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Gold Vinyl Represss

*A MODERN JAZZ REINTERPRETATION OF THE MUSIC FROM THE LEGEND OF ZELDA*

WRWTFWW Records is happy to announce the release of Casimir Liberski ReTRio's The Z Suites, a full-length jazz album reinterpreting the music from iconic Nintendo video game series The Legend of Zelda. The epic Z-Jazz journey is available in the following formats: limited edition 180g half speed mastered vinyl double LP housed in a heavyweight sleeve with obi, digipack CD with cavalier, and digital.

Casimir Liberski reimagines the golden era of video game soundtracks with jazz versions of Zelda favorites The Legend of Zelda (1986), A Link to the Past (1991), Link's Awakening (1993), and Oscarina of Time (1998) - plus a few Easter eggs! Dancing between nostalgia and avant-garde, the Brussels-born pianist and composer crafts a sonic world of pixelated folklore where melody and improvisation coexist in harmony.

Music critic Arthur Meurant perfectly explains:

For many video games are a journey of the mind. Since its inception - dating back to the early seventies - this avant-garde artistic medium has nourished the imaginations of a digital age. Casimir, like many others, has been fed a steady diet of pixels from an early age. From simple squares to cultural cornerstones they have become the trail on which playful travelers of the mind retrace the steppes of history. A shared universe, familiar yet endless, of pocket-sized mythology. Its name? Hyrule. Its goal? To amaze. In these few tracks - selected with care - the Casimir Liberski ReTRio invites you, finally, to visit a space which does not exist yet holds us all. A land where all feel welcome. Where all are happy. But also... to rediscover under another timbre the classical compositions of Master Composer K?ji Kond?. A man who, unbeknownst to him, composed our dreams as well as music. That single noble pursuit, where an artist gives soul without losing his own, is yet again a statement of humanity in its purest of forms: art as that which brings us together and makes us whole in a world eroded by modernity. Pick up your key. Gather your maps. Open the door. Adventure calls.

Long live Hyrule jazz!

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

Josh da Costa's "New Wave Graveyard" ist ein Solo-Debüt, das die Vielfalt der Underground-Musik feiert und sich dabei eine eigene Nische schafft. Nach anderthalb Jahrzehnten in Bands wie dem Synthpop-Duo CMON (Mexican Summer) und den New Yorker DIY-Legenden Regal Degal (Terrible Records), veröffentlicht Josh da Costa endlich sein Solo-Debüt. Der erfahrene Kollaborations- und Tourmusiker spielte bereits mit Künstlern wie Drugdealer, Jessica Pratt, MGMT, Chris Cohen und vielen anderen. Über fünf Jahre entstand "New Wave Graveyard", das weit mehr als nur das im Titel erwähnte Genre der späten 70er/frühen 80er Jahre umfasst - von Flying-Nun-Compilations über den Glam-Rock von Sparks und Japan, Art-Pop von Prince und Yoko Ono bis hin zu Power-Pop, Electro, Britpop und Shoegaze - allesamt aus da Costas umfangreicher Plattensammlung. "New Wave Graveyard" mag zwar vom Genre der 70er und 80er Jahre inspiriert sein, das dem Album seinen Namen gibt, doch ist die/der New Wave nur eine(r) von vielen musikalischen Einflüssen von Josh da Costa. Das Album ist ein wunderschöner Mix aus Stilen und Ideen, von Glam bis Shoegaze, allesamt geprägt von Joshs vielseitigem Geschmack. Mit geistreichen Texten und einer Fülle eingängiger Songs ist es ein mitreißendes Statement eines vielversprechenden neuen Künstlers, ein komplettes Soloalbum, für das da Costa alle Songs und Texte selbst geschrieben, nahezu alle Instrumente gespielt und das Album selbst gemischt hat. Gemastert wurde es von Heba Kadry (Björk, Panda Bear, Blood Orange), das Albumcover stammt von Robert Beatty (dem legendären Künstler hinter den Plattencovern von Tame Impala, The Weeknd, Mdou Moctar, Oneohtrix Point Never und vielen mehr). Die klassische schwarze Vinyl-LP enthält ein farbiges Booklet mit den Songtexten.

FLO are leading the modern revival of the British girl group — and doing so at a scale not seen in over two decades. With over half a billion global streams, the trio have delivered the highest-selling tour by a British girl group in more than 20 years, becoming the first since the Spice Girls to reach that milestone. They are also the first British girl group to receive a Grammy nomination in two decades, alongside three MOBO nominations in 2026, cementing their status as both a commercial and cultural force. Rather than simply revisiting the past, FLO are reshaping the possibilities for what a contemporary girl group can be.

Comprised of Renée Downer, Stella Quaresma and Jorja Douglas, FLO’s story is one of intention, craft and deep-rooted connection. The trio had long been aware of one another through theatre school circles, social media and shared creative worlds before coming together as a group in 2019. That early familiarity quickly grew into a sisterhood, shaped behind the scenes through years of studio work, vocal development and trust. Raised by strong single mothers and immersed in performance from a young age, each member brings resilience, emotional intelligence and discipline into the group — qualities that underpin both their sound and their dynamic.

