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Electronic music visionary Pye Corner Audio, a master of blending nostalgia with forward-thinking production, has carved out a unique niche in the electronic music landscape. Drawing inspiration from 1970s and 80s synthesizer music, Detroit techno, and cinematic soundtracks, his work often evokes a sense of eerie futurism.

Lapsus Records is proud to present Where Things Are Hollow: No Tomorrow, a comprehensive box set revisiting and expanding his acclaimed Where Things Are Hollow series. This release includes the first two volumes—with Volume 2 featuring an unreleased track—and two additional chapters that further enrich the series’ narrative. Once again, Pye Corner Audio delivers innovative soundscapes, drawing inspiration from ambient techno, cinematic electronica, and experimental slow disco.

The third installment unveils a constellation of entirely new tracks, weaving the ambient, synthwave, and retro-futuristic textures that define Jenkins' work. Meanwhile, Where Things Are Hollow 4 amplifies this narrative, incorporating reinterpretations by some of today’s most visionary artists: Alessandro Cortini, Kaitlyn Aurelia Smith, Lord Of The Isles, and Surgeons Girl, alongside the popular 2020 John Talabot remix of "Resist".

As with previous entries, the visual identity of Where Things Are Hollow: No Tomorrow is a striking collaboration between Basora Studio and renowned illustrator Alex Trochut, offering a visual counterpart to the series' otherworldly audio.

With all tracks remastered for this release, Where Things Are Hollow: No Tomorrow is a testament to Jenkins' enduring influence and creative evolution, cementing Pye Corner Audio as a key figure in modern electronic music.

Canadian bowed guitarist and multi-instrumentalist C. Diab announces his fifth album Imerro, out February 16th, and presents the trip-infused lead single 'Lunar Barge'.

(Real name) Caton Diab creates soundscapes that evoke the spectacular wilderness of his childhood home in northern Vancouver Island. Incorporating experimental textures, folk overtones and tape manipulations, C. Diab uniquely finds the unseen spaces in-between, and fittingly dubs his creations "post-classical grunge". Imerro explores new sonic realms and is the culmination of a sound world that Diab has built up since the critically acclaimed 'No Perfect Wave' (2016, Injazero) and subsequent releases 'Exit Rumination' (2018), 'White Whale' (2020) and 'In Love & Fracture' (2021). The Wire calls it "ambient music in the best sense - music for living, which can be both non-invasive and immersive...epic"

Imerro was recorded in late July and August of 2021 at Risque Disque Studio in Cedar, BC, during the summer's unprecedented second "heat dome", which saw temperatures soaring to over 40 degrees. Recorded with regular collaborator and engineer Jonathan Paul Stewart, the pair journeyed by boat to the studio to a place with minimal distraction with a plan of "simple ecstatic improvisation." Diab explains: "I wanted to place myself in a space for creation with little thematic pretence, with the belief that music 'shows its face' as you move along. I would pick up an instrument, whether I had experience playing it or not, and make a sound. If it wanted to be played, it would play."

"Dylan Hayes' album debut LP, We Don't Own, We Create, released on Futurepast, is a sonic trip balancing club functionality with experimentation. The two-discs project is a bold statement of artistic intent-where minimalism, industrial textures, and introspective loopy moods collide.

As the result of 8 years of research and experimentation, We Don't Own, We Create is an electronic sci-fi odyssey, unfolding across eight tracks balancing structure with unpredictability. Co-produced and mixed by Davy Vandegaer, this album is also the story of a friendship rooted in a shared vision-crafting a signature 'futurepast' sound where old-school techno aesthetics meet fresh, yet edgy, sonic treatments. The first disc unfolds like a waking dream. My Ikigai sets the tone with pulsating, introspective club energy, blending loopy synths and a growling bass. Plastic World plunges into eerie depths, weaving spectral vocals and fragmented rhythms. Silent Reverie in To Memory drifts through textured atmospheres and layered percussive echoes. Remind Me Ridley twists hypnotic techno into a dense, mantra-like piece-its reverbs and delays build an intensity conjuring into a foggy, shifting auditive illusion.

The second disc marks the awakening, shaking off the haze with Beautiful Struggle, where abrasive loops, industrial bass surges, and dissonant synth layers build tension. Echoes of Fate condenses the album's ethos, unleashing pulsating stabs and humming rhythms that slice through the mix with razor-sharp precision. The eponymous We Don't Own, We Create is an electronic ode to the creative process, where haunting vocal loops weave through deep, trippy synth lines, blurring the boundaries between organic and synthetic. Closing on Mizze, the journey dissolves into pure introspection, fading into the ether.

The record balances four club-driven tracks and four experimental pieces, crafting a distorted, explorative soundscape-an immersive journey where dance music meets dark, avant-garde sound design."

Verdure – Timeless Wave
With ’Timeless Wave’ Verdure releases an overwhelming acidic tidal force of a track.
A 9 min long epic multi layered surge across various territories and morphing along the way, starting out at 145 bpm and picking up velocity in the course, details whizzing by in unsuspected clarity.
Verdure is featured on his own full release on Violent Cases 031 VC031 .

Six Ou Sept & L Art Cène – Cap Nord
Darkness is moving over the surface of the watery deep at ’Cap Nord’. Acid lines cut thru the black liquid with sharp fins. Then a long break...is it the swan song of whales or the intercom of AI reapers? The end or a new beginning? When the Acid fades the Tekno kicks in. 150 bpm is the pace. Both long intro and bold beatless interlude create DJ options.

Too Old Boyz – Darkettony
Too Old Boyz are back in town and they are not in the mood for fooling around. It’s getting dark, better check your rear. The lights are flickering and you can’t get off this train. 40 tons rolling through Gotham at 145 bpm.
Too Old Boyz are Tommers and Introspective Views. Check out their ’Danger Is Sauce For Prayers‘ EP on Violent Cases 022. [VC022] and their Rodenwald - Tauchstation Remix on Endless Night 2 [ENNI2].

With another awe inspiring custom artwork by Darkam. Mastered by Pozek in Vienna.

