, releasing this music seemed impossible. The loss felt too sudden, and the emotional connection too profound. As time passed, it became clear that these twelve musical encounters should have life outside the archive. To honor Ryuichi's wish, these pieces are now being released as the continuation of a dialogue that extends beyond the physical."

The first single, Conversation 3, will be released on Tuesday, July 14, 2026. The second single, Conversation 6, will be be released on Wednesday, August 26, 2026.
12 Conversations will be available worldwide on vinyl, CD and digitally. A Japanese edition will be available on Ryuichi Sakamoto's commons.

Die in Austin ansässigen Lieblinge der experimentellen Indie-Rock-Szene, Font, haben ihr zweites Album über einen Zeitraum von zwei Jahren geschrieben. Nach ihrem Debüt ,Strange Burden" (2024) wollte die Band ihren Ansatz beim Songwriting neu ausrichten. Der Sound, der Lob von Pitchfork, Rolling Stone und anderen musikkritischen Medien erhielt, kam ihnen allmählich weniger originell vor. Viele der Songs auf diesem neuen Album entstanden aus Aufnahmen von Improvisationssessions im Studio ,Dutch Interiors" ihrer Freunde in Long Beach, Kalifornien, wo sie im Sommer 2025 drei Wochen lang komponierten. Nachdem es der Band gelungen war, aus den durch das erste Album geschaffenen Mustern auszubrechen, fanden sie die Grundzüge dessen, was schließlich zu ,American Bully XL" wurde. ,Wir ließen uns von vielen der gleichen Fragen leiten, die schon unser erstes Album geprägt hatten, zum Beispiel: Wo endet das Akustische und wo beginnt das Elektronische? Wie ist das Verhältnis zwischen Dunkelheit und Licht, Verzweiflung und Euphorie, dem Selbst und dem Anderen?" Obwohl all das für die Band von grundlegender Bedeutung ist, ist ,American Bully XL" das Ergebnis davon, dass die Band diese Fragen von der Live-Bühne ins Studio mitgenommen hat, wo sie lernten, die Musik für noch mehr Fragen zu öffnen: Was ist ein Song? Was ist Texas? Was ist ein Instrument? Was bedeutet es, ein Mann zu sein? Was ist eine Aufnahme? Wie kannst du das nur?

Revelling in adventurous, malleable synthesis and a strong melodic instinct, long-standing techno heavyweight Oscar Mulero brings his Trolley Route alias to Dekmantel. Across four rush-inducing cuts of studio exploration the Spanish veteran showcases a lighter side to his muse without sacrificing maximal dancefloor impact.

Oscar Mulero first debuted Trolley Route back in the early 00s through albums and EPs for Pure Plastic, Minuendo and others, offering a more playful strain of machine music to contrast with the steely output under his own name. Embracing dub textures and Detroit-coded synth leads, the recently-revived alias has become a haven for the looser styles that spill out of his studio. It just so happens these outliers are as crucial as any of Mulero's primary club smashers.

From the swampy chord sequence that dominates 'New Visual Order' to the meaty sub-bass and delay-soaked synth sweeps of 'Relativity Of The Vision', the whole EP is spilling over with madcap charm and a casual boss-level quality that can only come from a true legend letting their hair down.

This album features most of The Searchers’ early hits, along with a selection of album cuts and B-sides—which really come to life in these live recordings. The standout tracks are the ones they never recorded in the studio. What’d I Say was previously released from their 1963 Hamburg Star-Club recordings, but this live version captures even more energy. The album also features radio performances that were never studio recordings, including Memphis, Tennessee, Red Sails In The Sunset, and Let The Four Winds Blow. So, put this record on, sit back and relive the heyday of one of the UK’s finest and most enduring bands: Ladies and Gentlemen, I give you The Searchers!
Sleeve notes by Peter Checksfield