Individually, FLO’s balance comes from contrast. Renée is the group’s compass: composed, business-minded and creatively precise, grounding the trio with clarity and vision. Stella is the spark and the glue — sociable, emotionally intuitive and collaborative — shaped by a childhood between England and Mozambique where music was communal, expressive and felt. Jorja is the fire: outspoken, instinctive and vocally commanding, with a natural ear for harmony and arrangement. Their roles shift and evolve, but together they form a unit built on mutual respect, honesty and shared authorship.

That chemistry is central to FLO’s music. Drawing from classic R&B and soul while pushing it forward through modern production, their sound centres vocal harmony, emotional nuance and storytelling that reflects the realities of young womanhood. FLO reject the idea that strength requires emotional distance; instead, they explore power through vulnerability, confidence and control. From independence and self-worth to intimacy and desire, their writing is direct and unapologetically theirs. As Jorja puts it, FLO are “the brains, the heart and the soul” behind everything they do.

The success of their debut album marked a defining moment — not only for FLO, but for British pop more broadly. It confirmed the appetite for harmony-led, female-fronted groups operating with creative agency, and propelled FLO onto global stages, from sold-out headline tours to major festivals and international television. Along the way they have earned respect from R&B legends and peers alike, performing during Grammy Week for icons including Mariah Carey, Brandy and Chaka Khan, and showcasing their vocal chemistry on NPR’s Tiny Desk — a moment that further underlined the trio’s technical precision and emotional depth.

With their next chapter, Therapy At The Club, FLO expand this emotional honesty into a fully realised creative universe. The concept reimagines the club not just as a place of nightlife, but as a site of release, confession and self-possession — encompassing the moments before, during and after the night out. From mirror affirmations and pre-game chaos, to late-night Uber conversations, dance-floor catharsis and the clarity of the morning after, Therapy At The Club captures how women process desire, heartbreak, confidence and healing in real time, together. It is both fantasy and reality: cinematic, fashion-led and emotionally raw, grounded in sisterhood as a form of survival.

Sonically, the new music leans into dark, euphoric R&B and pop with sharper edges, built on vocal mastery and diaristic storytelling. Lead single “Leak It” sets the tone for the era — playful, charged and unapologetically self-aware — exploring what happens when desire spills over, secrets surface and control is reclaimed. Across the new songs, FLO move fluidly between intimacy and euphoria, turning the club into a space where vulnerability is power and feeling everything is the point.

As a trio built on discipline, joy and deep creative trust, FLO represent a new model for the British girl group: one rooted in authorship, harmony and cultural impact. Balancing softness with strength and ambition with authenticity, they are shaping the future of R&B and pop on their own terms. FLO are not looking backwards — they are setting the standard for what comes next.

Mit seinem GRAMMY-Gewinn 2021 für seine Zusammenarbeit mit Esperanza Spalding hat sich der Komponist, Sänger und Multi-Instrumentalist Corey King still und leise zu einer der vielseitigsten Stimmen der zeitgenössischen Musik entwickelt. Seine Karriere umfasst Kooperationen mit so unterschiedlichen Künstlern wie Milton Nascimento, Gil Scott-Heron, Bonobo, DJ Premier und Iggy Pop und prägt einen Sound, der fließend zwischen Jazz, Soul, experimentellem Songwriting und filmischer Komposition wechselt. Auf ,Change the Wind" bündelt King diese Bandbreite zu einem fokussierten, zutiefst persönlichen Statement. Das Album, das in Jahren des Umbruchs und des Wandels entstanden ist, schafft einen Ausgleich zwischen Intimität und Weite und bewegt sich zwischen stiller Reflexion und ausladenden Arrangements mit voller Bandbesetzung. Themen wie Resilienz, Klarheit, und emotionale Neuausrichtung ziehen sich durch das gesamte Werk und verleihen der Platte einen Zusammenhalt, der sich eher gelebt als konzeptionell anfühlt. Im Kern steht ein tiefes Gefühl von Hingabe und Verletzlichkeit, das am deutlichsten in ,R.M.K." zu spüren ist, einem strahlenden Stück, das von der Geburt von Kings Tochter inspiriert wurde. Ohne sich in narrativen Details zu verlieren, verankert der Song das Album emotional und gibt den Ton für ein Werk vor, das sich mit Fürsorge, Verantwortung und der Zerbrechlichkeit von Verbindungen beschäftigt. An anderer Stelle erkundet King Liebe, Zweifel und persönliches Wachstum mit einer leichten, aber beständigen Hand, wobei sie Stimmung und Bewegung gegenüber explizitem Storytelling den Vorzug gibt. Musikalisch ist ,Change the Wind" reichhaltig, ohne schwerfällig zu wirken. Warmes Klavier, mehrstimmiger Gesang und kammermusikalische Bläserarrangements werden durchbrochen von Broken-Beat-Rhythmen und subtilen elektronischen Texturen. Manchmal neigt sich das Album zu Groove und Vorwärtsdrang, mit von Afrobeat geprägten Passagen und dynamischen Bläsersätzen, während es sich an anderer Stelle in spärliche, intime Räume zurückzieht. Beiträge von engen Mitwirkenden, darunter Spalding und der Trompeter Takuya Kuroda, verleihen dem Album Tiefe, ohne dessen zusammenhängendes Gefühl zu überwältigen. Anstatt einzelne Titel in den Vordergrund zu stellen, offenbart sich ,Change the Wind" als ein ganzheitliches Hörerlebnis, das sich allmählich entfaltet und mit der Zeit belohnt. Es ist ein Album über stetige Verwandlung, darüber, Klarheit in der Bewegung zu finden, und darüber, inmitten ständiger Veränderung an etwas Menschlichem festzuhalten.