Luke's Anger (real name Luke Sanger) delivers his first outing on Love Love, Ceiling Walker. Sanger is a relentlessly interesting hero of the underground, probably best known as a techno and electro producer and an active player in the live experimental techno scene across Europe, notably including multiple appearances at Berghain/PanoramaBar. Based out of Norwich, UK, Luke has put out a plethora of banging records for two decades in styles from across the rave spectrum on some of our favourite record labels like Tigerbeat6, Don't and Sneaker Social Club, as well as an increasing amount of more ambient-leaning releases under his real name in recent years. Recognised as a true techno stalwart, Luke has received support from the likes of Surgeon, Dave Clarke, The Advent and Jerome Hill.

This EP fits firmly into the 'banging' camp - more than a nod to classic stateside sci-fi electro stylings as well as UK dance music's bleep techno bass foundations, this is popping, caustic, mechanical phunk expertly engineered to make you shake and wiggle. Particle Swarm kicks the EP off with strung-out synth chirps and plenty of latex squelch before moving onto the bounciest number, Threshold Rider, with buoyant bassline droplets poking through a solid 808 framework. On the flipside, title track Ceiling Walker utilises rushing crescendos and fluttering analogue rhythms to keep the dancefloor in rapture while closer, Silicon Boogie, achieves maximum levels of funk by aptly juxtaposing digi vocal snippets against square wave bass.

Placenta is the fourth collection of broadly imaginative and highly collaborative Carlos Niño & Friends music released on International Anthem since 2021. But perhaps more notably for the zeitgeist of today, it is the first new music to be released by Carlos Niño & Friends following the November 2023 release of André 3000’s New Blue Sun – an album which Carlos produced alongside André, while co-writing, performing, and co-mixing every song. The announcement of Placenta also comes while Carlos is in the middle of tours with André to support New Blue Sun, where Carlos wields an immense presence as music director, bandleader, and percussionist, and performs alongside many of the same musicians that are present on his recent & Friends albums, including this new one.

Placenta is announced on the 1st solar return of Moss Niño, of whom Carlos and his partner Annelise are Earth parents. Their experience of pregnancy, labor and delivery were all profoundly impactful for Carlos. Becoming a father again (a whole 25 years after the birth of Azul Niño, who has become a regular artistic collaborator for Carlos) he felt total Inspiration for this set of recordings, and hence it is perhaps the most conceptually-grounded Carlos Niño & Friends album we've yet to present–fully connected to the spirit of family, birth, and "how we get here."

In Niño’s words, Placenta is “dedicated to Mothers, Children, Babies, Aunties, Doulas, Midwives, Birthworkers...,” and a short list of track titles includes: "Love to all Doulas!," "Some Rest for the Midwives," "Real Vital Organs," and "Generous Pelvis." The centerpiece of the album, the sprawling "Placenta, Nourishment, New Home, The Galaxy," is an unbelievably vivid immersion in the sonic architecture of Niño's memory-scape...like being present in his energy field...or being present in a birthing room, or maybe even being born yourself. And it just might be the most powerful, unique piece of music Niño has ever created.

Featured artists on Placenta, in order of their entry on the album, include: Nate Mercereau, Jamire Williams, Sam Gendel, Jamael Dean, Dexter Story, Brandon Eugene Owens, Maia, André 3000, Jesse Peterson, Ariel Kalma, Surya Botofasina, Annelise, Haize Hawke, Aaron Shaw, Devin Daniels, Tiffany de Leon, Michael Bolger, Michael Alvidrez, Moss, Iasos, Photay, Deantoni Parks, Adam Rudolph, Andres Renteria, and Cavana Lee.

Tuneful, feedback- slathered surges like "Half Way Fine" and "Spright" feel as
comfortable as a beaten-up pair of Chuck Taylors, introducing dramatic dynamic
shifts and savvy melodic change- ups to keep you on your toes. You may not
always be able to make out Hartlett's lyrics amid the cyclonic fuzz, but the
despondence and disillusionment in his voice always cut through loud and clear.
And when he can't quite find the right words, he and fellow guitarist Morgan Luzzi
unleash that simmering angst through nonverbal means, like the roiling guitar
tsunami that brings the hazy-headed "Baby Alligator" to a cataclysmic close.
Stuart Berman, Pitchfork

Bugge Wesseltoft has long been a shaper of his own jazz idioms, through his diverse solo albums, his group projects such as New Conception of Jazz, OKWorld! and RYMDEN, and collaborations with artists such as Sidsel Endresen, Henning Kraggerud or Henrik Schwarz.

"Am Are" features special constellations of superb musicians that spans both generations and styles, and is an exploration of sonic textures, dynamic contrasts of mood and style, and ranges from sparse arrangements through to complex layers of dubs and loops and improvisational interplay.

The album begins with Bugge alone on "How?" with layers of undulating atmospheric synth, brought into focus by Bugge's piano at the forefront, creating a minimalist miniature that is both emotive and serene. For "Villrein" Bugge is joined by Elias Tafjord on drums, beginning with a santur-like synth figure, floating over ominous formant sci-fi bass synths bubbling and pulsing, and overlaid by phrenetic piano that only stops to lock into the santur figure before relaunching on its own journeys, all underpinned by Elias Tafjord's expressive drumming. "Is Anyone Listening?" demonstrate's Bugge's songcraft, layering muted percussive piano behind Rohey's distinctive and beautiful vocals punctuated by Martin Myhre Olsen's tenor saxophone, creating a soulful mood tinged with desperation.

"BAG" presents the first classic piano trio of the album - Bugge on piano and synths, Arild Andersen on bass, and Gard Nilssen on drums - announcing itself with an insistent riff, chattering drums, breaking into a progressive rock-style passage of bass and piano in unison. "Reel", the second track from this trio, is a mellow soundscape that evolves to become hazy urban downbeat jazz.

The second piano trio of Bugge (Rhodes and Korg MS20 synth), Sveinung Hovensjø (Electric Bass), and Jon Christensen (Drums and Bells) offers a completely different perspective. The first track "Render" features Bugge's Zawinul-esque Rhodes and monosynth leads, Sveinung's fuzz bass in something of a leading role, all carried with chattering gusto by Jon Christensen's dynamic drumming that brings texture and space as well as rhythm to the piece. "Vender" begins as an atmospheric piece, with reed organ-like synth washes, and octave-processed bass with a somewhat sitar-like tone, meandering until the track breaks down into drums and bass weaving around an insistent drum machine loop, dripping with synth pads and monosynth lead.

