Search:su na

Nach „Révisé“ kehrt The Offline mit „Les derniers jours de juin / Marées“ zurück – einer neuen, limitierten 7"-Vinyl, inspiriert von einer Reise nach Biarritz an der französischen Baskenküste. Der Hamburger Produzent Felix Müller verbindet auf zwei neuen Stücken Cinematic Soul, Vintage-Library-Musik und moderne Instrumentals mit psychedelischen Surf-Gitarren, tiefen Grooves und nostalgischen Melodien. Mit weltweit über 3.000 verkauften Exemplaren von „La couleur de la mer“ und mehreren ausverkauften Vinyl-Veröffentlichungen hat sich The Offline bereits erfolgreich im internationalen Markt etabliert. Die limitierte 7" führt seinen charakteristischen warmen Analog-Sound konsequent weiter.

Nach drei Jahren und zehendtausend Höllen entfesseln SPIRIT POSSESSION am 2. Oktober ihr drittes Album in voller Länge: „Cathedral Speech“.
Sieben angreifende Labyrinthe weitreichenden Black Heavy Metals, bei denen alle Turmspitzen nach unten zeigen.
Wo „Of the Sign…“ aus dem Jahr 2023 noch einen messerscharfen Blick auf unberechenbare, abenteuerliche Hymnen warf, erweckt „Cathedral Speech“ die bisher stechendste, am stärksten deragierte und erzählerisch epischste Form von SPIRIT POSSESSION. Spiralförmige Gitarrenstürme und explosive Schlagzeug-Hämmerungen kanalisieren Black-/Death-Metal-Angriffe der ersten Welle im selben Atemzug mit ausladenden 70er-Jahre-Kompositionen.
Mit vier Schritten in den Wahnsinn, gefolgt von einer seitenlangen Suite, sind dies bösartige elektrische Gesänge, ebenso hochragend wie gotteslästerlich.

Besetzung: S. Peacock (Black Curse / Ulthar / Mastery) an Saiten und Gesang sowie A. Spungin (Ormus) an Schlagzeug und handgefertigten Synthesizern. Aufgenommen in den Tiefen des S•P-Dungeons und gemischt von Colin Marston in den New Menegroth, The Thousand Caves. Cover-Artwork von Luciana Lupe Vasconselos.

Norman Blake und Raymond McGinley machen seit 37 Jahren gemeinsam Musik bei Teenage Fanclub, und auch wenn manche Aspekte des Bandlebens mit der Zeit einfacher geworden sind, können ihnen die einfachsten Dinge immer noch einen Strich durch die Rechnung machen. Blake sagt dazu: "Es ist schwierig, wenn es darum geht, sich einen Namen für ein Album auszudenken. Vor allem, wenn man schon 12 davon gemacht hat." Der Titel ,Do Not Dare To Dream" leitet sich ab von Blakes ,I Do Not Dare To Dream", einem mitreißenden, hymnischen Song, der von klangvollen Akustikgitarren getragen und am Ende von einem Duell elektrischer Gitarren begleitet wird, die sich wie eine beruhigende Umarmung umeinander schlingen. Blake erklärt, dass der Titel jene Memes verspotten soll, die die Menschen dazu auffordern, zu träumen, was für ihn irgendwie lächerlich ist. "Ich glaube nicht, dass die Welt so funktioniert." Das 13. Album von Teenage Fanclub ist voller Songs, die ruhig und entschlossen sind und eine Bestandsaufnahme des angespannten Zustands der Welt vornehmen, ohne der Verzweiflung zu verfallen. Blakes warme, von Orgelklängen untermalte Midtempo-Ballade ,Day In The Sun" und Raymond McGinleys ,Over And Over" sprechen beide davon, wie jeder einen neuen Sinn im Leben finden kann, indem er sein Herz öffnet. "Wir können immer noch fröhlich und optimistisch sein, auch wenn die Lage nicht gerade rosig ist", sagt McGinley. Blake und McGinley werden auf ,Do Not Dare To Dream" von ihren Bandkollegen Euros Childs (Keyboards und Gesang), Francis Macdonald (Schlagzeug) und David McGowan (Bass) begleitet. Dieses Quintett spielt nun schon so lange zusammen, dass keiner der beiden Hauptsongwriter und Gitarristen von Teenage Fanclub das Bedürfnis verspürt, sich vor dem Gang ins Studio über ihre Songs den Kopf zu zerbrechen oder Arrangements auszuarbeiten. Sie warten lieber auf die Beiträge der übrigen Bandmitglieder. Die Aufnahmen fanden im Black Bay Studio in der Ortschaft Kirkibost auf der schottischen Insel Great Bernera in den Äußeren Hebriden statt. Wie langjährige Fans wahrscheinlich wissen, nimmt Teenage Fanclub jedes Album an einem neuen Ort auf, damit die einzigartige Atmosphäre dieses Ortes die Musik beeinflussen kann. Great Bernera war ihr bislang abgelegenster Aufnahmeort, was der Band half, sich auf die Arbeit zu konzentrieren, sie aber auch in einen Zustand der Ehrfurcht versetzte, da sie von der tosenden See und antiken Ruinen umgeben waren. Das Ergebnis ist eine Sammlung von Liedern, die von der richtigen Perspektive von Musikern durchdrungen ist, die schon eine Weile im Geschäft sind, aufgenommen an einem Ort, der schon noch länger existiert. Wie Blake es ausdrückt: ,Ich glaube, es läuft einfach so ab, dass man von einer Sache zur nächsten übergeht, und ehe man sich versieht, sind 30 Jahre vergangen." McGinley fügt hinzu: ,Ja, es ist schon eine ganze Weile her, seit wir mit dem angefangen haben, was wir tun, aber für uns kommt es uns vor, als wäre überhaupt keine Zeit vergangen. An dem Ort, an dem wir das Album aufgenommen haben, wurde schon vor Tausenden von Jahren gesungen. Das Leben ist kurz, aber die Musik ist ewig."