Following the success of Under Tangled Silence last year which peaked at number one in the Dance Albums charts and peaked at 9 on the Albums Chart staying in for 21 weeks, DjRUM returns to Houndstooth with a 15 minute continuous EP pressed to side A and a custom etched picture disk on Side B.

Felix (DjRUM) was a child prodigy as an instrumentalist and his advanced musicality has always been prominent in his music, but here he has put himself front and centre as a composer. And this sense of exposure as a performer interweaves with an unflinching emotional openness too. Where sometimes electronic production as advanced as this can use intellect and techniques as shields from soul-baring, this is the sound of someone who can boldly say “I feel things, I cry all the time, and I'm not afraid to say it or show it in the music.” But this doesn’t mean there’s a move away from the soundsystems and dancefloors where Felix made his name as a uniquely innovative vinyl DJ, this EP encapsulates his musical upbringing weaving in percussive elements across the stereo field to create a truly mesmerising listening experience.

In ein paar Jahren kann viel passieren. Für Jarred Beeler von DJ Plead bedeutet das, ein ganz neues Album aufzunehmen, es dann wegzuwerfen und schließlich etwas völlig Anderes zu veröffentlichen. ,Please" wurde zusammengestellt aus einem Ordner mit 120 Demos und Skizzen, die zwischen 2023 und 2025 entstanden sind, und präsentiert die unverwechselbare musikalische Palette des libanesisch-australischen Produzenten, die Techno, House und Dub aus dem Club mit den Dabke-, Mijwiz- und Shaabi-Klängen eines levantinischen Tanzkreises verbindet. ,Please" folgt auf ,Relentless Trills" aus dem Jahr 2020. Veröffentlicht als Teil von Boomkats ,Documenting Sound"-Reihe war diese Veröffentlichung eine Offenbarung, die über die hochintensiven Hard-Drum-Kracher hinausging, die über Livity Sound, Nervous Horizon und sein eigenes Label Sumac erschienen waren, hin zu einem eher ambienten Ausbruch seiner markanten Percussion und gewundenen Maqam-Melodien. ,Please" ist ein noch intimeres Werk, dessen Cover eine Nahaufnahme von Beeler zeigt , der in der einen Hand eine Tasse Kaffee hält, in der anderen seine Habseligkeiten. Handy, Schlüssel, Tabletten, Tiger Balm. Es ist eine zutiefst persönliche Darstellung des Alltags, die die gemächliche emotionale Resonanz der Trackliste des Albums widerspiegelt. Ein melancholischer Ambient folgt auf das verzierte Dahintuckern von ,Seven Eight, Too Late", das von Downtempo-Atmosphären heimgesucht wird. Das sanft groovende Klavier, die Gitarre und der Bass des Abschlussstücks ,Traffic" verschmelzen mit dem organischen Nachhall und Verklingen von Raum und Zeit. ,Ich fühle mich nicht ganz wohl dabei, diese Tracks zu veröffentlichen. Ich fühle mich verletzlich", sagt Beeler, der Smalltown Supersound-Labelchef Joakim Haugland als entscheidend für die Verwirklichung von ,Please" würdigt. ,Ich bezweifle, dass diese Demos jemals von jemandem gehört worden wären, wenn er sie nicht aus dem Ordner geholt hätte." Aber haben wir nicht Glück, dass er es getan hat? Die schwülen Keyboard-Improvisationen des Albums bei Höhepunkten wie ,Right On Time", ,Pa700" und ,Open Era" sind eingebettet in eine Mischung aus schwankenden Found Sounds und mikrotonalen Läufen. ,Bei einigen Songs spiele ich auch einfach nur Keyboard über einem Loop, den ich erstellt habe. Da gibt es nicht viel Produktion oder Glanz, hinter dem man sich verstecken könnte", erklärt Beeler. ,Gerade diese Tracks wirken ziemlich roh." Diese behutsamen Schritte außerhalb von Beelers ästhetischer Komfortzone aus Kontrolle und Funktion hin zu ungefilterter Offenheit erzeugen eine spannende Spannung. ,Please" nähert sich gekonnt jenem schwer fassbaren Punkt zwischen Distanziertheit und Sentimentalität, wo das Alltägliche, das Spezifische und das leicht Absurde auf das Tief empfundene und aufrichtig Bewegende treffen.