"JazzBasill" introduces the third piano trio - featuring Bugge (Piano), Jens Mikkel Madsen (Acoustic Bass) and Øyunn (Drums) - and offers a classic piano trio style with urban sophistication, that is lyrical, and interspersed with staccato cadences, giving a feeling of broken swing, slightly staggered yet driving forwards. The title track "AM ARE" is late night jazz, with baroque whispers, and distinctly melodic.

The final track, "Think Ahead" features the non-standard trio of Bugge (Piano/Organ), Oddrun Lilja (Guitar) and Sanskriti Shrestha (Tablas/Harp). Beginning with a minimalist piano figure, table, and sustained guitar, the track breaks down to a noise surge and ambient windscape, with guitar birds and abstract grinding, before returning to minimalist melodicism.

The shifting personnel across the album, as well as the three different studios in which it was recorded - Village Recording in Copenhagen, Rainbow Studios in Oslo, and his own Buggesroom Studio - creates a feeling of dynamic change and musical variety that is unified by Bugge's piano and keyboards. His playing moves between foreground, where he allows the music to elevate him, and background, where he move gently like a beneficent presence, tending to the demands of the spirit of the musical moments he has captured. It is an album powered by restless exploration and shaped by distinctive musical personalities; it is a journey through different moods, illuminated and brought into focus by Bugge's measured approach and guiding hand.

Having built a solid reputation as a drummer over the years, Matt Stockham Brown is set to step into the spotlight with the release of his new project and self-titled debut album ‘6161’ (pronounced ‘Six One Six One’) set for release on 14th March 2025, via Bristolian label Severn Songs (run by Ishmael Ensemble, and home to Waldo’s Gift and Holysseus Fly).

6161 is the brand new project of Matt Stockham Brown who has previously received critical acclaim winning a Montreux Jazz Festival talent award in 2019, releasing two albums with Run Logan Run and most recently a 5 star Guardian review with Daniel Inzani’s triple release and sell out tour with Cosmo Sheldrake. He has also recorded/performed globally with the likes of Massive Attack, Rodriguez, This Is The Kit, Paraorchestra, Gregory Porter, Liz Lawrence, Cloth, Get The Blessing, Marc Ford, Squirrel Flower, Ghostpoet any many more.

“A well judged mix of Old-School acoustic values and contemporary Electro-Jazz” – Jazzwise

How many artists can boast that their music is played by Aphex Twin, Richie Hawtin and Surgeon alike? Celebrating 25 years of the Gunjack project, the launch of the HOUSE OF JACK imprint is here with a 6 track LP on 180 gram vinyl and mastered by Simon at The Exchange. Featuring new and never before heard versions of Gunjack classics, plus a remix of Ritual48 by Japanese techno icon DJ Shufflemaster, this record is an essential ride down a futuristic lane carved out by the Jack himself ... from relentless and funky, to deep and spacey, and all stops between, over the course of six tracks the album showcases a diversity found only in the hands of mastery and dedication. Commemorating 25 years of Gunjack and tipping off the 3rd season of the House of Jack show on youtube, this is a limited edition, colored 200gr 6 track LP - full of must have tunes for any serious DJ or collector of quality electronic music.

"Formed by Brandon Hagen (guitar, vocals) and Drew McDonald (drums), and later joined by Zack Abramo (bass), Vundabar have always been imbued with a fiercely independent spirit, their sound forged in mythical underground Brooklyn venues such as Silent Barn and Shea Stadium. Musically, they exist almost as a fever dream of many genres, melding arty post-punk, tangled math-rock, sun-dappled surf-guitar, shimmering jangle-pop and grunge scuzz into sharp, compact songs. Across six albums the band have netted them a wide fan base and a reputation for a killer live show, not to mention a platinum record for their song 'Alien Blues'. "

When Apollo Brown and Crimeapple connect, it’s like old film grain under a projector— gritty, timeless. This album isn’t just boom-bap nostalgia; it’s a rebirth of smoke-stained bars, where Crimeapple plays both poet and philosopher, flipping bilingual manteca rhymes with a chef’s precision, stirring up the street grime and serving it with a side of sharp wit. Apollo Brown, as always, builds his beats like ancient architecture—dusty, soulful, and heavy with forgotten stories. These tracks sound like the cracks in the sidewalk talking back, the perfect companion for long nights and even longer thoughts. It’s a sonic novel, a street sermon, and Crimeapple’s wordplay dances through it like grease sizzling in a pan, a reminder that even in decay, there’s beauty. This, Is Not That.

Protokick new EP brings a Hardfloor update

"When it travels, the voice is a double agent, a trickster, or a dubious guru, but when it pauses for a recording, it's historical, capturing a mood or an emotion for all time. I didn't expect that I would hardly recognize the people who made Salt — myself and Hessel Veldman — a year and a half after recording it, but this is where I find myself now, so I'll say a few words about this temporary prosopagnosia.

Twelve years ago, when I moved to the Netherlands from Japan, I made a piece called How to Lose Your Voice. It was a YouTube hit because people wanted to learn how to actually lose their voices, though I doubt they found what they were looking for in the video. But I mention it because it's like a diary for me: my voice simply isn't the same now as it was then.

I wonder where my voice has gone.

I just listened to a radio interview with a woman who had her larynx removed.

About fifteen minutes after listening to her new voice, altered by the use of a voice prosthesis to make her audible, the interviewer played a recording of her pre-surgery voice. Of course, I was curious to hear it, and although it was immediately obvious that the gentle ease of her first voice was gone, this new voice, with its raw, gravelly sound, was even more intriguing because of its determined power to express that which needed to be expressed.

When Hessel and I first listened to the Salt in its entirety, I said in astonishment, "who wrote this?"
Marianna Maruyama, sure, but this artist goes by more than one name. Many voices spoke through me in this album. You might even recognize one of them as yours."

Allumynd emerges from the shadows with a project that feels as though it has been excavated from the farthest reaches of electro history.

Fresh from a summer spent deeply immersed in analog gear, Allumynd's debut album delivers 8 raw and electrifying tracks that capture the essence of an era yet speak boldly to the future. Each track, recorded live, surges with an intense energy and is crafted with both mechanical precision and an emotional undercurrent.

Steeped in the legacy of pioneers like Drexciya and Cybotron, the album pushes forward with an unmistakably modern edge. The result is a sonic journey that captivates, paying homage to the past while redefining what electro can become.