Norman Blake und Raymond McGinley machen seit 37 Jahren gemeinsam Musik bei Teenage Fanclub, und auch wenn manche Aspekte des Bandlebens mit der Zeit einfacher geworden sind, können ihnen die einfachsten Dinge immer noch einen Strich durch die Rechnung machen. Blake sagt dazu: "Es ist schwierig, wenn es darum geht, sich einen Namen für ein Album auszudenken. Vor allem, wenn man schon 12 davon gemacht hat." Der Titel ,Do Not Dare To Dream" leitet sich ab von Blakes ,I Do Not Dare To Dream", einem mitreißenden, hymnischen Song, der von klangvollen Akustikgitarren getragen und am Ende von einem Duell elektrischer Gitarren begleitet wird, die sich wie eine beruhigende Umarmung umeinander schlingen. Blake erklärt, dass der Titel jene Memes verspotten soll, die die Menschen dazu auffordern, zu träumen, was für ihn irgendwie lächerlich ist. "Ich glaube nicht, dass die Welt so funktioniert." Das 13. Album von Teenage Fanclub ist voller Songs, die ruhig und entschlossen sind und eine Bestandsaufnahme des angespannten Zustands der Welt vornehmen, ohne der Verzweiflung zu verfallen. Blakes warme, von Orgelklängen untermalte Midtempo-Ballade ,Day In The Sun" und Raymond McGinleys ,Over And Over" sprechen beide davon, wie jeder einen neuen Sinn im Leben finden kann, indem er sein Herz öffnet. "Wir können immer noch fröhlich und optimistisch sein, auch wenn die Lage nicht gerade rosig ist", sagt McGinley. Blake und McGinley werden auf ,Do Not Dare To Dream" von ihren Bandkollegen Euros Childs (Keyboards und Gesang), Francis Macdonald (Schlagzeug) und David McGowan (Bass) begleitet. Dieses Quintett spielt nun schon so lange zusammen, dass keiner der beiden Hauptsongwriter und Gitarristen von Teenage Fanclub das Bedürfnis verspürt, sich vor dem Gang ins Studio über ihre Songs den Kopf zu zerbrechen oder Arrangements auszuarbeiten. Sie warten lieber auf die Beiträge der übrigen Bandmitglieder. Die Aufnahmen fanden im Black Bay Studio in der Ortschaft Kirkibost auf der schottischen Insel Great Bernera in den Äußeren Hebriden statt. Wie langjährige Fans wahrscheinlich wissen, nimmt Teenage Fanclub jedes Album an einem neuen Ort auf, damit die einzigartige Atmosphäre dieses Ortes die Musik beeinflussen kann. Great Bernera war ihr bislang abgelegenster Aufnahmeort, was der Band half, sich auf die Arbeit zu konzentrieren, sie aber auch in einen Zustand der Ehrfurcht versetzte, da sie von der tosenden See und antiken Ruinen umgeben waren. Das Ergebnis ist eine Sammlung von Liedern, die von der richtigen Perspektive von Musikern durchdrungen ist, die schon eine Weile im Geschäft sind, aufgenommen an einem Ort, der schon noch länger existiert. Wie Blake es ausdrückt: ,Ich glaube, es läuft einfach so ab, dass man von einer Sache zur nächsten übergeht, und ehe man sich versieht, sind 30 Jahre vergangen." McGinley fügt hinzu: ,Ja, es ist schon eine ganze Weile her, seit wir mit dem angefangen haben, was wir tun, aber für uns kommt es uns vor, als wäre überhaupt keine Zeit vergangen. An dem Ort, an dem wir das Album aufgenommen haben, wurde schon vor Tausenden von Jahren gesungen. Das Leben ist kurz, aber die Musik ist ewig."

Creole Culture is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, Creole Culture pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following New Breed (2019) and Second Line (2021), Creole Culture is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.


Creole Culture follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s Quiet in a World Full of Noise, found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”
That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. Creole Culture presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on Creole Culture with the care of a botanist nurturing new hybrids in a rose garden.


What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on “l v r” serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on “chuuuurch.” “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”
In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” Creole Culture is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. Creole Culture is her most stunning one yet.

Creole Culture is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, Creole Culture pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following New Breed (2019) and Second Line (2021), Creole Culture is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.


Creole Culture follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s Quiet in a World Full of Noise, found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”
That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. Creole Culture presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on Creole Culture with the care of a botanist nurturing new hybrids in a rose garden.


What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on “l v r” serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on “chuuuurch.” “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”
In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” Creole Culture is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. Creole Culture is her most stunning one yet.

Norman Blake und Raymond McGinley machen seit 37 Jahren gemeinsam Musik bei Teenage Fanclub, und auch wenn manche Aspekte des Bandlebens mit der Zeit einfacher geworden sind, können ihnen die einfachsten Dinge immer noch einen Strich durch die Rechnung machen. Blake sagt dazu: "Es ist schwierig, wenn es darum geht, sich einen Namen für ein Album auszudenken. Vor allem, wenn man schon 12 davon gemacht hat." Der Titel ,Do Not Dare To Dream" leitet sich ab von Blakes ,I Do Not Dare To Dream", einem mitreißenden, hymnischen Song, der von klangvollen Akustikgitarren getragen und am Ende von einem Duell elektrischer Gitarren begleitet wird, die sich wie eine beruhigende Umarmung umeinander schlingen. Blake erklärt, dass der Titel jene Memes verspotten soll, die die Menschen dazu auffordern, zu träumen, was für ihn irgendwie lächerlich ist. "Ich glaube nicht, dass die Welt so funktioniert." Das 13. Album von Teenage Fanclub ist voller Songs, die ruhig und entschlossen sind und eine Bestandsaufnahme des angespannten Zustands der Welt vornehmen, ohne der Verzweiflung zu verfallen. Blakes warme, von Orgelklängen untermalte Midtempo-Ballade ,Day In The Sun" und Raymond McGinleys ,Over And Over" sprechen beide davon, wie jeder einen neuen Sinn im Leben finden kann, indem er sein Herz öffnet. "Wir können immer noch fröhlich und optimistisch sein, auch wenn die Lage nicht gerade rosig ist", sagt McGinley. Blake und McGinley werden auf ,Do Not Dare To Dream" von ihren Bandkollegen Euros Childs (Keyboards und Gesang), Francis Macdonald (Schlagzeug) und David McGowan (Bass) begleitet. Dieses Quintett spielt nun schon so lange zusammen, dass keiner der beiden Hauptsongwriter und Gitarristen von Teenage Fanclub das Bedürfnis verspürt, sich vor dem Gang ins Studio über ihre Songs den Kopf zu zerbrechen oder Arrangements auszuarbeiten. Sie warten lieber auf die Beiträge der übrigen Bandmitglieder. Die Aufnahmen fanden im Black Bay Studio in der Ortschaft Kirkibost auf der schottischen Insel Great Bernera in den Äußeren Hebriden statt. Wie langjährige Fans wahrscheinlich wissen, nimmt Teenage Fanclub jedes Album an einem neuen Ort auf, damit die einzigartige Atmosphäre dieses Ortes die Musik beeinflussen kann. Great Bernera war ihr bislang abgelegenster Aufnahmeort, was der Band half, sich auf die Arbeit zu konzentrieren, sie aber auch in einen Zustand der Ehrfurcht versetzte, da sie von der tosenden See und antiken Ruinen umgeben waren. Das Ergebnis ist eine Sammlung von Liedern, die von der richtigen Perspektive von Musikern durchdrungen ist, die schon eine Weile im Geschäft sind, aufgenommen an einem Ort, der schon noch länger existiert. Wie Blake es ausdrückt: ,Ich glaube, es läuft einfach so ab, dass man von einer Sache zur nächsten übergeht, und ehe man sich versieht, sind 30 Jahre vergangen." McGinley fügt hinzu: ,Ja, es ist schon eine ganze Weile her, seit wir mit dem angefangen haben, was wir tun, aber für uns kommt es uns vor, als wäre überhaupt keine Zeit vergangen. An dem Ort, an dem wir das Album aufgenommen haben, wurde schon vor Tausenden von Jahren gesungen. Das Leben ist kurz, aber die Musik ist ewig."