Skyjack — the borderless five piece band spread across South Africa and Switzerland — announce their fourth studio album, Let The Sky Open Under Your Feet, out 3rd July.

Recorded in December 2025 at a secluded studio outside Stellenbosch, South Africa, the album captures the vibrant live energy of the band at its most expansive — drawing together free improvisation, South African jazz traditions, chamber music, kinetic groove, and ecstatic collective interplay into a singular body of work.

“This record is a very articulate representation of our sound, having grown deep roots into the earth with high branches reaching upward and outward”, says bassist Shane Cooper. “My desire is always to create sonic universes that can envelope the listener.”

The album’s title comes from a line in a poem by the 13th-century Persian poet Rumi, reflecting the music’s balance between groundedness and transcendence. Here, Skyjack move fluidly between meditative improvisation and lush orchestration across twelve tracks of free-spirited, cosmic journeying. Inspired both by the cultural traditions and natural environments of South Africa, Let The Sky Open Under Your Feet is a testament to the band’s intuitive connection and innate musical curiosity.

It arrives just over a year after Light Cycle (2024), a short gap that reflects the momentum built on tour. After exchanging sketches remotely across two continents, the band reunited in Johannesburg in late 2025, workshopped the new material onstage across South Africa, and then headed directly into the studio, where much of the album was recorded live in first takes — preserving the looseness and unpredictability central to Skyjack’s sound.

Comprised of Kyle Shepherd (piano), Shane Cooper (bass), Jonno Sweetman (drums), Andreas Tschopp (trombone), and Marc Stucki (saxophones), Skyjack first formed in Cape Town in 2013 during a fertile moment in South African jazz, as a new generation of musicians pushed against rigid genre definitions and opened the music outward toward broader sonic possibilities. Over the past decade, the band has built a singular sound drawing equally on South African groove traditions and European improvisation.

Individually, the members move between jazz, electronic music, film scoring, rock, hip-hop and experimental composition, with collaborations spanning artists including William Parker, Lionel Loueke, Zim Ngqawana, Ben LaMar Gay, Jorge Rossy, Shabaka Hutchings, William Kentridge, Makaya McCraven and Sylvie Courvoisier.

Since their self-titled debut in 2015, followed by The Hunter (2019) and Light Cycle (2024), the group has developed a reputation for immersive live performances and music that continuously reshapes itself in motion — rooted in what they describe as “warm menacing African grooves,” while refusing fixed stylistic borders.

Ancient Infinity Orchestra return with their third album, It’s Always About Liberation, a new record that deepens the vision of their acclaimed recent work while moving into darker, more searching emotional territory.

Conceived as a partner to It’s Always About Love, this new body of work shares its predecessor’s generosity and spiritual openness, but carries a different charge. Where the previous album focused on healing and warmth, It’s Always About Liberation is largely animated by struggle, perseverance and the desire for transformation while still offering a path to betterment. It is music made in full awareness of a fractured world, yet unwilling to surrender to it.

Like It’s Always About Love the album title draws inspiration from words spoken by Moor Mother during their 2024 We Out Here festival performance that deeply affected bandleader Ozzy Moysey: “It’s always about love / It’s always about liberation.” Those twin ideas became a framework for the two albums Ancient Infinity Orchestra were creating. If one album explored love as repair, this one explores liberation as movement, continually striving toward freedom, clarity and deeper connection.
The 16-member ensemble is led by double bassist and composer Ozzy, with a distinctive line-up that explains their sound better than any artificial genre divisions: two double basses, harp, saxophones, clarinets, violin, viola, cello, oboe, flutes, mandolin, congas, piano, drum kit, with bells, shakers and other percussion instruments scattered on the floor of live sets and recording sessions, ready for members to use whenever the spirit takes them.

This orchestration, and the overlap between membership and friendship, gives Ancient Infinity Orchestra a sound that is at once expansive and intimate, earthy, and cosmic, constantly shifting yet grounded in shared intention. The attention to intention and the inviting sonic world connects the music to artists ranging from Alabaster dePlume to Gondwana label boss Matthew Halsall.
Gradually, the Orchestra became a grounding force in the emerging jazz scene in Leeds, bringing together individuals from different musical backgrounds co-founding the Café Oto-inspired Limpet Club or co-hosting the monthly Sonic Plunge (‘a platform for adventurous experimentation’) and co-founding the Leeds Improvisers Orchestra. Additionally, the ensemble acted as a bridge between musicians in Brighton and Leeds, after Ozzy spent a stint back on the south coast between 2020 and 2022.