Astro returns with a high-octane collection of tracks, peaking at the dizzy heights of 138 BPM, engineered for late night club moments and steeped in early 00s/90s influences. We were fortunate to have Cape Town's own Biodive for a remix, bringing a driving yet minimal sound, effortlessly captivating listeners.

A1, Subatomic, seizes the spotlight with its relentless, driving energy. It immerses us in a 2001 trance soundscape, featuring sharp synth lines and dynamic vocal chops, while echoing, panned stabs enhance the track's deep, otherworldly ambiance.

River Torque, panning UFO pads from a different dimension, shifting gears with precision. A tunnelling groove locks in, firing us straight into peak-time. Direct, relentless, and built for the highest intensity—this one drives everything forward. No escape, just pure momentum.

A3 sees Astro reconnect with his dub-techno origins, pulling in the deep, atmospheric vibes of his early work. Basic Channel-inspired textures are unmistakable, but here they surge. Reverb-soaked layers cascade over a pumping 909, while razor-sharp hats slice through the fog, propelling the track into a hypnotic, futuristic drive.

Wormhole is your go-to for testing low-end limits—bass-heavy, deep, and undeniable. This might be the most floor-shaking, post-pumping Astro track yet. The rich, undying textures crafted from the Blofeld Waldorf deliver sweeping alien FX, creating a soundscape that feels both immersive and extraterrestrial.

Biodive is one of those rare artists who can take a track to another level, almost transcending into another dimension. This remix embodies a minimal yet fierce Detroit sound—stripped down but powerful, hitting with precision and intensity. It’s the perfect choice to close out the EP, leaving a lasting impression with its raw energy and driving beat.

An Avrin returns to Scuffed Recordings with four new originals and a remix from Sonia Calico.

An Avrin has been a firm favourite of the UK label since his 2019 appearance on the Scuffed Presents Vol.3 compilation with the track ‘Cave People’, which saw heavy rotation from DJs like Ross From Friends and rRoxymore. Returning to Scuffed the following year with the ‘Clodhopper’ EP, the London-based producer further developed his wobbly, esoteric sound, which draws extensively from a range of electronic influences.

Since then, An Avrin’s catalogue has become a go-to for under-the-radar club heat, with a string of self-released EPs and an appearance on Bristol’s Slippery Sounds marking him out as a vital name to watch.

The ‘Parisian Pitstop’ EP is his second release on Scuffed, and sees An Avrin building on his previous work while also expanding his horizons into different tempos and styles.

The A-side opens with the one-two of the title track - which is as good a primer on An Avrin’s sound as it’s possible to have - and ‘Stumbler’, both high-impact tracks with raucous breaks bouncing off warped vocals and relentless bass.

On the B-side is ‘Plata’, which builds tension with more melodic elements, before crashing into thunderous kicks and glitchy grooves. An Avrin ups the ante on ‘Is It?’, the last of the four originals on the EP, and the highest tempo of the bunch.

Taiwan-based producer Sonia Calico rounds off the release with her remix of ‘Plata’, a rowdy rework that pits grimey bass up against intense, rolling percussion.

Early DJ support has come from Surgeon, Emerald, Naina, Ciel, and Louise Chen.

Following his recent EP, The Circle of Life, on Pushmaster Discs, Milan's rising techno star Maike Depas returns with a brand-new release on his renowned The Innovation Studio Records. Titled “Sexy Devil Horse”, it is a powerful 10-track collection, featuring many iconic international artists from the Hard Techno space such as Etruria Beat’s headmaster Luca Agnelli, Dutch-based sensation OGUZ and the “Demon of hard techno” also known as Michael Katana, as well as Southern Italian talents CHRS and Gianni Di Bernardo.
This release marks a pivotal moment in Maike Depas’ journey to become one of the highest rated talents in the Hard Techno scene. It will also be followed by a key paradigm shift his label’s business model in 2025. For this occasion, Maike has lined up an amazing group of artists to celebrate those who have shared his musical vision along the way.

The title is meant to be provocative and captivating, just like its content: catchy and fresh enough to attract ravers and clubbers from around the world. Its artwork was created by the master Luden Works. It features a plastic female figure with an undefined appearance, yet with sensual curves and a powerful surge of energy, like a wave enclosed in a sphere, representing Maike’s and The Innovation Studio Records’ logos.
From the galloping rhythm of “Sexy Devil Horse” and “Hear The Sound” to the groovy and elegant “Ce Soir” there is an immediate feel about the artist’s singular touch and eclecticism. Same goes for the tangible contrasts which make a key element of this release, where the minimalistic mood of “StarKiller” and its maximalist counterpart “Dark Serenade” carry the listener through a full-spectrum emotional rollercoaster.
Hard Techno and Psy Trance vibes go hand in hand with ‘90s Trance and Rave echoes, creating a blend of recognisable and innovative samples that can resonate with many different types of audience and like-minded artists. This aspect is fundamental in the direction Maike and his team have decided to take.

It all comes from afar: starting with a classical musical background – playing the piano at Conservatory level for many years, including Berlin’s own Funkhaus. This theoretical and practical knowledge, mixed with a long-time passion for electronic music, made it easier for Maike to shape and cultivate his authentic sound since a very young age.

As part of its evolution, The Innovation Studio Records will officially open its doors to new talent and renowned artists starting in 2025. The team’s vision is to create an international reference point for quality and innovation, shaping a brand-new artistic movement based on combining the modern vision of our generation with our cultural heritage from the past, thanks to the team that we put together, both in terms of approach and technique.
It'll be a structure built from the ground up, combining the best of analogue technology in a modern workflow with the highest level of music hardware, audio monitoring and studio design. In their view, there are two types of productions: those that stay ‘inside the box’ and those that get into your heart.

The desire to unite instead of dividing, to join forces instead of competing, is the key to Maike’s success and a real drive to turn the studio lights on every single day. Despite playing a lot with dystopic, cyberpunk-like atmospheres throughout his artistic journey, music doesn’t feel like a means to escape reality for Maike. In fact, it’s quite the opposite.