"Amour" ist ein bedeutender künstlerischer Meilenstein für die Geigerin und Social-Media-Sensation Esther Abrami. Erstmals stellt sie auf einem Album eine groß angelegte Originalkomposition ins Zentrum. Ihre neun Sätze umfassende Suite für Violine und Orchester ist eine ausdrucksstarke Auseinandersetzung mit der Liebe in all ihren Facetten und fängt das gesamte Spektrum der Emotionen ein - von Zärtlichkeit und Leidenschaft bis hin zu Sehnsucht und Verlust. Über die Suite hinaus versammelt "Amour" eine vielfältige Auswahl ikonischer klassischer Werke rund um das Thema Liebe, die von Esther Abrami neu für Solo-Violine und Orchester arrangiert wurden. Ein besonderes Highlight ist Nino Rotas "Romeo and Juliet: Love Theme", mit der gefeierten Mezzosopranistin Marina Viotti. Ihre Stimme tritt dabei in einen musikalischen Dialog mit Esther Abramis Violine. Das Programm umfasst weiterhin Instrumentalarrangements von Céline Dions "All by Myself" sowie Georges Bizets "Habanera" aus "Carmen", wie auch neue Versionen für Violine und Orchester von Francis Poulencs "Les chemins de l'amour", Christoph Willibald Glucks "Tanz der seligen Geister" aus "Orfeo ed Euridice" und der virtuosen "Chaconne in g-Moll" von Tomaso Antonio Vitali. Auch eine neu arrangierte Version von Charlie Chaplins "Désillusion amoureuse" aus seinem Film "The Circus" ist auf dem Album enthalten. Im Laufe ihrer Karriere hat sich Esther Abrami einen Namen damit gemacht, klassische Musik einem breiten und vielfältigen Publikum vorzustellen. Mit "Amour" verbindet sie erstmals ihre unverwechselbare Stimme als Interpretin mit ihrem Schaffen als Komponistin. Das Album erscheint als CD sowie als Doppel-LP in einer limitierten Ecorecord InkPlosion Version, bei der jede LP individuell gestaltet ist. Die Doppel-LP enthält außerdem 3 Bonus-Tracks, die bisher nur digital erschienen sind.

Back In Stock!

Ajo Se Po is the third album by alto-saxophonist and percussionist Kevin Haynes, released with his band Grupo Elegua. The album integrates musical elements with references to his deepening spiritual understanding. Haynes has created a modal harmonic language incorporating Afro-Cuban melodies and classical kora playing - his alto-sax, infusing the album with a personal 'voice'.

Yoruba spirituality is at the heart of Haynes' musical thinking which also includes both Nigerian and Cuban dimensions. This is especially reflected by the use of recitation and Cuban bata drumming being employed on all tracks, with each piece growing out of a particular bata rhythm. Each such rhythm is dedicated to a particular Orisha, or divinity.

As well as influences from Afro-Cuban, Native Nigerian and folkloric Bata, Haynes' music is a fusion of contemporary jazz incorporating Mandinga folk and praise songs and hard bop.

Kevin Haynes and Grupo Elegua have performed at renowned jazz festivals including Havana Jazz Festival, Cuba and Salamanca Jazz Festival, Spain. Haynes has also featured on Moses Boyd's hit album Displaced Diaspora.

Previously available on digital only, Ajo Se Po is now released on vinyl.

Common Primitives is the second collaborative album between Andy Bell (Ride guitarist, Oasis bassist) and Essex-based harp and synth duo Masal. It’s a stunning, meditative collection which veers from kosmische to astral jazz by way of Turkish folk tunes and all the way back again.


Their first outing, 2023’s acclaimed Tidal Love Numbers, consisted of four lengthy and almost ambient tracks and is included here on vinyl for the first time as part of a two-record set with the new album. By contrast, the seven tracks that make up Common Primitives are almost concise, but also a lot more layered and complex.


“We tend to work from initial, free-jammed ideas, building form and arrangement from there,” explains Masal’s Al Johnson. “Above all, we believe you should go where the vibe takes you.”


For Andy, that vibe was very much jazz legend Pharoah Sanders’ classic 1977 album Pharoah, which was reissued a few years ago.


“It puts me into a hypnotic state,” he explains. “That’s why I worked with more guitar loops on this record. The Tisziji Muñoz part on ‘Harvest Time’ has had me in a vice-like grip for the last three years and it arrives here via the Vini Reilly filter.”


For Özlem Simsek, there is nostalgia, too, and she even adds vocals as well as her heavenly harp to the opening track, ‘After Kâtibim’, based on a traditional Turkish folk song she had sung as a child growing up in Istanbul.


From there, the album takes us on a real journey, with the apt, impressionistic titles added by Andy once it had all been pieced together. There’s the beautiful, elegant ‘I Swear We Are Infinite’; the atmospheric ‘Yuzuki Fighting Spirit’ and the beatific ‘Soap And Water’. ‘Tower Of Babylon’ was named after the novelette by Ted Chiang, its structured creation reflecting that in the story; first single ‘The Morning Of The Trip’ finds Andy playing his guitar “as if it was a waterfall”. The journey ends with ‘Rudi’s Dream – The Third Bardo’, the trio accelerating onto the autobahn for a krautrock crescendo inspired by their studio’s resident cat.

Common Primitives is the second collaborative album between Andy Bell (Ride guitarist, Oasis bassist) and Essex-based harp and synth duo Masal. It’s a stunning, meditative collection which veers from kosmische to astral jazz by way of Turkish folk tunes and all the way back again.


Their first outing, 2023’s acclaimed Tidal Love Numbers, consisted of four lengthy and almost ambient tracks and is included here on vinyl for the first time as part of a two-record set with the new album. By contrast, the seven tracks that make up Common Primitives are almost concise, but also a lot more layered and complex.


“We tend to work from initial, free-jammed ideas, building form and arrangement from there,” explains Masal’s Al Johnson. “Above all, we believe you should go where the vibe takes you.”


For Andy, that vibe was very much jazz legend Pharoah Sanders’ classic 1977 album Pharoah, which was reissued a few years ago.


“It puts me into a hypnotic state,” he explains. “That’s why I worked with more guitar loops on this record. The Tisziji Muñoz part on ‘Harvest Time’ has had me in a vice-like grip for the last three years and it arrives here via the Vini Reilly filter.”


For Özlem Simsek, there is nostalgia, too, and she even adds vocals as well as her heavenly harp to the opening track, ‘After Kâtibim’, based on a traditional Turkish folk song she had sung as a child growing up in Istanbul.


From there, the album takes us on a real journey, with the apt, impressionistic titles added by Andy once it had all been pieced together. There’s the beautiful, elegant ‘I Swear We Are Infinite’; the atmospheric ‘Yuzuki Fighting Spirit’ and the beatific ‘Soap And Water’. ‘Tower Of Babylon’ was named after the novelette by Ted Chiang, its structured creation reflecting that in the story; first single ‘The Morning Of The Trip’ finds Andy playing his guitar “as if it was a waterfall”. The journey ends with ‘Rudi’s Dream – The Third Bardo’, the trio accelerating onto the autobahn for a krautrock crescendo inspired by their studio’s resident cat.

Futurismo proudly present a vital compilation born in the shadows of American punk; AMERICAN GRAVE Gothic Punk / Deathrock USA: 1978-1988, the third volume in their Altered Vision anthology series.