Their debut, River of Light, was a vibrant celebration of togetherness recorded in three days and released on Gondwana in 2023. A Maida Vale session for Jamie Cullum’s BBC Radio 2 show brought them to a broader audience, as did bookings at North Sea Jazz Festival and Gretchen, Berlin. Since then, Ancient Infinity Orchestra has become a by-word for music that could be framed as ‘spiritual jazz’. Whilst Ozzy avoids the phrase when describing his music, he’s crystal clear that his heroes are associated with those words – citing Art Ensemble of Chicago, Pharoah Saunders, Coltrane (Alice and John), and Don Cherry as major influences.

Across trance-like meditations, rising grooves, moments of grief and collective uplift, It’s Always About Liberation speaks to the battle within the mind as much as the inequalities of the wider world. It acknowledges the darkness but lets connection and creativity have the last word Ancient Infinity Orchestra is a gathering of voices, traditions, and energies converging into something timeless. Their music is a journey inward and outward, always reaching toward the universal.

Younger Brother Live, with Shpongle and The Orb at Troxy, London 9th May

Twisted Records is thrilled to announce the release of the long-awaited fourth album by Younger Brother: Mutually Assured Distraction.
The first full-length release by the fabled electronica project in a decade features nine sumptuous tracks that each embody the project’s intoxicating fusion of profoundly human sonorities and etheric electronic soundscapes.

The title is a subversive reframing of the Cold War doctrine “Mutually Assured Destruction,” pointing to a world currently frozen not by the geopolitical threat of a Nuclear Winter but by a Digital Summer of mindless overstimulation. Mutually Assured Distraction is a sonic salve for the pervasive numbness induced by an emotionally disconnective artificiality that seeks to pacify with counterfeit happiness; the album offers an antidote to mundane superficiality with nine musical masterpieces that convey the depth of human experience and authentic creative expression.

The progression of track titles symbolically represents the arc of this soulful journey through an evocative auditory landscape of moods, harmonies, and textures, progressing from the haunting opening “I Belong to Nowhere” to the penultimate “Home In This World” before arriving at the concluding “Endless Drift.”

The synthesised musical mastery of renegade musicians Simon Posford and Benji Vaughan is complemented by the contributions of some supremely skilful musicians, with beguiling vocals by MiraBelle Rose and Jay Marsh and the rich cello of Rena Jones. With poignant lyrics that speak to the universal human condition in a world where voices are amplified yet so many feel unheard,
Mutually Assured Distraction provides, through its fusion of electronic and real-world music- making, an example of how technology can pair harmoniously with our humanity - an energetic homecoming as the music draws us away from the unconscious scroll into an open field where we can embody our essential nature.

The album stands as both a reflection of our times and a timeless reminder that beneath the noise, a deeper presence continually exists, waiting to be felt, heard, and expressed.

After two co-headlining tours over the past decade, (the) Melvins are continuing their long tradition with us of teaming up with another band on an album. Next up – Napalm Death! This isn’t just some split release with the bands each getting a side. Savage Imperial Death March is a full collaboration with both Melvins & Napalm Death playing together on all the tracks.


This release originally came out on super-limited CD and vinyl via AmRep in 2025 (tour and AmRep store only). This will be an extended version with 2 extra songs, brand new artwork from Mackie Osborne, new vinyl variants, and will be the official release for the first time at record stores, DSPs and more.


Napalm Death are credited as pioneers of the grindcore genre by incorporating elements of crust punk and death metal. Even after exerting an indelible influence on the entire world of heavy music for nearly 40 years, there is still no band on Earth that sounds like Napalm Death. Not just pioneers, but an enduring benchmark for invention and fearlessness in heavy and experimental music of all kinds, the Birmingham legends are still hurtling forward at full pelt.


The Melvins are one of modern music’s most influential bands. Having formed in 1983, the group — founded by vocalist/guitarist Buzz Osborne, with drummer Dale Crover joining a year later — has been credited with merging the worlds of punk rock and heavy music, forming a new subgenre all their own. Over their 40-plus-year career, they’ve released more than 30 original albums, numerous live records, and far too many to count singles and rarities.

Dungeon Meat and SlapFunk sit right at the vanguard when it comes to house music that truly kicks. It's deep but driving and never too much of a slave to tradition. This is a second collaborative outing that welcomes emerging producers to submit tunes for the chance to feature. Khun goes first with 'Prince,' a delightfully well-swung sound with subtle synth tones and room for the atmosphere to land. Nay Barr's 'Kidnapped' is a more hunched over slammer with a firmer groove, while Patrizio Scope's 'Terdiek8' gets more loose with squirming FX and liquid bass. Yugwan's 'Fungeondunk' is a razor-sharp garage, tech and house fusion to get the floor sweating.