What does it mean to actually experience another City, one of such historical and cultural'd'asignificance as Detroit, A city that truly expands the capacity of Human love and resilience. Just to be there…?'d'aWhat sound do the birds make?…? What colour are the buses ? …?. What sounds do we hear in the streets'd'a?…? It's like one step beyond just experiencing a place but truly absorbing it as if it becomes a little piece of'd'aus. That's the only way you really get to understand the groove, the little everyday things that make the'd'apeople tick, their daily grievances and small moments of collective joy culminating over lifetimes. That is'd'awhere you get to the essence, the secret sauce and Lord knows this City is oozing with it.'d'aIn July 2025 Ziggy undertook a 6 week residency in the motor city with no concrete plan other than getting to'd'athe roots of a deeply layered and rich musical culture. One that has been a guiding light for many of us..'d'aWhether you are coming from the generation of Motown through the 1st generation of techno to hip hop'd'arevolutionaries, the city has left an undeniable mark on the history of American Music.'d'aAfter meeting at a weeknight vinyl session at a downtown bar, Ziggy and Malik realised they already knew'd'aeach other's work and immediately made plans to hook up in the studio. Malik being a Lifelong Detroiter with'd'aa background as a Gospel keyboardist and Singer turned House dancer, producer and DJ it was no wonder'd'ahe was a perfect addition to the Label Roster. To accommodate the sessions local turntablist and producer'd'aDJ Moppy kindly offered up his home studio and we shared many great records and vegan hot dogs in his'd'aleafy backyard.The music is primarily inspired by the enduring and charismatic folks we encountered in the city, their stories'd'aand personalities live on through the continued Musical Legacy of the city.'d'aSpecial thanks to Mike Banks, Cornelius, Crystal, John '?Jammin'? Collins (R.I.P) Rick Wilhite, Wajeed and all'd'aof the Underground Resistance family who hosted us. DJ Moppy, Meftah, Badriyyah, Raj Mahal all in the'd'abuilding!'d'aGospel and jazzy infused electro-funk and deep-house, a collaboration between one of Detroit'?s'd'aunderground dons Malik Alston and Ziggy Zeitgeist of EXREC. The result of a six week pilgrimage to Detroit'd'ain 2025, Zeitgeist set up shop in DJ Moppy'?s living room and the results are deep, dark and funky'd'a'd'a.

RADYO BOMBERO - ABOUT THE LABEL
Radyo Bombero is the record label founded by acclaimed filmmaker, author, DJ and record collector Fatih Akin. Born out of his personal passion for vinyl and film music, the label will initially focus on soundtracks from his films: previously unavailable works will be released on vinyl for the first time, while out-of-print titles will return as carefully produced reissues. Its inaugural release is the soundtrack to Akin's new film Geister, scheduled for release in November 2026. Further projects are already in development.

ABOUT THE RELEASE

MALAKOFF KOWALSKI - GEISTER
ORIGINAL MOTION PICTURE SOUNDTRACK
Composed by Malakoff Kowalski, the soundtrack to Fatih Akin's Geister is the inaugural release on Radyo Bombero.
Born in the United States, raised in Hamburg and now based in Berlin, Kowalski is a composer, pianist and multi-instrumentalist whose work moves between film music, contemporary classical composition, theatre and pop. He composed the music for eleven films by Klaus Lemke, as well as for productions including Schweigend steht der Wald and Stasikomödie. His solo work has been released by MPS and Sony Classical, and he has collaborated with artists including 2raumwohnung, Igor Levit, Chilly Gonzales and Nils Frahm. His sound combines elegiac melodies with a warm, cinematic atmosphere and a subtle sense of unrest beneath the surface.

For Geister, this distinctive musical language meets Fatih Akin's vision of a deliberately anachronistic and romantic score: a tribute to Ennio Morricone's great love themes that plays a defining role in the film's tragic love story and atmosphere.
LP 1 contains Kowalski's complete original film score.
LP by JUGGLERZ opens up a second musical world, bringing together four productions by the internationally successful Jugglerz on a four-track 12-inch disc at 45 RPM: the film's title song Ya Mami, performed by Aya Samra; Mood by Cloudee, Milaa and Jugglerz; Tip by Jugglerz, Limitlezz, Maureen and Demarco; and Beirut Nights Riddim. The four tracks bring Arabic tarab and contemporary Levantine pop together with hip-hop, urban beats and dancehall rhythms.