The definition Maike uses the most to describe what The Innovation Studio Records wants to become is “a mysterious display cabinet”: a place where an artists will never know what emotion will arise or what direction will be taken next. Although hard work, professionalism and common inspiration will ultimately still be its main fuel, a true sense of community and empathy will be crucial to shape the future Maike and his team have in mind for it.
In a very romantic way, the idea is to re-create the same atmosphere from the Italian Renaissance masters’ workshops. Places where different artists - with opposite backgrounds and styles - could all mingle and inspire each other, in order to foster the creation of something unique. A collective effort for a greater good.

About MAIKE DEPAS
Young hard techno DJ-producer Maike Depas (born Michelangelo De Pasquale) has seen the future of music and it’s called metaverse: “In the future it will blow up,” he predicts. “And it’s going to revolutionize the way we experience music.” Bowled over by Skrillex and Martin Garrix by the age of eight, and DJing at smaller Milan clubs by the time he was eleven, Depas went on to study composition and piano at the prestigious

Milan Conservatory before learning ‘life- changing” lessons from the best in the business at Catalyst’s 4-week Advanced Sound Design course in Berlin’s Funkhaus . His production gets inspired by huge 90s trance synths as much as pounding hard techno from artists such as Kobosil, In Verruf and Amelie Lens.
2024 marked the launch of MAIKE DEPAS 2.0, a tectonic audio-visual shift that entails a wide array of content from DJ sets livestreamed from Berlin’s Teufelsberg and other dystopic locations around Europe to cyberpunk-inspired outfits designed by Demobaza, a cyberpunk-inspired casual couture brand best known for their sustainable Dune X Demobaza collection. Over the course of a developing metamorphosis from a flesh-and-bone individual to a mysterious CGI character, Depas is another step closer to revolutionize the dance music scene through the metaverse.

Well over a decade since their last collaborative LP, Philadelphia legend Freeway has once again teamed up with Seattle superproducer Jake One for their second full-length collaboration: “Stimulus Package 2”. Having been a key part of countless hit albums over the past 20 years, Jake One crafts timeless and versatile soundscapes that connect with both underground and mainstream hip hop audiences, and few sound more at home over his beats than Freeway. All-star guest appearances on the album include Black Thought, Jadakiss, Conway the Machine, Sauce Walks, Peedi Crack, Scholito, and Symba.

Marionette presents 'dessus oben alto up', the first collaborative recording by Andrea Belfi and Jules Reidy. Hailing from different ends of the globe (Australia and Italy) but both longtime residents of Berlin, Reidy and Belfi’s approaches have much in common, bringing together compositional precision and electroacoustic rigour with improvisation freedom, the immediate gratifications of rhythmic pulse, and an overtly lyrical sensibility. Working together during a residency at the sound studio of Berlin’s Callie’s, an arts institution housed in a 19th century machine factory, the pair (with Marco Anulli manning the desk) have conjured up four expansive pieces where the beautifully recorded percussive clarity of Belfi’s drums threads through a sparkling haze of guitars and electronics.

Opener ‘dessus’ begins with Reidy’s distinctive just-intoned guitar figures, shimmering over a delicate substratum of Befli’s brushwork and bass drum accents. As in all of Reidy’s recent work, the guitar is twisted out of cliché by the unfamiliar tuning and electronic processing. Hanging almost inaudibly in the background for much of the piece, a rush of synthetic tones surges into the foreground to end it. ‘oben’ is built from kinetic patterns of picked guitar arpeggios, locking into irregular grooves with Belfi’s drums, which move from elegant rolls and cymbal patter to driving closed hi-hats and explosive rock interjections. Around the traditional instruments and across the stereo field, electronic sounds swarm and swirl, fizzing and popping in a sun-drenched soundscape that at points suggests both vintage analogue synth destruction and glitching harmonies. ‘alto’ begins in similar territory but turned up a notch, eventually settling into a propulsive 6/8 groove of shifting drum accents, manically strummed 12 string acoustic, and burbling synth chords.

The B side is dedicated to the fifteen-minute ‘up’, where the strategies adopted on the other pieces are put in the service of a more relaxed, slowly unfolding epic. Anchored by a steady pulse throughout, the piece combines chiming guitars, dubbed-out bass lines and constantly adjusted percussive details into a complex flux of sound. Change is at once so subtle and so ever-present that, at any given moment, the listener can never be entirely sure quite how they got there.

The seeds of composer Rafael Anton Irisarri’s latest LP were first planted during his 2016 tour in Italy, months before that Autumn’s unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named “il Mito Americano” – meant as “The American Dream” but translated literally to English as “The American Myth” – sparked a series of ideas, both conceptual and musical.

Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: FAÇADISMS. Composed over three years, it’s a late capitalist lament of simmering electric despondency.

Irisarri’s obsession with repeating motifs mirrors the cyclical nature of our tumultuous political history. The album’s eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory.

Opening with the somber gauze of “Broken Intensification," FAÇADISMS moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of “Control Your Soul's Desire for Freedom,” featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. "The impoverished peoples of the Americas have known all along that 'freedom' is a cruel illusion crafted by the elites, akin to Potemkin's fake villages designed to impress Catherine the Great," Irisarri indicates. "FAÇADISMS illustrates a twisted inversion where the rulers deceive their subjects with illusions of safety, democracy, and free speech to create a grotesque mirage of control over their own lives.”

Elsewhere, Irisarri leans into passages of hushed oblivion (“Hollow,” “Dispersion of Belief”), while ragged drones rumble and disintegrate into wind-battered ambient wreckage. One has the sense that it’s all too late. The hour of fury has passed. The beauty has come and gone. Irisarri’s muse has become the crack in the façade of the unraveling myth.

The record closes with a climax of grand departure. Co-written with Kenyan sound artist KMRU, “Red Moon Tide” surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It’s the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light.

The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea.

Has the American myth finally run its course?

The seeds of composer Rafael Anton Irisarri’s latest LP were first planted during his 2016 tour in Italy, months before that Autumn’s unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named “il Mito Americano” – meant as “The American Dream” but translated literally to English as “The American Myth” – sparked a series of ideas, both conceptual and musical.

Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: FAÇADISMS. Composed over three years, it’s a late capitalist lament of simmering electric despondency.

Irisarri’s obsession with repeating motifs mirrors the cyclical nature of our tumultuous political history. The album’s eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory.