HAVEN co-founder Keepsakes is finally back on his own imprint with 5 fresh originals filled to the brim with warped alien sound design, driving and grooving drum rhythms, and acerbic track titles fresh out of a twisted after-hours chat. Following on from releases in recent years on KAOS/OAKS, Turbo Recordings, Perc Trax, and Boys Noize Records, this latest EP maintains his signature toughness alongside his fun and quirky sound choices while taking his sound further in to jacking and groovy territory.

The EP launches with 'Vocoding Your Nan Out Of Existence' on the A1 - full of growling and tortured alien vocoder melodic experimentation combined with driving funky drum work and organic atmospherics, this slab of freaky techno weight is aimed directly at the most debauched of dance-floors. 'Get To Know It In The Flesh' follows up on the A2 with rolling, grooving rhythms and dramatic string stabs alongside outlandish synth melodies, looping vocals and eerie creatures lurking in the background.

On the flip 'Ready2BeginWot?' gets things jacking with swinging rhythmic funk and and ear-worm repeating vocal line in a fast house-inspired slammer. 'Hollow And Suited' follows on the B2 with its tribal driving drum work and mutating resonated vocals sitting alongside debased synth melodics for the most haunted club creatures. Finally, 'Corvid House' closes out the record with its swung and grooving drum loops, bird call sound effects, vocal hooks and euphoric pad bliss to finish off another plate of dance-floor degeneracy.

2025 Reissue.



Münchenbuchsee, a suburb of Bern, Switzerland. Stephan Eicher is the youngest of three children. His father, a radio and TV repairman, is also a jazz violinist and a sound tinkerer in his spare time. In the family home's converted fallout shelter turned studio, Mr. Eicher experiments with homemade sequencers, tortures handcrafted drum machines, and abuses reel-to-reel tape recorders—all under the fascinated gaze of young Stephan.

The boy quickly develops a musical curiosity, exploring sound through various experiments and wanderings. Alongside his younger brother Martin, Stephan crafts audio plays on a homemade multi-track recorder (essentially several cassette decks hooked together!), which they write, record, add sound effects to, and perform for family and friends. Just a couple of nice kids, really...

Then comes 1972, and Lou Reed's Transformer album changes everything for the Eicher kids. For 13-year-old Stephan, it's a revelation—especially "Vicious", the opening track, which he plays on repeat for months. He convinces his father to buy him an electric guitar. Not stopping there, his father also builds him a tube amp using an old radio.

Then comes adolescence. A rough one. Stephan leaves home at 16 and moves to Zurich. With obvious artistic talent, he persuades his art teacher to help him get into F+F, a radical, alternative art school—despite his young age. Accepted, he starts learning video techniques, determined to become a filmmaker.

At F+F, Stephan organizes Dada-style happenings and concerts with a group of friends known as the Noise Boys. Among them: one of his teachers on bass, Veit Stauffer on drums (who would later found ReR/Recommended Records), his girlfriend Sacha on vocals, and Stephan on guitar. In one of their early performances, they release a remote-controlled mouse covered in dull razor blades into the audience to create panic and chaos. Keeping with this aggressive, confrontational spirit, they once played a concert while wearing headphones blasting Tristan and Isolde, trying to perform their own songs simultaneously—to maximize the cacophony. The goal was always the same: clear the room.

Their “songs,” if you can call them that, followed suit. Take "Hungeriges Afrika", for instance—performed entirely with power drills and some drum feedback.

To make ends meet, Stephan returns to Bern on weekends to work as a waiter at the Spex Club, the city’s main punk venue. On September 16, 1980, during a show by proto-electro group Starter, the police raid the club and arrest everyone. Stephan, who manages to avoid arrest, seizes the opportunity to “borrow” Starter’s gear left behind. He suddenly finds himself in possession of a Roland Promars synth, a Korg MS20, and a gorgeous CR78 drum machine, which he runs through a Big Muff distortion pedal to get that perfect gritty sound.

He then sets out to reinterpret some Noise Boys tracks, reworking them during impromptu sessions recorded on a dictaphone (yes, a dictaphone—now the lo-fi sound makes more sense, doesn’t it?). He ironically titles the resulting cassette "Stephan Eicher spielt Noise Boys" ("Stephan Eicher plays Noise Boys"). This gem features seven tracks, which are the ones reissued here.

Back in Zurich, he visits his friends Andrew Moore and Robert Vogel, who have a DIY cassette duplication setup. They make 25 copies of Stephan Eicher spielt Noise Boys for Stephan and his friends. Robert encourages him to visit Urs Steiger of Off Course Records and play him the tape.

Without much hope, Stephan shows up at Urs’s office. But Urs is instantly hooked and suggests releasing a 7” single. Due to space constraints, they reluctantly drop two of the seven tracks ("Hungeriges Afrika" and "One Second"). As for the musical score featured on the cover—it was randomly chosen and remains a mystery to this day. Calling all music theory nerds!