FATIH AKIN ON RADYO BOMBERO
"Radyo Bombero is on the air. Don't miss a tune!
"
Music is - alongside cinema and literature - a fundamental source of inspiration for me. Having grown up in the 1980s, the way I listen to music has hardly changed: I buy records, listen to them carefully and then copy them onto a portable device. It used to be a Walkman, then an iPod - today it is my smartphone with my playlists.
I do not use Spotify or any other streaming services. Why that is, I do not know. In most other areas, I try to keep up with technological developments. Not with music. I like unpacking a record, cleaning it before listening, holding the sleeve in my hands and reading who worked in the studio, who wrote the music and where the record was made. These things interest me. And they lower my cortisol levels.
Music plays a major role in my films. It is not that, as a director, I want to impose my favourite music on the audience. The music must always serve the story. In Head-On, for example, it tells us something about the characters and their biographies. Crossing the Bridge - The Sound of Istanbul is the musical portrait of a city. Its music tells us about the people who live there: where they come from, the cultures they brought with them and how those cultures have merged with local traditions. The Cut was conceived as a Western, and the music had to help reinforce that idea.
Geister tells a tragic love story. The music was meant to be gloriously anachronistic. And romantic. Just like the light and colours, it had to shape the atmosphere of the film. My films are often about cinema itself, and Geister is no exception. Its music is a tribute to Ennio Morricone's great love themes.
In Malakoff Kowalski, I found the perfect creative partner. He immediately understood my idea and realised it brilliantly. That made it all the more painful when I was told by the music industry that there could be no soundtrack release for Geister because soundtracks were too expensive to produce and would simply sit on the shelves.
It is not as though I am a spoiled child who absolutely has to have a lollipop. But this music is simply too good to withhold from the audience. The idea that there would be no soundtrack release felt like a great injustice.
Then several friends and collaborators advised me to release the record myself. No sooner said than done. But Radyo Bombero is not a one-off project. Geister is only the beginning.

Finally, I have the opportunity to gradually release all the soundtracks from my films that have remained unavailable. Soundtracks that were previously released but have since gone out of print will also return as reissues.
Hainbach's soundtrack to Amrum is already in development, as is a double album featuring the unforgettable German pop songs from The Golden Glove. And, finally, a vinyl soundtrack to Head-On.
Fatih Akin

DJ Support: Danny Krivit, Dj Spen, Tony Humphries, Simon Dunmore, John Morales, Dr Packer, Cj Mckintosh, Kevin Yost, Groovy P, Hector Romero, Souldynamic,

Micky More & Andy Tee are back on wax with Analog Dreams, an exceptional 4-track EP that bridges the gap between classic club heritage and modern dancefloor sophisticated heat. Far from a simple collection of loops, this release delivers four fully realized, 100% original compositions crafted alongside top-tier collaborators.

The title Analog Dreams says it all. In a digital world dominated by sterile, point-and-click production, this EP feels like a vivid, living dream for vinyl purists. It is a sonic love letter to the warmth, depth, and texture that only real studio hardware, live instrumentation, and analog mixing can provide.

In the realm of Swedish melodic rock from Skövde, few bands command the attention and admiration quite like NIVA. With their signature blend of soaring melodies, powerhouse vocals, and infectious hooks, the band has established themselves as a force to be reckoned. Now, with the release of their highly anticipated 7th full-length album ""Stratospheric,"" NIVA once again proves why they are considered among the elite in the genre.
From the opening chords of the title track, it's clear that ""Stratospheric"" is an album that aims for the stars and reaches new heights of sonic excellence. Led by the Swedish powerhouse vocals of frontman Tony Niva, the album is a tour de force of melodic rock anthems that resonate with passion, energy, and raw emotion.
Throughout ""Stratospheric"" NIVA demonstrates their mastery of the melodic rock genre, effortlessly blending elements of classic rock, melodic rock, and AOR to create a Nordic sound that is uniquely their own. With its larger-than-life production and infectious energy, the album is a testament to the band's evolution and growth as artists, while also paying homage to the rich legacy of melodic rock and AOR that has inspired them along the way.
For fans of NIVA and lovers of melodic rock alike, ""Stratospheric"" is a must-listen experience that promises to transport listeners to new heights of musical ecstasy. With its unforgettable hooks, powerhouse vocals, and electrifying performances, the album is a fitting tribute to the band's enduring legacy and a testament to their status as one of Sweden's most beloved rock acts. So, strap in, turn up the volume, and get ready to embark on a journey to the stars with NIVA's new upcoming release ""Stratospheric"".