Opening with the somber gauze of “Broken Intensification," FAÇADISMS moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of “Control Your Soul's Desire for Freedom,” featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. "The impoverished peoples of the Americas have known all along that 'freedom' is a cruel illusion crafted by the elites, akin to Potemkin's fake villages designed to impress Catherine the Great," Irisarri indicates. "FAÇADISMS illustrates a twisted inversion where the rulers deceive their subjects with illusions of safety, democracy, and free speech to create a grotesque mirage of control over their own lives.”

Elsewhere, Irisarri leans into passages of hushed oblivion (“Hollow,” “Dispersion of Belief”), while ragged drones rumble and disintegrate into wind-battered ambient wreckage. One has the sense that it’s all too late. The hour of fury has passed. The beauty has come and gone. Irisarri’s muse has become the crack in the façade of the unraveling myth.

The record closes with a climax of grand departure. Co-written with Kenyan sound artist KMRU, “Red Moon Tide” surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It’s the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light.

The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea.

Has the American myth finally run its course?

The seeds of composer Rafael Anton Irisarri’s latest LP were first planted during his 2016 tour in Italy, months before that Autumn’s unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named “il Mito Americano” – meant as “The American Dream” but translated literally to English as “The American Myth” – sparked a series of ideas, both conceptual and musical.

Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: FAÇADISMS. Composed over three years, it’s a late capitalist lament of simmering electric despondency.

Irisarri’s obsession with repeating motifs mirrors the cyclical nature of our tumultuous political history. The album’s eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory.

Opening with the somber gauze of “Broken Intensification," FAÇADISMS moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of “Control Your Soul's Desire for Freedom,” featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. "The impoverished peoples of the Americas have known all along that 'freedom' is a cruel illusion crafted by the elites, akin to Potemkin's fake villages designed to impress Catherine the Great," Irisarri indicates. "FAÇADISMS illustrates a twisted inversion where the rulers deceive their subjects with illusions of safety, democracy, and free speech to create a grotesque mirage of control over their own lives.”

Elsewhere, Irisarri leans into passages of hushed oblivion (“Hollow,” “Dispersion of Belief”), while ragged drones rumble and disintegrate into wind-battered ambient wreckage. One has the sense that it’s all too late. The hour of fury has passed. The beauty has come and gone. Irisarri’s muse has become the crack in the façade of the unraveling myth.

The record closes with a climax of grand departure. Co-written with Kenyan sound artist KMRU, “Red Moon Tide” surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It’s the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light.

The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea.

Has the American myth finally run its course?

Scored by the legendary Italian film composer Armando Sciascia, Sea Fantasy is a conceptual suite of twelve exotic themes evoking the many moods and dramas of life under the sea. Recorded in 1972 for Sciascia's own Vedette label, the album is a key recording within the micro-genre of Italian underwater library music. A mosaic of evocative modern classical, flamenco textures and a surge of raw analogue synthesizers. Mysterious aquatic music that sits comfortably alongside other Italian Soundtrack and Library recordings including the lush bossa of Daniele Patucchi's Men Of The Sea (CAM) as well as the experimental electronics of Biologia Marina by Amedeo Tommasi & Alessandro Alessandroni (Rhombus). With several cues used for the English-version soundtrack to Harald Reinl's 1976 (Erich von Däniken inspired) mondo-documentary Mysteries Of The Gods, Sea Fantasy is reminiscent of the exotic mood-music scored for Folco Quilici's documentary Oceano composed by Ennio Morricone as well as Luigi Scattina's legendary tropical sexploitation film Il Corpo composed by Piero Umiliani. This new 2019 edition has been newly remastered and expanded with additional liner notes and photos.

Remastered and expanded edition.
Legendary Italian underwater Library recording
Replica vinyl reissue of the rare 1972 LP
Mysterious aquatic mood music

2024 Reissue

The syndicate manifests its sonic potential in full glory. Giving rise to this collection of colossal heavyweights, Sentry demonstrates its spotless record of selecting certified heavyweights for the discography once again, twenty-fold. Stepping into the ring are some of the scene's most prolific artists alongside a plethora of promising, choice newcomers.

Boasting more than an hour of supercharged sound system pressure with names like Caspa, Truth, Bukez Finezt, Nomine and Youngsta himself on the controls - the subsequent inferno proves to be an authoritative display of quality bass music, that is sure to reach roaring stacks of speakers all around the globe for years to come."

"Vintage flavours transmute into fiery low-end excursions in 'Sun Ra' as Onhell reigns with fire and brimstone and makes way for what's to come. Rolling on, Taso lays waste with dimly lit half-time flows as we enter the smoke-filled mansion of Argo's meticulously crafted 'Since Then' - a prime cut of hip-hop infused breakbeats and bass.

Abstrakt Sonance & Substance set the heater into overdrive and blunts aflame as we proceed into the shelling of 207's 'Gypsy Dub' - then promptly being crunched to bits by 'Crocodile' - encapsulating Dayzero's cold-blooded dance floor armaments. Brace yourself for battle as we step to the drums of Caspa's tribal warfare, full-frontal assault engineered for the club.

Unrestrained power surges propelling us onwards in Coltcut & Ourman's decidedly high-grade collaboration as listeners march through Khiva's haunting sound system belter 'Teeth' and a zealous dosage of Dubstep as envisioned by Truth. Led through eerie alleys and pressure-ridden environments with LSN on the buttons, the onslaught proceeds with the relentlessly driving 'R U Broke' in Mr. K's signature style.

Opus merciless injects straight fury in an auditory form in the spiked 'Lime Pickle' - Bukez Finezt keeping pace with a murderous Cembalo-ridden thug anthem, lunacy! Minimal instrumentation to its fullest effect, Sukh Knight's 'Modulate' keeps it spicy - as does the claustrophobic sub-bass chiming by Leftlow. Thanom ignites what's left of the residual air in 'Tumble It' - dangerous goods.

The subsequent time bomb armed by A:Grade & Feonix, cast into the abyss that is Nomine's space-bending 'Judas' - big speaker business. The clock strikes its final hour - Youngsta & Cimm finish off the survivors with a no-holds-barred showdown, the 'Last Judgement' executing its massive verdict.