The 7-inch is pressed in 750 copies and released in the first week of December 1980—a date Stephan remembers well, as it’s the same week John Lennon was killed. Smartly, Urs sends a promo copy to François Murner, Switzerland’s answer to John Peel, who hosts a show on alternative station Sounds. Murner falls in love with the record and starts giving it airtime. To Stephan’s surprise, sales follow—and people actually seem interested in his music.

Even this modest underground success scares Stephan a bit. He stops making music for a year and moves to Bologna, where he works as a programmer at Radio Città, a feminist radio station.

Meanwhile, Stephan’s younger brother Martin, who’s also involved in the punk scene, joins the band Glueams as a singer and guitarist. Glueams, named after the fanzine run by two of its members (drummer Marco Repetto and bassist GT), eventually rebrands as Grauzone. Stephan is invited to their shows to project hacked Super 8 visuals live on stage.

Urs Steiger, now working on a compilation titled Swiss Wave – The Album, asks Grauzone to contribute alongside bands like Liliput, Jack and the Rippers, The Sick, and Ladyshave (Fall 1980).

For the album, Martin tasks Stephan with producing their recording sessions. Under Stephan's artistic direction, two tracks emerge: "Raum" and "Eisbär". During "Eisbär", Martin plays a minimalist bass line borrowed from post-punk band The Feelies (just an open string). Drummer Marco Repetto struggles to keep time. Later that evening, unhappy with the takes, Stephan builds a four-bar drum loop from a ¼-inch tape and uses it instead of the flawed original. He then adds bleepy synths and wind sounds to complete the track’s icy vibe before handing it over to Urs.

The Swiss Wave – The Album compilation is released quietly at first, but things snowball thanks to "Eisbär", which eventually becomes a smash hit—selling over 600,000 singles.

Meanwhile, Stephan plays in a rockabilly band called SMUV (named after Switzerland’s social security agency) and begins producing artists, including the debut album of Starter (1981), which includes a more pop-oriented version of "Minijupe".

By early 1982, Stephan starts spending time with the post-punk girl band Liliput (formerly Kleenex). They’re older than him, and he happily drives them around in his Renault Major, acting as their roadie.

By 1983, Grauzone—signed to the major label EMI, which turned out to be a misstep—is falling apart. Stephan begins to pivot toward a more mainstream pop sound with his debut solo album Les Chansons Bleues.

But that... is already another story.

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.

It's 5 AM. The golden hour. That moment suspended on the lips of the night that is leaving us. Where the dance still refuses to die as sweat dries, bodies float and minds drift. Some immerse themselves in the dripping surroundings while others emerge or pretend. Outside, nature reclaims its rights. When the moon sets over Kizipolis, the music doesn't stop: it transforms us.

To celebrate our 10th anniversary, the pillars of the label were invited to compose the track they would play at this precise moment. The one that no longer seeks to prove itself, that accompanies the ebb of shadows, connecting the senses to the light.

Kizipolis Vol.1 is the soundtrack to an imaginary but familiar city, a city where raving is a way of life, where music acts as a climate, where at 5am, anything is still possible.

