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Uni Boys waltz back into our lives spinning thundering playful songs full of ideas on a self titled power-pop LP recorded all analogue across two weeks with Paul D. Millar in Brooklyn and once again with cameos from friends The Lemon Twigs. The raw power of Uni Boys undeniable pop has marked them for rock’n’roll greatness from the start. With a unique feel for classic melodies — worn proudly on their sleeves, delivered tongue in cheek, and charged with the swagger of restless youth — they’ve won the hearts of their young generation’s music scene and earned the respect of their legendary predecessors.

Power Pop saviors recorded in all their analog glory on their third Curation Records long player UNI BOYS. Returning to NYC under the sonic thumb of Paul D. Millar (Lemon Twigs/Tchotchke) Noah Nash and Lemon Twigs drummer/guitarist Reza Matin have crafted 12 new songs of introspection, heartbreak and young love - the follow-up to their success with‘BUY THIS NOW!’. The resulting ‘UNI BOYS’ album is their most listenable, radio-ready (if this was 1979) record to date, it's so super catchy you’ll not get away easily.

Uni Boys waltz back into our lives spinning thundering playful songs full of ideas on a self titled power-pop LP recorded all analogue across two weeks with Paul D. Millar in Brooklyn and once again with cameos from friends The Lemon Twigs. The raw power of Uni Boys undeniable pop has marked them for rock’n’roll greatness from the start. With a unique feel for classic melodies — worn proudly on their sleeves, delivered tongue in cheek, and charged with the swagger of restless youth — they’ve won the hearts of their young generation’s music scene and earned the respect of their legendary predecessors.

Power Pop saviors recorded in all their analog glory on their third Curation Records long player UNI BOYS. Returning to NYC under the sonic thumb of Paul D. Millar (Lemon Twigs/Tchotchke) Noah Nash and Lemon Twigs drummer/guitarist Reza Matin have crafted 12 new songs of introspection, heartbreak and young love - the follow-up to their success with‘BUY THIS NOW!’. The resulting ‘UNI BOYS’ album is their most listenable, radio-ready (if this was 1979) record to date, it's so super catchy you’ll not get away easily.

John Andrews has spent the past few years tucked away in Red Hook, Brooklyn - a neighborhood that sits just beyond the natural drift of the city. Once shaped by maritime industry and later a haven for artists in search of vast warehouse space, its history and isolation give it a quiet magnetism. Streetsweeper, the fifth album by John Andrews & The Yawns, reflects that vantage point-tranquil, self-contained, and curious about the movements most people overlook.
Just a few cobblestone blocks from the freight-ship-lined harbor, Andrews wrote dozens of new songs at his electric piano. Nine of them found their way to Los Angeles to be recorded with Luke Temple, who played guitar and some bass. Drummer Noah Bond and bassist Kevin Louis Lareau, both longtime members of The Yawns and Cut Worms, form the rhythm section. Will Henriksen of Florry played fiddle on “Something To Be Said,” while Emily Moales of Star Moles sang harmonies recorded remotely by Kevin Basko at Historic New Jersey.
Red Hook may not be the easiest neighborhood to reach, but that distance gives it a singular glow-one Andrews sneaks into every note of Streetsweeper. The Super 8 video for “Something To Be Said,” shot by Hilla Eden, wanders through its streets like a hazy love letter. The album offers a similar invitation: step off the main road, linger a little, and notice the small, overlooked moments that make a place-and a life-rich. Andrews has swept those margins with care, leaving songs that listen, observe, and stay with you.

One of the first punk bands to set up an "indie" label, they were also pioneers of "alternative" music, mixing punk with experimental sounds. Swell Maps released four singles and two albums in a brief but eventful career, in partnership with Rough Trade, topping UK indie charts and influencing acts including Sonic Youth, Nirvana, Stereolab, and Blur. The original line-up split in 1980, but still their studio albums, A Trip to Marineville and Jane From Occupied Europe, attract new generations of enthusiasts. In 2021, Jowe organised performances
with ten musicians to play a diverse selection of Maps material over two consecutive nights at London's Cafe Oto, and did it again at the Rough Trade launch for Jowe's book on Swell Maps in 2022. Concerts followed across the UK and Europe, with more planned. This ongoing project has resulted in a new studio album, C21, released through Tiny Global Productions. The material was composed at various times between 1979 and the present, including older songs never recorded professionally, a remake of Soundtracks' astonishing Jelly Babies and plenty of surprises. C21 offers memorable melodies, wild riffs with super hooks, yet never veers from their adventurous spirit, radical ideas and eccentric musical shapes. The current collective of musicians features: Jowe Head, David Callahan of Wolfhounds / Moonshake / solo fame, Jeff Bloom out from Television Personalities, Alternative TV's Lee McFadden, Lucie Rejchrtova (Crazy World Of Arthur Brown), Chloe Herington from chamber rock faves Chrome Hoof, and Luke Haines, who led Auteurs and Black Box Recorder and plays with REM's Peter Buck. SWELL MAPS will be performing throughout 2026 across the UK and Europe and are proud to present this stellar document, which maintains the group's devotion to D-I-Y ideals and impulses. The vinyl album covers were hand-screened and stamped by a feminist cooperative in Valencia, Spain and are offered in three randomly picked variants. The Guardian is going to run a 1400-word piece on the release.