Body Meπa is the New York-based quartet of Greg Fox (drums), Sasha Frere-Jones (guitar), Melvin Gibbs (bass), and Grey McMurray (guitar). As luminaries in the intersecting traditions of improvised music, rock, jazz, fusion, and contemporary classical music, the four artists have each spent decades building diverse practices that extend beyond sound into multiple disciplines. Prayer in Dub, their second release on Hausu Mountain, follows the band’s 2020 album The Work Is Slow.

The album presents a band whose collective intuition as instrumentalists and live-in-the-room songwriters has deepened with each take that they put to tape. Prayer in Dub finds Body Meπa taking up new experiments with song structure and atmosphere, fanning out into a wide menu of both longer and more concise pieces that suggest deliberate shifts in energy and emotional resonance. The album presents a thrilling contrast between storms of precise rhythmic interplay and slowly expanding fields of multi-guitar and bass texture, alternately pushing the narrative toward explosive peaks of intensity and dipping into ambient expanses. Contemplative guitar lines, both bone dry and effected into total abstraction, ripple together over dub-indebted rhythm section grooves before shifting the dial towards beatific twang. Knotty distorted solos surge out of the fray over networks of arpeggios and drum fills.

On Prayer in Dub, Body Meπa pursues a strain of euphoria charged with elegiac grandeur and the looming potential to crumble at any moment under the psychic weight of confusion. It speaks to the band’s goals and general outlook that chaos never completely consumes their sessions. The band channels the kinetic energy of a “supergroup” of veteran musicians into communal works that evolve beyond their creators’ extensive pedigrees into new forms both intimate in sentiment and majestic in scope.

Body Meπa is the New York-based quartet of Greg Fox (drums), Sasha Frere-Jones (guitar), Melvin Gibbs (bass), and Grey McMurray (guitar). As luminaries in the intersecting traditions of improvised music, rock, jazz, fusion, and contemporary classical music, the four artists have each spent decades building diverse practices that extend beyond sound into multiple disciplines. Prayer in Dub, their second release on Hausu Mountain, follows the band’s 2020 album The Work Is Slow.

The album presents a band whose collective intuition as instrumentalists and live-in-the-room songwriters has deepened with each take that they put to tape. Prayer in Dub finds Body Meπa taking up new experiments with song structure and atmosphere, fanning out into a wide menu of both longer and more concise pieces that suggest deliberate shifts in energy and emotional resonance. The album presents a thrilling contrast between storms of precise rhythmic interplay and slowly expanding fields of multi-guitar and bass texture, alternately pushing the narrative toward explosive peaks of intensity and dipping into ambient expanses. Contemplative guitar lines, both bone dry and effected into total abstraction, ripple together over dub-indebted rhythm section grooves before shifting the dial towards beatific twang. Knotty distorted solos surge out of the fray over networks of arpeggios and drum fills.

On Prayer in Dub, Body Meπa pursues a strain of euphoria charged with elegiac grandeur and the looming potential to crumble at any moment under the psychic weight of confusion. It speaks to the band’s goals and general outlook that chaos never completely consumes their sessions. The band channels the kinetic energy of a “supergroup” of veteran musicians into communal works that evolve beyond their creators’ extensive pedigrees into new forms both intimate in sentiment and majestic in scope.

Using a variety of tape stocks, Black Swan creates a haunting atmosphere that evokes the sensation of uncovering long-lost, sacred recordings hidden in time on his ninth album, Ghost.

The New York-based artist reveals that he was inspired by musique concrete and ambient while making the record, which is made up of 20 pieces that all form a continuous suite. Each track varies in length and complexity from short and sweet sketches to more elongated studies and that are made from intense layering and harmonic surges using an array of tape stocks.

The result is a haunting, unearthly atmosphere that sounds perfect in this cassette format.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

Nach langer Wartezeit ist "Scott Matthew" - das selbstbenannte Debut des Singer-Songwriters aus 2007 nun endlich wieder erhältlich; und zwar nicht einfach nur wieder da, sondern als limitierte Special Edition in Blue colored Vinyl. Mit diesem Album wurde Scott Matthew schlagartig zu dem Namen, den man kennen muss - die FAZ sprach sofort von einer Ausnahmeerscheinung, der Rolling Stone zog den Vergleich mit dem frühen David Bowie, die Süddeutsche Zeitung fand diese Musik sanft, entrückt und hoch fliegend und ging soweit zu schreiben, hier ziele jemand auf das Universelle. Dass diese Einschätzungen richtig waren, kann man heute auch daran erkennen, wie gut diese Musik gealtert ist, nämlich gar nicht. Immer noch enthalten diese 11 Songs die Quintessenz dessen, was guter Pop-Musik ihren Unterhaltungs- und kulturellen Wert gibt: dass sie eingängig ist und gleichzeitig Tiefgang hat, dass sie Authentizität mit musikalischer Qualität verbindet, dass sie kleine und große Gefühle anspricht und aber sich und uns die Didaktik erspart. "Scott Matthew" ist zudem Startpunkt und Zeugnis dessen, was diesen Musiker zum Unikat macht - wir finden die sensiblen Arrangements, die traurig schönen Balladen-Texte, das tief-persönliche, die Ukulele, das akustische zarte und die Streicher, die Eleganz und den Schwulst und das Bescheidene, das Langsame. Eigentlich kann man Scott Matthew nicht verstehen, wenn man dieses Album nicht kennt. Und es ist zudem der heimliche Star und quasi Soundtrack des Films "Shortbus", der inzwischen zu einem Lieblings-Kultfilm der Independent-LGBTQ+ und Sex Positivity-Szene avanciert ist und zudem die Hommage an die Arty-Community des New York der Nuller-Jahre ist (und damit heute bereits nostalgiegeschwängertes Retro-Kino). Damit ist dieses Album Musik in seiner reinsten Form. Aber zugleich auch das Bindeglied zwischen Musik und Kunst und Popkultur und New York-Sehnsucht und Nostalgie und Cinema und LGBTQ+ und Mainstream und Arthouse. Und welches Album kann das schon von sich sagen. Und dabei so bescheiden bleiben.