Auf ,Reflections Vol. 3: Water Poems" bringen Félicia Atkinson und Christina Vantzou ihre Freundschaft und ihre atmosphärische Kunstfertigkeit in einem feierlichen Fokus zusammen. Gesprochene Worte und orchestrale Fantasie fließen wie Nebenflüsse in einen einheitlichen Strom und ergeben eine Sammlung traumhafter Lieder und Klanglandschaften, die im Meer, im Himmel und in den Steinen verankert sind. Mit elektroakustischen Instrumenten, Gesang und Umgebungsgeräuschen lädt Water Poems die Zuhörer in einen unbewussten Raum ein, irgendwo zwischen alltäglicher Intimität und dem Geheimnis des Ozeans, aus dem alles Leben entsteht. Atkinson und Vantzou haben sich 2009 kennengelernt und seitdem immer mal wieder zusammengearbeitet, aber ein Konzert 2019 in der Philharmonie in Paris hat dieses Projekt richtig in Gang gebracht. Da beide jetzt an der Küste leben (Félicia am Ärmelkanal, Christina am Mittelmeer), wurde das Meer natürlich zu ihrer Muse. ,Das Meer wurde nicht als monolithische Postkarte betrachtet", erklärt Atkinson, ,sondern eher als eine Person an sich; eine Energie, ein Geheimnis, ein komplexer Charakter, dem wir als Menschen, die am Meer leben, jeden Tag begegnen." Im Dialog mit dem Land und der Küste nahmen ihre Sprache und ihre Klänge einen sakramentalen Charakter an. ,Ein feierliches Gefühl, ein Gefühl des Dienens, zieht sich tief durch dieses Album", bemerkt Vantzou, ,ich habe das schon einmal gespürt, aber hier, in der Zusammenarbeit mit Félicia, ist es stärker." Stimme, Atem und wässrige Texturen prägen den Ton des maritimen Mysteriums von Water Poems. Neu in Vantzous Praxis und seit langem ein prägendes Merkmal von Atkinsons Werk, gewinnen ihre gesprochenen Worte hier an relationaler Intimität, indem sie sich gegenseitig und die Uferpromenade ansprechen. Die Texte wurden über zwei Jahre hinweg gemeinsam zusammengestellt. Mit radikaler Unschuld lenken sie das Bewusstsein auf die verborgene Auftriebskraft und die unbewussten Strömungen, die durch das Leben fließen: ,Wie kann ein Boot schwimmen? Wie kann ein Flugzeug fliegen? Wie kann ein Körper schwimmen? Wie kann ein Mensch träumen?" Was mit nah aufgenommenen Stimmen und Feldaufnahmen begann, wurde um Synthesizer, Gongs und Metallophone, Klavier, Vibraphon, Rhodes, Gitarren und Mellotron erweitert. Das Gezeitenklavier des Eröffnungstracks ,Film Still / The Sea" zieht uns in die unbewussten Gewässer des Albums. Enthalten sind Feldaufnahmen, die Vantzou in Delphi in der Nähe des legendären Orakels von Pythia aufgenommen hat - ihr griechisches Erbe verleiht diesem Ort der Vorfahren eine zusätzliche Dimension. Dieser Track und ,Water Poems" als Ganzes sind Ausdruck unseres geologischen Erbes und rufen zum Schutz der Küsten und zu einer Vertiefung unserer Beziehung zu unseren Küsten auf. Ein Teil der Einnahmen aus dem Album geht an Arion, ein gemeinnütziges Naturschutzprogramm für das griechische Mittelmeer. Der langjährige Freund und Mitstreiter John Also Bennett hat bei ,Scorpio Purple Skies", dem kosmischen Finale des Albums, mit E-Gitarre, Lap-Steel-Gitarre und Gesang mitgewirkt. Diese üppige Instrumentierung passt super zu den Science-Fiction-Visionen und der feierlichen Atmosphäre des Albums. Water Poems wurde in The Old Carpet Factory, einem Herrenhaus aus dem 18. Jahrhundert auf der griechischen Insel Hydra, in der Villa Medici aus dem 16. Jahrhundert in Rom und in Les Dunes, Atkinsons Heimstudio in der Normandie, aufgenommen. Mehr als das historische Prestige dieser Orte war es die spürbare Geschichte ihrer Landschaft, die die Musik geprägt hat. Atkinson sagt, dass sie sich zu ,Orten mit seltsamer Anziehungskraft" hingezogen fühlten. In der Villa Medici ,haben Steine und Mineralien das gesprochene Wort beeinflusst", bemerkt sie. ,Wir beide legen Wert auf Gefühl, Atmosphäre und Klang", fügt Vantzou hinzu, ,was er hervorruft und was er bewirkt. In unserem Fall konzentrieren wir uns auf die grundlegenden Elemente: Wasser, Luft, Fels, Kosmos - allesamt lebenswichtig.» Von der Insel Kreta aus arbeitete Vantzou den finalen Mix fertig und tauschte dabei Dateien mit Atkinson aus. Immer noch mit der Küste verbunden, verlief der Mixing-Prozess geduldig und wurde von wichtigen Pausen geprägt. Water Poems spiegelt wider, was die Meeresbiologin Rachel Carson uns in Erinnerung ruft: ,Am Rande des Meeres zu stehen bedeutet, Wissen über Dinge zu haben, die so nahezu ewig sind, wie es das irdische Leben nur sein kann." Es zelebriert rituell dieses ozeanische Gefühl als wichtige Quelle der Gelassenheit und Intelligenz. In einer Welt, die von hitzigen Meinungen und ökologischer Vernachlässigung geprägt ist, lenkt Water Poems unsere Aufmerksamkeit auf ,die Quellen der Quellen". Damit schafft es Raum, um uns wieder mit unseren elementaren, animalischen Instinkten zu verbinden und uns auf tiefere Strömungen einzustimmen. Water Poems von Félicia Atkinson und Christina Vantzou ist der dritte Band von Reflections, einer Reihe zeitgenössischer Kollaborationen von RVNG Intl..

Loud Ambient 2 picks up directly from where Loud Ambient left off. After picking the drum machines back up, we returned to the colourfield ideas that shaped the first record. Rothko remained a key reference, along- side a strong recommendation to spend time with the work of Josef Albers. We did exactly that, and it paid off.

Alongside the music, we created 50 new pieces of artwork for Loud Ambient 2. These became tools rather than decorations. Working this way felt open and rewarding, and brought a real sense of play back into the process. We already understood what a Loud Ambient track could be, so slipping back into that headspace felt natural. The tracks came together quickly, full of energy, movement and that familiar noodle quality.

The creative side landed easily this time. There is some- thing about working with colourfields that frees you up and pushes you further into abstraction. It removes hesitation and keeps the focus on instinct and response.

With the drum machines and synths loaded, we kept our heads down and made the kind of music we want to hear on a dance floor. Loud Ambient 2 is the result.

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.

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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.

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!