DISPLACES represents Fabris' most personal musical journey to date, inspired by the concept of hyperobjects and cartographic practices. The album sculpts a high-dimensional phased time-space composed of concrete materials and digital archetypes in a state of constant displacement. It delves into the symbolic and philosophical realms of mapping as one of the greatest sense-making mechanisms for life, in dialogue with object-oriented environments, superimposition and non-locality applied to cosmic, temporal, and emotional memory.

The sonic ecosystem expands on the image of navigating a path through a set of places, from the microcosm of quanta to the macro force of dark matter, from underwater depths to overland terrains, encapsulating the cyclical flow between birth and death, both in ecological and anthropological sense. The intersection of these shifting states is explored through the extensive processing of the langspil, Iceland's only traditional instrument, intertwined with manipulated field recordings of biophonies and geophonies captured across Icelandic and Venetian territories. These recordings form the backdrop for a meditative process that relocate familiar objects into unfamiliar realms, reflecting on the transformative power of self-reflection while encapsulating the fragmentation and entanglement found in nature and the human state. The record plunges the listener into a disconcerting and physical soundscape, as a “ghostly spectrality that comes in and out of phase with normalized human spacetime,” evoking sensations of suffocation and release as each layer continuously unfolds the palimpsest of the enclosed labyrinth.

“Extraction of the I” embodies a subatomic reaction—erupting as a molecular force that rises, only to re-submerge with a solitary exhale underwater. In this mutated dark space, beluga whales breathe into "Xanadu Phasing," creating a pulsating tension that releases only to unveil a frozen landscape.

In “Barricading the Ice Sheets” the glacial material morphs into a liquid tunnel of digital artifacts, building a wall of noise that shatters into scattered fragments of ice, resembling bird calls from another world.

A moment of stasis is offered with the appearance of an asymmetrical loop in Monolith I, evoking a primitive rite before an unknown force emerges.

The physical intensity of subsonic material in "A Quake in Being" interrupts the hieratic tone, detuning into polluted sonic matter sourced from relics of the First World War in the Venetian Prealps. The geography of this place reconciles with the original homeland in "The Map is the Territory," blending negative space with anthropogenic elements and exploited sounds of the langspil.

The burning density of "Wolf-Rayet" projects into the void, echoing the residual sounds of a local church as relics of fossilized religions. Wolf tones are the remains in Monolith II, introducing the final track, "Topography of Extinction," where evolving psilocin textures invite the listener to uncover deeper layers of meaning and dislocation.

Some tracks are just too good to only feature on a compilation, even if it is a significant and celebratory set like Leng’s 15 Year anniversary album from late last year. That’s certainly the case with Payfone’s brilliantly atmospheric ‘Dime Algo’, a seductive slab of slow-motion Balearic disco featuring ‘I Feel You’ vocalist Kyd Nereida, along with Sofi Hardoy and Ludmila Rodriguez.

For this single release Black Science Orchestra, one of Britain’s most storied production collectives, deliver some truly exceptional remixes. Initially making their name with a series of sensational house jams on Junior Boy’s Own across the 1990s, BSO became renowned for the quality of their remixes as well as an ever-evolving trademark sound that put soul, organic instrumentation and references to dance music’s rich and varied past front and centre.

Comprised of Rob Mello, Ashley Beedle and Darren Morris, Black Science Orchestra work has been rare in recent years but here they deliver some magical takes on ‘Dime Algo’, blending Payfone’s original instrumentation with their own low-tempo magic. The Vocal Mix begins with sparse drums, Kraftwerkian bleeps and heavy sub-bass, building the action in waves with 303 lines, electro synths, warm chords and Nereida’s superb lead vocals combining to re-frame ‘Dime Algo’ as a deep, far-sighted slice of chugging 21st century acid-disco. The Dub Mix stretches things out with effects-laden instrumentation, acid lines and vocal snippets. Deeper and woozier, with more prominent use of the trio’s 303 trickery and Payfone’s superb original elements, it’s a heady, intoxicating and loved-up interpretation that subtly gains intensity throughout its seven-minute duration.