Drawing from darkest depths of the American spirit, American Grave is testament to a subculture spawned from late night savagery, graveyard hangouts and suburban isolation. Deathrock, post-punk, goth, whatever term you prefer, this compilation showcases the sounds and aesthetics of a tarnished golden era, an underground movement that took the DIY concepts of punk and the velocity of a burgeoning hardcore scene and immersed it in echoes, distortion, tribal rhythms and macabre vocals, thematically preying upon cult horror flicks, surrealism, and the manipulation of religious iconography. Whilst the UK had a counterpart scene many would hail as Goth, this was different, this was a truly American incarnation, a new breed of youth haunted by the ghosts of old blues, garage and glam, bleak theatrical imagery dressed up to evoke a response, smeared eyeliner, leather, bones…black. This was a backlash against a culture in decay, bucking against a puritanical oppression brought on by the archaic social standards set by their parents. It was aggression manifested as gloom, it was a ceremony, the celebration of death.

American Grave has been co-curated by Wesley Eisold (Cold Cave/American Nightmare/Heartworm Press) in collaboration with Futurismo head honcho Del Jae, to bring you a haunting tracklist ranging from the all important integral mainstays of the genre to those rarer and more elusive artists, including many recordings that have never been reissued before on any format. Featuring the music of Christian Death, T.S.O.L., The Cramps, Of A Mesh, The Gun Club, Twisted Roots, Kommunity FK, The Brainz, Theatre Of Ice, Burning Image, Fur Bible, PSI Com, Shadow Of Fear, Super Heroines, 45 Grave and more.

The music on this compilation is reinstated further from a visual perspective by an array of incredible images by famed punk photographer Edward Colver, and lovingly designed to the level you would expect from a Futurismo release.

2xLP on limited edition ‘Splintered Tomb’ coloured vinyl. It is housed in a gloss laminated outer sleeve with colour inner sleeves and contains a large fold-out poster with unseen photos by the great Edward Colver, words by Lisa Fancher and liner notes by Wesley Eisold of Cold Cave/American Nightmare.

Composer and multi-instrumentalist Koen Holtkamp has spent more than two decades shaping a body of work at the intersection of ambient, experimental, and electroacoustic music. Known for his role in the influential duo Mountains, as well as a solo catalog defined by texture and spatial awareness, Holtkamp has long explored how sound interacts with environment and perception. With Nightlife, he enters a new phase of that inquiry, one shaped as much by physical relocation as artistic evolution.

After leaving Brooklyn for the relatively rural setting of New York’s Hudson Valley, Holtkamp found himself immersed in nature and embracing a slower way of life, a shift that directly informed the album’s creation. Rather than rushing into a new project, he allowed the space itself to guide him, focusing on experimentation and play instead of a fixed outcome. Over time, a new instrument emerged from his modular system, built around physical modeling techniques that emulate plucked string sounds. Drawing on a deep affinity for acoustic traditions, from guitar soli to the kora and other chordophones, he began translating those influences into an electronic language, creating music that feels tangible, effusive, and even intimate, despite its synthetic nature. As the pieces took shape, Holtkamp expanded the project into a kind of imagined ensemble. Composed with specific collaborators in mind, the album features extensive contributions from drummer Greg Fox and saxophonist and flutist Matt Bauder, whose performances subtly reshape the material and draw it toward more fluid, song-like forms, alongside a guest appearance from Ben Vida on synth bass. Yet even as Nightlife occasionally resembles a band in motion, its construction resists traditional cohesion. Acoustic and electronic sources coexist to create a hyper-dimensional sense of space, with each element deliberately placed in its own distinct environment, yielding a complex yet inviting setting that feels both otherworldly and completely natural.

Much of the album was created during late-night sessions, which became a kind of personal ritual and ultimately inspired its title. Nightlife unfolds as a series of finely detailed environments, where stillness, texture, and subtle interplay take precedence over momentum. Each piece invites close listening while remaining open and unforced, reflecting both a change in pace and a deepening of focus. The result extends Holtkamp’s ongoing interest in how sound can shape, and be shaped by, the spaces we inhabit.

Sudanese rising star and oud player Sulaf transforms her refugee exile into ABA — blending Nubian roots with modern soundscapes in collaboration with producer Maxime Kosinetz (Imarhan, Tinariwen, Gruff Rhys). Drawing on the Sufi poetry of her great-grandfather, she captures loss, identity, and resilience, carrying Sudan’s spirit across borders with haunting power and emotional depth

On his brand new studio effort Styles P proves his key to success has always been consistency. The born in Corona, raised in Yonkers, NY native has really worked harder than most to earn the name GOAT, and by naming his album “S.P. The GOAT: Ghost Of All Time” you know he’s not bragging about it, in fact he’s getting his flowers while he’s alive from Hip Hop connoisseurs who know fire bars when they hear them. With productions by Vinny Idol, Termanology, Dayzel the Machine, and Noah Idol among others and guest appearances by Sheek Louch, Jadakiss, Nino Man, Fame of M.O.P, Whispers and Cris Streetz, the legendary LOX and D-Block member proves once again he’s aging like fine wine.

The title of Ghost Bridge, the East-Coast-spanning chamber ensemble Hour's fifth record, is less metaphorical than one might expect. Bandleader Michael Cormier- O'Leary repurposed it from an unrealized movie concept about a bridge that inexplicably starts disappearing. On the nearly-ten-minute title track of this richly imaginative suite of songs_written for a 13-piece ensemble that includes woodwinds, strings, and vibraphone as well as a rock rhythm section_Hour conjures up this central image with spectral string harmonics and free-time percussion gestures. While writing the keyboard pieces that became the takeoff point for the album, Cormier-O'Leary also found himself reflecting on the loss of loved ones or even his own mortality. The six kaleidoscopic instrumental pieces on Ghost Bridge, though, feel more cosmically inquisitive than straightforwardly elegiac, sketching a progression from existential doubt toward understanding and acceptance. Ghost Bridge forms a contrast with Hour's art-rock-informed, more improvisatory early releases, representing a step further into intricate chamber orchestration. Known for his work with Friendship, Wendy Eisenberg, and 2nd Grade, Phillybased multi-instrumentalist and Dear Life Records founder Cormier-O'Leary has made Hour a home for increasingly cinematic instrumental compositions since the mid-2010s. With dazzling production by Lucas Knapp, Ghost Bridge delivers plenty of the live ensemble's trademarks, especially cyclically developing guitar and keyboard melodies. However, even more than on Hour's last studio album, unconventional harmonies and sophisticated counterpoint take center stage here. These emotionally multifaceted compositions feel as rooted in contemporary classical and film soundtrack music as in indie rock. One of the most striking elements of Ghost Bridge is the more significant developmental role the orchestral instruments assume in each piece. Instead of underscoring Cormier-O'Leary's central hooks, there is a new mesmerizing level of detail to the group's conversational interactions and kinetic energy. "Centralia" is a stately and idiosyncratic fugue built from repeated and overlapping phrases, while Ghost Bridge's compositions are full of unexpected pivots in harmony that allow recurring melodic motifs to sound continually reshaded. On "Pearls," the chords modulate drastically around Cormier-O'Leary's inviting central melody in a way that emulates cuts in a film telling several parallel stories. There is an unsettled quality to the chords on Ghost Bridge, with Cormier- O'Leary's progressions avoiding firm grounding in either clearly sunny or melancholy tonalities. This mood is made more concrete by the record's sole vocal track, the jazz-inflected "Sky is Blue," featuring an uncannily gorgeous performance by Heeyoon Won. The song seems to be a communication from a person who has departed, offering consolation or perspective to someone left behind. Though its sonic palette is often tranquil, Ghost Bridge explores heartbreak, grief, anger, and helplessness in a distinct and pretense-free way. The project represents a bold step forward for Cormier-O'Leary as a composer and arranger, and on Ghost Bridge Hour reaches its most fully realized form to date, connecting soaring themes with an inventiveness that perfectly suits the searching nature of the subject matter.