- Seventh studio album by the Swedish Melodic Rock group
- Feat. members of Master Massive, Lion’s Share, Wolf, Starchaser
- Produced by Tony Niva & Jan Strandh; mixed & mastered by Thomas Plec Johansson.

For fans of: Niva, Lion’s Share, Treat, Imperium, Eclipse

California’s beloved Brainstory returns with a new EP celebrating the end of an era. Shoebox Days is an homage to the time spent and the recordings made at their now defunct Long Beach studio, aptly named Shoebox. As the name suggests, the space was tiny and stuffed with gear. While charming, it was riddled with constraints. But, as has been proven time and time again, great art often comes from difficult circumstances, and this new 7 song EP is further proof. The first track, “The Watchers,” opens with an earworm horn melody that immediately pulls you in. The crunchy drums and G Funk bass tones put a bop on it, lush orchestration weaves in and out and sets a mellow vibe. “Blend,” one of only two vocal tracks on the EP, is a California sunshine soaked love song walking the lines of psych rock ballad and B side soul. ”Twin Kitchen” leans you right back into your seat, with Eric Hagstrom’s in-the-pocket drumming carrying the tune.

“Home Alone” is singer Kevin Martin’s ever so relatable tribute to time by himself, time by today’s standards as “disconnected,” but in reality, much more connected… The fellas let some of the jazz background take front stage on “Lone Traveler,” starting out with an air tight groove, and letting loose over it as the track progresses. “Gravity Hill” named after the famed California oddity begins the ending of the EP as Brainstory takes it deep and brings us with them. “Necessary Loss” serves as the closer to this gorgeous journey.

California’s beloved Brainstory returns with a new EP celebrating the end of an era. Shoebox Days is an homage to the time spent and the recordings made at their now defunct Long Beach studio, aptly named Shoebox. As the name suggests, the space was tiny and stuffed with gear. While charming, it was riddled with constraints. But, as has been proven time and time again, great art often comes from difficult circumstances, and this new 7 song EP is further proof. The first track, “The Watchers,” opens with an earworm horn melody that immediately pulls you in.

The crunchy drums and G Funk bass tones put a bop on it, lush orchestration weaves in and out and sets a mellow vibe. “Blend,” one of only two vocal tracks on the EP, is a California sunshine soaked love song walking the lines of psych rock ballad and B side soul. ”Twin Kitchen” leans you right back into your seat, with Eric Hagstrom’s in-the-pocket drumming carrying the tune. “Home Alone” is singer Kevin Martin’s ever so relatable tribute to time by himself, time by today’s standards as “disconnected,” but in reality, much more connected… The fellas let some of the jazz background take front stage on “Lone Traveler,” starting out with an air tight groove, and letting loose over it as the track progresses. “Gravity Hill” named after the famed California oddity begins the ending of the EP as Brainstory takes it deep and brings us with them. “Necessary Loss” serves as the closer to this gorgeous journey.

Trentemøller's new untitled album explodes with the force of a supernova before dissolving into swooning vocals. Across 10 songs, maximalist guitar-noise blowouts collide with some of the most bruising shoegaze you'll hear this year. "The noisy got noisier, the dreamy got dreamier," says Trentemøller. "I was ruthless this time."
Opener "Swerve", recorded with Vienna-based singer Sakura, crashes into searing walls of sound - a stark contrast to 2024's haunting Dreamweaver. The album's radically intuitive energy persists on the anthemic "Visceral" and the industrial fuzz of "Your Love Walks Alone", featuring Sune Rose Wagner of the Raveonettes. "Coyote" deconstructs synths into feedback and brutal guitars, while "To Mist" and "Halved" (featuring Midwife) offer nocturnal respite - nugaze ambience reduced to fractals of fragile beauty. For the first time in Trentemøller's history, vocals appear on every track - contributors include Sakura, German-British singer Anika, Midwife, Tan Cologne, Sune Rose Wagner, Jonas Bjerre of Mew, and Danish singer-songwriter Emma Acs, among others. "I knew early on exactly who I wanted. We never met in the studio; everything was exchanged remotely. I'm pretty shy, and it gave the vocalists the privacy to really open up," he explains. Songwriter, multi-instrumentalist, producer, and mixer - Trentemøller did it all himself. "I don't follow trends or think in algorithms." The reward: playing the album live, start to finish, for the very first time on the upcoming live tour.