Pumpin South France sound...

With a collab between Uzi and Keja for the opening, creative drops and mental effects.
Then comes a Jarotek and Trizia Moth versus with a Old School inspiraly sound... And a deep drop. tribe is tribe...

The Flip starts with a Keja long 145 BPM tune. Mental Twirler at a sweet tempo... boostable.
Last tune is a superb ragga jungle banger from Uzi. A master piece... Short but wicked !!

Record comes with an Insert and a sticker.

Pumpin Tribe from Enguenzeu familly !
With a fun super visual from ExpExp :)

Disco Pumpin Tribe music for a smily party !!
BIG UP !!

Superb Mental Tribe... Pure sound out of the common fields...

A black pearl.

'Balconies' is an urgent, physical record shaped by momentum and heat. The album takes its title from a recurring metaphor: a balcony as a place of exposure and distance. Elevated, visible, yet removed from the action below. Throughout the record, Tin Fingers explore feelings of observation, displacement and restlessness, moving through places without fully belonging.

Musically, 'Balconies' marks a clear shift for the Antwerp band. Where earlier releases leaned into intimacy and melancholy, this album is louder, more direct and built for movement. Sharp, energetic songs are balanced by the band's continued attention to atmosphere and imagery.

The album was written instinctively over three months by frontman Felix Machtelinckx before being brought to the band, with arrangements coming together quickly thanks to years of shared experience. Recording took place over four hot summer days at The Old Carpet Factory on Hydra, Greece. The warmth, the sea and the island's isolation shaped both sound and mood, while limited time encouraged live recordings that capture the album's raw energy and immediacy. 'Balconies' was mixed by D. James Goodwin (The National, Kevin Morby, Whitney).

Following the release, Tin Fingers will present 'Balconies' live, with shows at De Roma (Antwerp), Mezz (Breda) and Supersonic (Paris).

Rami Gabriels zweites Album ,Tunderizer" bringt den harten Experimentalismus des Post-Punk-Industrial in die gemütliche Atmosphäre von zu Hause. Wie Schatten, die durch Spiegel huschen, verdeckt ein Mix aus Lo-Fi-Noise-Art und Feldaufnahmen das super abgestimmte Songwriting. ,Tunderizer" rockt in allen Bereichen, von mitreißenden Melodien bis hin zu dekonstruktivem Rauschen, von Country bis Tarab, von Skronk bis Delta Blues. Der in Beirut geborene Rami Gabriel ist Komponist und Songwriter und spielt Oud, Buzuq und Gitarre. Er lernte Blues und Jazz, indem er mit legendären Musikern aus Chicago auftrat und diese Musikstile mit arabischen Traditionen verband. Rami tritt häufig in Nordamerika und international auf, unter anderem in Europa, Indien, der Türkei, dem Libanon und Ghana. Kürzlich spielte er beim Portland Jazz Festival, dem NYC Arab Festival und dem Festival International De Louisiane. Rami leitet die in Chicago beliebten Bands The Arab Blues und das R&B-Quartett Rami & the Reliables. Er stand schon mit Größen wie Buddy Guy, Zakir Hussein, Bela Fleck, Edgar Meyers und Rakesh Chaurasia auf der Bühne. Er war Vorband für den britischen Songwriter Nick Lowe und nimmt regelmäßig mit Mitgliedern der amerikanischen Rocklegenden NRBQ auf. Außerdem stand er schon mit Prostitute, Marvin Tate und anderen Punk- und Noise-Künstlern auf der Bühne. Seine Musik wurde von experimentellen Künstlern wie Fire-Toolz, Beau Wanzer, Sen Morimoto, Lynyn, k-rAd und Alex Hall von Reliable Recorders aus Chicago remixt.