TEMACHII creates immersive worlds where music, visual art, nature, and emotion blur together. Evoking the hazy surrealism of a once forgotten dream, the San Antonio-based multi-instrumentalist has built a devoted global audience through ethereal soundscapes, hand-crafted visuals, and songs that feel both deeply personal and universally comforting. Her music pairs ambient textures and dream-pop charm with an intimacy that feels like eavesdropping on an artist in conversation with herself—absorbing influences like Radiohead, Fiona Apple, Mitski and Aphex Twin while remaining less guided by genre than by feeling.

Her 2023 debut, flora maniia, was anchored by the 50 million-streamed hit “may you never forget me,” blending hypnotic acoustic guitar, lilting synths, and airy vocals into a reflection on love, memory, and the desire to leave a lasting impression. The follow-up LP, akrasiia, arrived later that same year, revealing a more stripped-back side of her sound while preserving the wonder at the heart of her work. Together with 2024 single “not/lost,” the releases have brought Temachii's art to fans around the world, a reach that feels especially meaningful given her Puerto Rican heritage. More importantly, they have transformed that audience into something more meaningful than simply streams and likes: a space for listeners to feel both safe and seen.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

It took a long time – ten years – for his talismanic song, ‘Ça ira tu verras’, to prove his prophecies right, at a time when, everywhere else in the world, nothing seems to be going right. And if everything is going well for Séverin, it’s because he’s managed to build himself a bulwark, an impregnable citadel, and his records now exude a whiff of simplified idealism, with the influence of Souchon and Voulzy never far from his pen and guitar as he brings his bittersweet moods to life in verses and choruses.


But above all, he knows how to invent new settings for himself, push back the boundaries, step beyond the walls of his Parisian studio to go and see how things sound elsewhere. Recorded at Chale Abbey Studios on the Isle of Wight (UK), Séverin once again wanted to let the collective spirit of his regular collaborators take centre stage. Ambroise ‘Sage’ Willaume and Jérémie Arcache, who featured on the previous album *Nouveaux Dinosaures*, once again form the backbone of the band, on guitar and keyboards respectively. Bassist Théodora Delillez (Astral Bakers) and Canadian drummer Robbie Kuster complete the band’s core line-up, which, in just six days at this electric priory, went on to achieve – judge for yourselves – nothing short of miracles.


Whilst all around us the war on falsehood rages – from AI to post-truth, all these fake debates, hypocrites and false values – here is an album that doesn’t cut corners when it comes to emotions, nor in the way it sets them to music.

Der Frontmann von Goblin Cock, Lord Phallus, ist eine in einen Umhang gehüllte Nicht-Präsenz in einer Band aus ebenso vagen Persönlichkeiten, die bewusst nebulös gehalten sind; doch während ihre zahlreichen Nachahmer dies als Vorwand nutzen, um eine kommerziell verwertbare Geschichte zu vertiefen, wünschen sich die Mitglieder von Goblin Cock tatsächlich , ignoriert zu werden. ,Traumanaut" ist die neueste LP des Projekts und klingt wie ein unerwartet frischer Lufthauch, insbesondere ausgerechnet aus einem solchen Sumpf der Neurose wie diesem. Zeitweise klingt sie so persönlich, dass jeder normale Songwriter wohl bis zum Absurden gehen würde, um sich von dieser Ehrlichkeit zu distanzieren.

For nearly twenty years, Swedish singer-songwriter Kristian Matsson has played his way around the world as The Tallest Man on Earth, carving out a singular place in contemporary folk music. His discography has long been heard through the lens of the American folk tradition. But Just Beyond Endless Mountain, out October 9th on Anti- Records, quietly turns that perspective on its head. After returning to his native Dalarna in central Sweden, Matsson found himself listening to the music he had spent years trying to leave behind: the polskas, the old field recordings and the sounds of the local traditions that had surrounded him since childhood. The result is not a return to the past, but a step into new musical territory. Swedish folk music has reshaped his melodies, his voice, and the way he writes songs. The Tallest Man on Earth is back with his most deeply rooted album to date. Just Beyond Endless Mountain opens an unexpected new chapter in a career that has never settled for familiar ground.

For nearly twenty years, Swedish singer-songwriter Kristian Matsson has played his way around the world as The Tallest Man on Earth, carving out a singular place in contemporary folk music. His discography has long been heard through the lens of the American folk tradition. But Just Beyond Endless Mountain, out October 9th on Anti- Records, quietly turns that perspective on its head. After returning to his native Dalarna in central Sweden, Matsson found himself listening to the music he had spent years trying to leave behind: the polskas, the old field recordings and the sounds of the local traditions that had surrounded him since childhood. The result is not a return to the past, but a step into new musical territory. Swedish folk music has reshaped his melodies, his voice, and the way he writes songs. The Tallest Man on Earth is back with his most deeply rooted album to date. Just Beyond Endless Mountain opens an unexpected new chapter in a career that has never settled for familiar ground.

South Asian super-producers Lapgan and Baalti – the former a Madlib-disciple spinning hip-hop grooves out of dusty desi samples, the latter duo purveyors of intricately tapestried dance music – holed up in the California desert in early 2024 for a songwriting session to blend their complimentary styles. They ended up with several albums worth of club material built upon decades of Indian music history – floor fillers that move like early Four Tet meets The Avalanches. They’ve been teasing this material around the world during live sets – from Paris Fashion Week to Glastonbury, London Clubs to BK Warehouse parties, sessions at Lot Radio and Karachi Community Radio, and anywhere else they find an aux. The result has been endless ID requests for unreleased gems like “Ipa Ma” and “Lime Tikka”, calls which should finally be answered with the release of Threads.