Tig Notaro is an Emmy, Grammy and SAG Award-nominated comedian, actor, writer, director and podcast host originally from Mississippi, and named by Rolling Stone one of the 50 best stand-up comics of all time. She appears in Season 3 of THE MORNING SHOW on Apple TV+ alongside Jennifer Aniston and Reese Witherspoon, and STAR TREK: DISCOVERY on Paramount Plus. Tig recently starred in the Netflix films YOUR PLACE OR MINE and WE HAVE A GHOST, as well as Zack Snyder's ARMY OF THE DEAD. Prior to that, she starred in the heartwarming Paramount film INSTANT FAMILY alongside Mark Wahlberg and Octavia Spencer. Tig wrote, produced and starred in the semi-autobiographical Amazon Prime Video series ONE MISSISSIPPI, also directing the premiere episode of Season 2. The show yielded critical acclaim and several award nominations, including WGA, GLAAD and The Critics Choice Awards. Tig's HBO standup special, DRAWN, made history as the first-ever fully animated stand-up special, and was nominated for a Hollywood Critics Association Award. She was previously nominated for an Emmy and a Grammy Award for her 2016 HBO special BOYISH GIRL INTERRUPTED, a GLAAD Award nomination for the Netflix Original Documentary TIG, and her memoir I'm Just a Person is a New York Times Bestseller. In 2013, Tig was also nominated for a Grammy for her sophomore release, LIVE, which was the #1 selling comedy album in the world that year. LIVE is a stand-up set delivered just days after Tig was diagnosed with invasive bilateral breast cancer, from which she is now in remission. Tig remains a favorite on talk shows, including "The Late Show with Stephen Colbert" and "The Tonight Show with Jimmy Fallon", public radio, and continues to tour internationally. Tig and her wife, Stephanie Allynne, co-directed the feature film, AM I OK?, starring Dakota Johnson and Sinoya Mizuno, which premiered at Sundance and premiered on HBO Max in June 2024. Tig also hosts HANDSOME, a critically acclaimed comedy podcast, alongside friends and co-hosts Fortune Feimster and Mae Martin. Her newest special, TIG NOTARO: HELLO AGAIN, premiered in March 2024 on Prime Video.

Continuing his fruitful relationship with Discrepant after the third volume of his ongoing Organic Music Tape Series on Sucata Tapes, Tiago Sousa returns with two longform pieces for organ with 'A Thousand Strings'. A self-explanatory title in itself, 'A Thousand Strings' drifts fluidly into a celestial realm of cascading melodies and cycling patterns that never feel forced or strict throughout its two hypnotic tracks. Pulsating with life and ecstatic abandon.

Taking cues from the tradition of American minimalists like Steve Reich and, particularly, Terry Riley, the Portuguese composer's work flows with a life of his own, that, while acknowledging those influences, transcends them into his own signature. On the A side, 'A Thousand Strings' goes seamlessly from intertwining crepuscular harmonies to ascending keyboard runs in the manner of 'Persian Surgery Dervishes' finishing with a coda of rhythmic marimba-like pulses. On the flipside, 'The Things Passed' creates this maze-like tapestry of melodies that seem to drift apart only to converge back again into its internal process before setting on sustained tones infused with a sense of longing. For all things passed. For what is yet to come.

To commemorate the 30th anniversary of Therapy?'s Troublegum album , this 2LP set contains the original album pressed on 180g silver vinyl plus a further 14 tracks rounding up B-sides and bonus tracks of the era pressed on 180g lavender vinyl. By the time Therapy? released Troublegum in 1994 they were already well established, but it was the first time many had encountered the group's intensely melodic blend of hard rock and indie, an arresting combination of old and new, striking in its immediacy. Formed by schoolfriends in Larne, Northern Ireland, Therapy? consistently pushed the rock trio to its limits, often saying that their use of feedback was their fourth instrument. Singer, guitarist and writer Andy Cairns, bassist Michael McKeegan and drummer Fyfe Ewing had been playing together since 1989, and were signed to indie label Wiiija the following year on the strength of their live reputation. After two albums with Wiiija, they were signed to A&M Records, and their 1992 album, Nurse, reached the UK Top 40. The group paired with Mission producer Chris Sheldon and went to Chipping Norton Studios to record a follow-up. The results were stunning. Lead single "Screamager" (on the Shortsharpshock EP) reached the UK Top 10 in March 1993; follow-up "Turn" made the Top 20. By the time Troublegum was released in February 1994, it contained both singles, plus "Nowhere" and "Trigger Inside", further hits from the album. Troublegum is warm and powerful, showing that grunge was not just the preserve of bands from the western seaboard of the US. Mixed without any discernible gaps between tracks, the album offers 45 minutes of attack. Amid the originals, the band's post punk roots are shown by their storming cover of Isolation by Joy Division. Widely acclaimed, Troublegum reached No 5 in the UK charts, went Gold and was nominated for the Mercury Music Prize. It sounds as fresh today as it did in 1994.

Originally released to a fan base and music press that were unprepared for the band to move on from the punk fury of "Crossing The Red Sea", The Adverts "Cast Of Thousands" has since been recognized as a lost classic of the time. TV Smith's cutting observational lyrics and sharp musical instincts saw his song writing grow and move in unexpected directions. The primal thumping was replaced by dynamic and driving drumming, acoustic guitars and probing solos emerged, and Tim Cross joined to add keyboards and fill out the overall sound. The one constant was the pounding throb of Gaye Advert's bass. Encouraged to experiment by surprise producer Tom Newman (Mike Oldfield "Tubular Bells") the band found themselves stretching creatively, both in song writing and recording techniques. They might agonize over the sound of recording a match being lit in the middle of one song, while doing a single take of a vocal via a microphone hung in the bathroom for another. Giant choirs were built meticulously over multiple tracks, while the sound of a rat running through the reverb room would be captured forever. The results wrapped some of TV's best songs in strange and inventive sounds to compliment his anti-pop smarts and rock and roll heart. They did not know it at the time, but the band was falling apart. Tensions would soon rise to the level that replacement players were called in to finish their final tour. Punk fans left them in droves. Critics skewered the singles from the album. Their record label had moved on to the next big thing. Feeling that they had reached a creative peak made the tumble even harder to swallow. Time has been very kind though, and fans discovering punk after the first wave have been able to hear "Cast" for what it is - a brilliant and biting collection of rock and roll. Still full of stomp and swagger even when stripped down on "My Place" or via the anthemic surge of "Television's Over", with TV's hook factory on full display on the anti-love song "Love Songs", and the band closing the album with the creeping ballad "I Will Walk You Home"; The Adverts had grown from a great punk rock band to a great rock band. Black vinyl.