Der nächste Geniestreich des Hit-Garanten
Mit seinem neuen Studioalbum "Whoever’s Clever!" beweist der vierfach GRAMMY-nominierte Multiplatin-Künstler Charlie Puth erneut, warum er als einer der versiertesten Songwriter und Produzenten der modernen Popmusik gilt.
Nach dem Erfolg seines persönlichsten Albums CHARLIE kehrt er nun mit einem Sound zurück, der technische Brillanz mit unwiderstehlichen Feel-Good-Hooks vereint.
Am 8. Februar 2026 wird er vor einem weltweiten Millionenpublikum die Nationalhymne beim US Super Bowl Finale performen. Dieses mediale Großereignis markiert den offiziellen Startschuss für die Kampagne zu seinem vierten Studioalbum "Whatever’s Clever!", das am 27. März erscheint.
Das Album, produziert von Puth selbst und BloodPop, wird bereits jetzt als eines der Pop-Highlights des Jahres gehandelt.
Zudem wird er für 2 exklusive Konzerte nach Deutschland kommen
05. Juli 2026 – Hamburg, Stadtpark Open Air
06. Juli 2026 – Frankfurt am Main, Jahrhunderthalle

Following on from Butler, Blake & Grant's eponymous 2025 debut for Bernard Butlers' 355 Recordings, the trio reassembled at Norman Blake's home studio. 'Murmurs' is in some ways going back to where it all began for Butler, Blake & Grant, with the trio reimagining songs from their individual back catalogues which was in fact the premise for the very early shows that they played together. It all begins with 3 guitars, 3 voices and blooms from there.

Limited edition initial pressing of 1000 copies on silver vinyl in individually numbered sleeve.

"Scottish fireside Supergroup' - Uncut

"A uniquely pastoral musical summit...the tone feels perfectly integrated and cohesive. Imagine a mostly-Caledonian CSN&Y and you get the idea" - Record Collector

High-quality FERRO cassette tapes, printed on 160g premium paper.

Release info
New release with a remix coming from Mirror Lake (Mexico). His version of the track could easily fit into a drum & bass set, but would work just as well in a classic 4/4 set as a refreshing change of pace. Compared to my original, his version features a shorter bass, making the groove more dance-driven and energetic. Superb control over detail throughout the entire track.

Over half a century after it set them on the path to superstardom, Queen’s regal second album, Queen II, has been remixed and remastered.

Arguably the heaviest Queen album, Queen II was originally released in 1974 and widely heralded as their first true masterpiece. With Brian May and Roger Taylor as executive producers, the album has been stunningly mixed by the team of Justin Shirley-Smith, Joshua J Macrae and Kris Fredriksson.

For this edition, the label meets this duo of producers, that has been created by the musical synergy between Zonker and Daniel Gorziza, who go by the name – “SameSame”. This disc has been titled “Unconditional Society” and has been crafted with a mission to be brought to the worldwide dancefloors and to be foreseen by the adepts of the sound it conveys. The A side is opening with a deep trancey burner “Suspect Zero”, with time passing this side of the record is morphing into the prime-time speaker ripping sound of “Rip the Jacker. The B side will see more mellow feel to it and sometimes even could be said that the vibe turns relatively melancholic by the time the record reaches its natural conclusion. The words that have been shared do not translate the profoundness of the subject that the artists have carried through, but then again, sometimes them letters have to be present even if they are kept to the slightest. The frequencies communicate much superior to the words and by now you can stop reading this and immerse yourself into the sound.

xm Black talk [Part 1]
[xn] Hörprobe Track 8: Black talk [Part 1]



[xr] Thank you [Part 1]
[xs] Hörprobe Track 9: Thank you [Part 1]




























[yv] Listen here [Part 1]
[yw] Hörprobe Track 15: Listen here [Part 1]








[h] B4 | Charles Earland - Black talk [Part 1]
[i] B5 | Melvin Sparks - (Jazz) Thank you [Part 1]





[o] D2 | Freddie McCoy - Listen here [Part 1]

'Thirteen' is the thirteenth studio album by classic British prog band Soft Machine. The album of superlative new material, marks a fresh chapter in the group's 60-year history.

Soft Machine in 2026 is not what you would expect, they've produced a vibrant and exciting Jazz record that deserves to be heard!

Supertramp are releasing the definitive vinyl pressings of their studio albums. Breakfast In America audio was transferred at Abbey Road Studios by Miles Showell and overseen by album co-producer Peter Henderson, where they cut the 1/2 speed master used to press the vinyl. The LP is pressed on 180g black vinyl. This is the group’s sixth studio album released in 1979.

Supertramp are releasing the definitive vinyl pressings of their studio albums. Even In The Quietest Moments audio was transferred at Abbey Road Studios by Miles Showell and overseen by album engineer Peter Henderson, where they cut the 1/2 speed master used to press the vinyl. The LP is pressed on 180g black vinyl. This is the group’s fifth studio album.