Lapgan Bio
Chicago-based archivist and producer Lapgan has become renowned for his signature style: unearthing rare and forgotten Indian & Pakistani sounds and recontextualizing them into hip-hop and dance beats that evoke J Dilla and Madlib. He has cultivated a reputation for quietly revolutionary sample-work across his beloved solo projects History and Duniya Kya Hai, as well as LAFANDAR, his critically acclaimed team up with Heems (of Das Racist / Swet Shop Boys). He has worked with a range of artists from both the West (Your Old Droog, Saul Williams, Cool Calm Pete, Kool Keith, Open Mike Eagle, Blue, Quelle Chris) and the East (EXCISE DEPT, Baalti, Sid Sriram, Sid Vashi, Dynoman), and has been featured in global media including Pitchfork, FADER, Stereogum, Passion of the Weiss, Mixmag, Homegrown, and Vinyl Me, Please. Over the past year he has headlined clubs and performed at festivals across the world from Chicago and New York to London and India, and was personally invited to soundtrack back to back Paris Fashion Week shows for the similarly norm-shifting designer Kartik Research. In 2026 he will soundtrack his third Kartik Research runway show, as well as reissue Duniya Kya Hai for its five-year anniversary alongside a companion EP featuring remixes from peers and supporters Arushi Jain, Loris, Mera Bhai, Malkfunktion, and Maral.

Baalti Bio
Baalti makes electronic music built around rhythm, pressure, and collective release – weaving through leftfield bass, dusty hip hop, tripped out dub and raw house all while maintaining a throughline rooted in South Asian culture seen through the lens of a sweaty dancefloor. In the last year they have experienced a whirlwind rise and growing global recognition: from their EP Mela vividly evoking West Bengal’s sound system culture to their Tamil-cinema-infused filter-house project with Anish Kumar Stunt Doubles, in addition to wide-ranging collabs and remixes alongside DJ ADHD, Naya Beat, and A.R. RahmanThey have also built a reputation for their frenetic live show, with appearances at international festivals like Glastonbury and MELT, headlining shows across Australia and Europe and supporting influences turned peers like Four Tet and Disclosure across North America. Their explosive, percussion-heavy sets have been platformed by Rinse FM, NTS, The Lot Radio, Beats In Space, and Refuge Worldwide, and their music has been renowned by publications including Pitchfork, Bandcamp Daily, RA, and MixMag. Their forward momentum continues into 2026 with slated headline tours in India, Australia, and Asia along with appearances at Coachella, Party in the Paddock, Fvded in the Park, and We Out Here festivals.

Driven by a lush and irresistible energy, Beyond Brazilian Stories takes you on a musical journey between Brazilian traditions and jazz improvisation.

Introduced to the richness of Brazilian music by Philippe Baden Powell, pianist Mathieu Bélis and double bassist Stéphane Dardour founded BSP PRODUCTIONS and formed the quintet Beyond Brazilian Stories, joined by saxophonist David Florsch, drummer Louis Bao Lao, and Äulne, vocalist and flutist.

Together, they revisit masterpieces by giants such as Milton Nascimento, Airto Moreira, Hermeto Pascoal, Dorival Caymmi, Edu Lobo and Moacir Santos, blending popular melodies with soaring instrumental passages.
The group also brings its own compositions, inspired by the vibrant energy of Brazilian music, creating a sound that is both authentic and innovative.

Their new album O ritmo do sonho has been awarded the “Revelation” distinction by Jazz Magazine!
Album contributors:

Mariana Zwarg - flutist, daughter of Itiberê Zwarg, Hermeto Pascoal’s bassist.
Edmundo Carneiro - Brazilian percussion legend (Tania Maria, De La Soul, Saint Germain, etc.).
Jessica Simon - trombonist, member of the Orchestre National de Jazz.

“An explosive fusion where samba, bossa and jazz become the playground for joyful and virtuosic freedom....” Jazz Rhônes Alpes
“...the brilliant Hermeto Pascoal,
whose spirit is present throughout O ritmo do sonho...” Revelation Jazzmag

Five years after establishing himself as one of the UK's most distinctive selectors, Bloom marks the beginning of a new chapter for Yung Singh. More than a debut EP, it introduces EKTA his own label and creative world, built around the Panjabi concept of unity and the belief that dance music can be a meeting point for cultures, histories and new ideas.

Rather than treating heritage as something to preserve behind glass, Bloom places it at the centre of contemporary club music. Drawing inspiration from Panjabi folk traditions, Indian classical rhythms and centuries-old musical practices, Singh reimagines these influences through a modern electronic framework without reducing them to nostalgia or tokenism. The visual identity mirrors this philosophy, taking cues from Phulkari embroidery "flower work" passed down through his own family and connecting those traditions with the idea of growth, renewal and the arrival of a new creative season.

Finalised while touring Panjab during Basant, the festival celebrating the arrival of spring, Bloom became both a personal and artistic statement: the first release on a label intended not to represent one culture alone, but to create space for many. As Singh explains:

"EKTA as a name really sums up what I love about music and arts in general: unity and oneness. I want the label to be a sonic universe where artists bring their specific heritage into a modern club framework. It's about merging diverse folk traditions to treat these sounds not as relics, but as the future of dance music."

Across three tracks, Bloom presents different perspectives of that vision. 'NUG46' transforms field recordings captured in New Zealand into a meditative piece built around hypnotic tabla and razor-sharp jungle rhythms. 'Situationz' pays tribute to legendary Panjabi artist Sukshinder Shinda through the driving "Shinda Break", recontextualising a rhythm instantly recognisable to generations of listeners into a high-energy club weapon. Closing the record, 'Tabla Trouble' leans fully into organic instrumentation, layering classical percussion, strings, flutes and vocals into a composition that defines the open-ended musical language of EKTA.

Bloom is not simply the first release on a new label. It is the foundation of a wider vision one that looks to the past not for comfort, but for inspiration, using tradition as a catalyst for imagining the future of dance music.

Chloe Slater’s debut album ‘Riot Youth’ unfolds in the fleeting, chaotic moments before doomsday – a coming of age record fit for the modern world. Arriving right on time in an era when hopelessness and nihilism run rife, painting the truest portrait of what it is to be young, British, and brave enough to be hopeful today. Across 10 tracks, she departs her signature, succinct commentary on the issues plaguing her generation: social divide, toxic internet culture, our dwindling sense of community, the climate crisis and, ultimately, the vampirish billionaire class cashing in on our collective misery. She playfully shifts from these frank descriptions of society to moments of gorgeous, gut-punching poetry, crafting anthemic choruses and intoxicating one-liners from the gripes many of us can barely muster the words for.

This album is a glimpse into the creative outpouring from Todd in September and October of 2025. He returned to the Purple Building in East Nashville to perfect what he called “the sound of country music 10 years from now”. This meant taking his favorite country music tropes, dismantling and reassembling them over stretched-out, swampy grooves with New Orleans-style horns. He was so sure of this sound, feel, and his studio band's pliability that he insisted on recording his vocal and guitar first, with no accompaniment or click track. Todd wanted the band to record after him, so they would HAVE to follow his lead wherever it went. In his mind, he was attempting to write and record a double album. His excitement over the recordings and the push to capture that much material meant that by mid-October, Todd had recorded his vocal, guitar and the band's rhythm section for at least an album’s worth of material, with plans to continue recording. Sadly, Todd passed away before the remaining overdubs and additional songs could be completed. Fortunately all the notes, directions and encouragement he left behind in the form of emails, voice memos and demos provided an extensive roadmap for his band. Following that roadmap as closely as possible, his band was able to complete Todd's last work, My Second Rodeo, Part 1.

De Kloe: their name is as hard to explain as the music they channel from a total oddball universe. Rumour has it a wormhole sits hidden between the beer crates and a broken dartboard in the basement of the DPG Media building in Antwerp. Leon Jespers, Elian Van den Eynde and Midas Heuvinck stepped through and came back with De Kloe’s first full-length album.

Needless to say, De Kloe operates in the cracks - splicing obscure samples, fractured lyrics, jagged basslines, and serrated guitar riffs into something volatile and alive. Club rhythms pulse underneath, but nothing stays in place for long. Tracks mutate, structures dissolve, and both live and on record the band leans into instinct over control.

After the singles ‘Our House’ & ‘The Fish’ the trio finally presents their debut album ‘Vanity Fair’: more extravaganza tunes you didn’t know you need it, but soon will be addicted to.

A place where pop music collides with dubbed out samplemania, short sharp no wave riffs, sun-gazing psychedelica, 90’s indie sleaze, post everything vibes and endless sonic fun & happiness.

Some people would say Vanity Fair is a musical exploration of glossy machinery, the dacay of celebrity and a secret wink to John Bunyan’s Pilgrim’s Progress where
everything is on display and nothing is quite what it seems.

Other will say ‘Vanity Fair’ is a splendid record with 12 marvelous songs you just have to listen to and buy it because your life will only gets better from then on.

We believe both of them.

Credits
All songs written and produced by De Kloe
Elian Van den Eynde: guitar
Leon Jespers: electronica & keyboard
Midas Heuvinck: bass

Guest musicians
Kiara Govaert & Nina Brügger: vocals
Kiara Govaert: ocarina
Co-production and mixing by Martijn De Bondt
Recording by Simon Beeckaert
Mastering by Gert Van Hoof
Graphic design and layout cover by Leon Jespers

A quick scan of the world’s favourite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet »The System«, ingeniously culled and sequenced from Ranaldo’s soundtrack work for Dutch filmmaker Joris Postema’s ›eco-doc‹ of the same name, nonetheless feels like a reawakening. Quietly released in a vastly different (and much more ›filmic‹) form by Doxy Music/Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material written and recorded for the film, to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst.

Given the state of the world, it’s not surprising that the film Ranaldo scores – a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur – is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs.

As it turns out, the gorgeous scope of Lee Ranaldo’s guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon – the high plains raga of Bruce Langhorne’s »Hired Hand«, Neil Young’s sparse and ghostly solo transmissions on »Dead Man«, or the monolithic mantras of Popol Vuh’s »Nosferatu« – its devotion to spectral gestures and meditative song forms launches it firmly outside of the OST orbit into a universe fully its own.

It might seem like a long journey from the Lower Manhattan rhythmic grime of the album’s opener »Tajikistan (Nice to Meet You)« (reminiscent of guitar opuses like Robert Quine and Jody Harris’s »Escape«) to the ringing cowboy chords of the final track, but the narrative logic of the LP pulls the listener along as solidly as a pack horse. As the LP unwinds, and collaborators like Jim Jarmusch, cellist Leila Boudreil, Yeah Yeah Yeahs snare shaman Brian Chase, and guitarist Yonatan Gat take their places, new vistas unfurl: the ritualistic thrum of »Berlin Blockade«, the haunted overtone palaces of »Bergelmir«, and the cavernous acoustic strumming of »Instruments of Violence«. It all winds up with the high lonesome standard »Cool Water«, each unhurried note trailing off into long-tail reverb, layers of shifting vocal harmonies pulling everything skyward – a hopeful note in an album where existential dread never lurks too deeply below the surface.

In the end, »The System« functions both as a film score and a hallucinatory (mostly) instrumental guitar record, revealing a sensibility not too often spotted in the 21st century – a liminal space where the song, the jam, and the meditation merge into a blurred whole. »The System«’s expansive fabric, emerging from a collective sound circling around Ranaldo’s signature tones, envelops and ampl amplifies the contributions of its community of creators – the perfect antidote to narcissistic despair. Much like the subjects of the film light the way towards intra-generational resistance, the music of »The System« reveals a path through gathering darkness. The world could be yours if you follow.

– Tom Carter

A quick scan of the world’s favourite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet »The System«, ingeniously culled and sequenced from Ranaldo’s soundtrack work for Dutch filmmaker Joris Postema’s ›eco-doc‹ of the same name, nonetheless feels like a reawakening. Quietly released in a vastly different (and much more ›filmic‹) form by Doxy Music/Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material written and recorded for the film, to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst.

Given the state of the world, it’s not surprising that the film Ranaldo scores – a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur – is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs.

As it turns out, the gorgeous scope of Lee Ranaldo’s guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon – the high plains raga of Bruce Langhorne’s »Hired Hand«, Neil Young’s sparse and ghostly solo transmissions on »Dead Man«, or the monolithic mantras of Popol Vuh’s »Nosferatu« – its devotion to spectral gestures and meditative song forms launches it firmly outside of the OST orbit into a universe fully its own.

It might seem like a long journey from the Lower Manhattan rhythmic grime of the album’s opener »Tajikistan (Nice to Meet You)« (reminiscent of guitar opuses like Robert Quine and Jody Harris’s »Escape«) to the ringing cowboy chords of the final track, but the narrative logic of the LP pulls the listener along as solidly as a pack horse. As the LP unwinds, and collaborators like Jim Jarmusch, cellist Leila Boudreil, Yeah Yeah Yeahs snare shaman Brian Chase, and guitarist Yonatan Gat take their places, new vistas unfurl: the ritualistic thrum of »Berlin Blockade«, the haunted overtone palaces of »Bergelmir«, and the cavernous acoustic strumming of »Instruments of Violence«. It all winds up with the high lonesome standard »Cool Water«, each unhurried note trailing off into long-tail reverb, layers of shifting vocal harmonies pulling everything skyward – a hopeful note in an album where existential dread never lurks too deeply below the surface.

In the end, »The System« functions both as a film score and a hallucinatory (mostly) instrumental guitar record, revealing a sensibility not too often spotted in the 21st century – a liminal space where the song, the jam, and the meditation merge into a blurred whole. »The System«’s expansive fabric, emerging from a collective sound circling around Ranaldo’s signature tones, envelops and ampl amplifies the contributions of its community of creators – the perfect antidote to narcissistic despair. Much like the subjects of the film light the way towards intra-generational resistance, the music of »The System« reveals a path through gathering darkness. The world could be yours if you follow.

– Tom Carter

Here at Tuff Kong Records we really like to push our boundaries and explore different sounds, we're passionate with music at 360° and so are these guys we have decided to bring to your attention. Dumbo Station is a nu-jazz ensemble out of Roma, Italy that we've met during a live jam with legendary MC Danno of historical roman hip-hop group Colle Der Fomento. They immediately caught our attention and after listening to this masterpiece we decided to collaborate with them and Roman jazz imprint AlfaMusic to release their debut full-length "Tirana Cafè" on limited edition vinyl. The 11 songs featured on their first studio effort will take you on a trip through different soundscapes with the quartet as your guide, joined by Italian talents the such as vocalist Davide Shorty as well as Maurizio Giammarco's sax and Elvio Ghigliordini's flute. These young fellas have managed to merge nu-jazz with soul, funk and modern sounds creating a true masterpiece.

On his brand new studio effort Styles P proves his key to success has always been consistency. The born in Corona, raised in Yonkers, NY native has really worked harder than most to earn the name GOAT, and by naming his album “S.P. The GOAT: Ghost Of All Time” you know he’s not bragging about it, in fact he’s getting his flowers while he’s alive from Hip Hop connoisseurs who know fire bars when they hear them. With productions by Vinny Idol, Termanology, Dayzel the Machine, and Noah Idol among others and guest appearances by Sheek Louch, Jadakiss, Nino Man, Fame of M.O.P, Whispers and Cris Streetz, the legendary LOX and D-Block member proves once again he’s aging like fine wine.

BerettaMusic's compilation series is mouthwatering just from reading the names of the artists involved. First up is Detroit mainstay Dez Andres, who opens with 'Ready Disco,' a warm and typically hip-hop-inflected tone that Curiel's 'Keep You That Way' and Evan Rhodes' 'We Go Low' both build on comfortably, with the latter a particularly contagious minimal house shuffler with a bassline that really pops. DJ Cent's 'Malfunction' gets more heavy and threatening with steely drums marching into darkness, before Ryan Sadorus closes with 'Cultivate,' a storming disco-house workout. It's less a scattered various-artists grab bag and more a real document of Detroit's current house scene. Unsurprisingly, then, it is superb.

His discography has long been heard through the lens of the American folk tradition. But Just Beyond Endless Mountain, out October 9th on Anti- Records, quietly turns that perspective on its head. After returning to his native Dalarna in central Sweden, Matsson found himself listening to the music he had spent years trying to leave behind: the polskas, the old field recordings and the sounds of the local traditions that had surrounded him since childhood. The result is not a return to the past, but a step into new musical territory. Swedish folk music has reshaped his melodies, his voice, and the way he writes songs. The Tallest Man On Earth is back with his most deeply rooted album to date. Just Beyond Endless Mountain opens an unexpected new chapter in a career that has never settled for familiar ground

Former members of COWARD, an instrumental math rock quartet from Columbia, Missouri, Mikey Wheeler, Nathan Driskill, and Cody Mains began developing new material with former FAMINES bandmate Matt Cole in the summer of 2024. Dense, angular riffs underscore dynamic arrangements. Delicate melodies soften harsh edges. Core themes of death and loss juxtaposed against brief glimpses of acquiescence and hope... The GIFT HORSE sound searches for cracks in the dark where the light can come through. ABSENCE, recorded between June of 2025 and June of 2026, was produced, mixed, and mastered by Ian Dobyns at Element Studios in Kansas City, Kansas and Pachyderm Studios in Cannon Falls, Minnesota.

Much like a teacher, Meryl Streek imparts his knowledge and lived experiences to all who are willing to listen. His third album, ‘Stories They Don’t Teach You At School’, serves as an alternative form of education, delivered through a visceral blend of factual soundbites and raw emotion, loops and samples, guitars and bass. The lyrics resonate with core values of compassion, resilience, and community—themes rarely explored within a classroom setting or seen in today's fragmented society. By prioritising conviction over commercial success, the Dublin artist's outspokenness may invite controversy. Yet beneath the fervor lies a profound desire for positive social change at home in Ireland, and beyond.
Meryl Streek returned to Darkland Studios in Dublin to fine-tune the recordings previously made in a shed at the back of his ma's garden. Here he continued the genre-blurring nature of his earlier work, enticing listeners toward dissonant landscapes and hypnotic rhythms. Gentle piano tones collide with abrasive synths, creating a striking tension between beauty and noise. Streek tempers his rage when appropriate, integrating atmospheric textures and pop sensibilities into his ever-expanding sonic collage.
As is tradition with any Meryl Streek record, ‘Stories They Don’t Teach You At School’ unearths many uncomfortable truths. ‘Rotten Fruit’ examines media manipulation and the numbing proliferation of misinformation, all soundtracked by synth-punk. With gliding keys and a crunchy bassline, ‘Council Estates’ critiques systemic government failures affecting the working class. ‘Kelly’ is a slice of electronica that details an ongoing criminal investigation, currently classified as a “Contested Cause of Death”. The indie pop of 'The Chancer' brings much-needed attention to landlord politicians. As the album progresses, the mission remains absolute: to provide a voice for the voiceless.
To amplify these narratives, Meryl Streek handpicked a diverse group of collaborators for the project. ‘Rotten Fruit’ features Steve Ignorant of anarcho-punk collective CRASS. ‘Depression’ opens with a touching recording of the late Liam Norton, close friend and former touring companion, while Pete Holidai of The Radiators From Space contributes guitars on the song. Comedian Phill Jupitus provides the spoken outro for ‘The Chancer'. ‘Housing For All’ incorporates audio from Derelict Ireland campaigners Frank O’Connor and Jude Sherry. Venn Records owner and Gallows guitarist Laurent ‘Lags’ Barnard joins forces with Adebisi Shank bassist Vinny McCreith on the aggressive ‘Bullet,’ while Sophie Porter of Other Half provides bass guitar for ‘Life is Not a Rehearsal’. The album concludes with a three-minute spoken word piece by Frankie McNamara, the viral creator behind ‘Meditations for the Anxious Mind’.
In her 1990 protest anthem “Black Boys on Mopeds,” the late Sinead O’Connor warned, “To say what you feel is to dig your own grave”. With this release, Meryl Streek firmly holds the shovel.

Jude Brothers sails toward a new shore with Dogwood Maiden Voyage. Created in living rooms, recording studios, and train tunnels between Tennessee and Arkansas, it's an adventurous album that's every bit as eclectic as its world-traveling creator. Here, Jude's vision of freethinking folk music — a multicultural sound that truly knows no borders, inspired by a vast array of global folk, sacred music, and pop songs— is given a lush update with string arrangements and vocal harmonies, shining new light on an artist who's always evolving.

Jude's songs are rarely linear. Instead, they explode outward in unexpected directions, exploring left-hand turns and detours before returning to their original paths. Caught halfway between the free-form, the freak-folk, and the finely-crafted, they tell stories about the complicated paths we take toward self-discovery, the push-and-pull between the desire to belong and the perpetual feeling of otherness, and the growth that emerges during times of barrenness. "You can sit with an old southerner on the porch and they’ll be telling you a story, and there are 17 different tangents," Jude says. "That's how I make music. I take all different plot lines and weave them together."

Throughout Dogwood Maiden Voyage, Jude indulges in childlike fantasy as an adult, encouraging fractured pieces of identity to communicate with one another. Much of that fantasy takes place in the woods, surrounded by trees, protected by the natural world that Jude's music so wistfully evokes. There's grief and darkness here, but there's light, too, like a forested landscape that's beginning to embrace spring after a long winter. Dogwood Maiden Voyage makes room for both sides of that divide. It's an album of multitudes — a record for all seasons.

DINTE presents a collection of southern gospel sides from late 1940s to mid 1950s capturing the post-WWII departure from rural folk & shape-note singing traditions that had previously defined the music, to quartets and vocal harmony groups embracing of driving, uptempo boogie-woogie rhythms and spirituals borrowed from the black church. Meticulously transferred and restored from the original 78 RPM and transcription discs by collector James Zurek