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Mit "Faust IV" veröffentlichte die Krautrock-Formation 1973 ihr zugänglichstes und zugleich widersprüchlichstes Werk. Nach zwei radikal experimentellen Alben und dem surrealen "Faust Tapes"-Sampler wagte die Band den Schritt ins professionelle Studio - und blieb dennoch ihrem anarchischen Geist treu. Entstanden in Virgin Records" "The Manor"-Studio, kombiniert das Album neue Aufnahmen mit Fragmenten früherer Sessions. Der Opener "Krautrock" parodiert den Genrebegriff mit hypnotischem Motorik-Groove und klanglicher Raffinesse. "The Sad Skinhead" überrascht mit Reggae-Anklängen und ironischen Texten, während "Jennifer" als frühes Dream-Pop-Vorbild gilt - schön und verstörend zugleich. Die zweite Albumhälfte zeigt Faust in freier Form: Elektronische Experimente, jazzige Improvisationen und dadaistische Klangcollagen wechseln sich ab. Der Abschluss "It"s A Bit Of A Pain" vereint akustische Melancholie mit elektronischer Störung - ein Sinnbild für Fausts kreative Widersprüche. "Faust IV" ist ein vielschichtiges Dokument einer Band, die sich nie festlegen ließ.

Mit "Faust IV" veröffentlichte die Krautrock-Formation 1973 ihr zugänglichstes und zugleich widersprüchlichstes Werk. Nach zwei radikal experimentellen Alben und dem surrealen "Faust Tapes"-Sampler wagte die Band den Schritt ins professionelle Studio - und blieb dennoch ihrem anarchischen Geist treu. Entstanden in Virgin Records" "The Manor"-Studio, kombiniert das Album neue Aufnahmen mit Fragmenten früherer Sessions. Der Opener "Krautrock" parodiert den Genrebegriff mit hypnotischem Motorik-Groove und klanglicher Raffinesse. "The Sad Skinhead" überrascht mit Reggae-Anklängen und ironischen Texten, während "Jennifer" als frühes Dream-Pop-Vorbild gilt - schön und verstörend zugleich. Die zweite Albumhälfte zeigt Faust in freier Form: Elektronische Experimente, jazzige Improvisationen und dadaistische Klangcollagen wechseln sich ab. Der Abschluss "It"s A Bit Of A Pain" vereint akustische Melancholie mit elektronischer Störung - ein Sinnbild für Fausts kreative Widersprüche. "Faust IV" ist ein vielschichtiges Dokument einer Band, die sich nie festlegen ließ.

Pacifica wurde 2021 von Inés Adam & Martina Nintzel in Buenos Aires aus einer Onlinefreundschaft und der gemeinsamen Liebe für The Strokes heraus gegründet. Was als eine Reihe von YouTube-Covern begann, entwickelte sich schnell zu einer vollwertigen kreativen Kraft und gipfelte in ihrer Unterschrift bei TAG Music nach einer von Fans finanzierten Reise zu The Strokes in New York City. Pacificas Musik schöpft von der rauen Dringlichkeit des Garage-Rock der frühen 2000er, der Prahlerei des Post-Punk und der emotionalen Unterströmung des 90er Alternative. Auf ihrem zweiten Album ""In Your Face"" wandelt die Band weiterhin auf dem schmalen Grat zwischen Verletzlichkeit und Rebellion und beweist, dass selbst in einer zersplitterten Welt zwei Freunde und ein paar Gitarren noch etwas Unvergessliches schaffen können.

Selfish Machines, the second album by Pierce the Veil, explores themes of love, longing, and self-awareness through a blend of post-hardcore energy and melodic intricacy. The album features standout tracks like "Caraphernelia," which includes guest vocals by Jeremy McKinnon of A Day to Remember, and "Bulletproof Love," a fan favorite known for its dynamic instrumentation and heartfelt lyrics.Produced by Mike Green (Paramore, All Time Low), this record showcases the band’s technical skill and ability to balance intensity with softer, emotive moments. With its layered arrangements and polished sound, Selfish Machines offers a thoughtful take on the complexities of human emotion.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.



In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.



A few months after recording “Us”, Lancaster recorded “Mother Africa” along with Clint Jackson III, a trumpeter, partner of Khan Jamal or Noah Howard on other recordings.

On march 8th, 1974, Lancaster and Jackson headed up a group composed of Jean-François Catoire (electric and double bass), Keno Speller (percussion) and Jonathan Dickinson (drums).


Together, they create an immediate impression. From the first seconds of “We The Blessed”, they develop a free jazz which rapidly abandons any virulence under the effect of blues and soul based interventions.

When Gilson’s composition “Mother Africa” begins, listeners are transported into the studio, listening to the musicians setting up: chatting and joking… Then comes the melody: a dozen or so notes of a repeated theme which is accelerated and deformed according to their whims… The jazz played by the association Byard Lancaster / Clint Jackson III is rare: creative AND recreational. “We the blessed”, is apt listening to this again today!

This CD edition contains a bonus track, the magnificent “Love Always” that was originally released on the fourth (and last) volume of the Jef Gilson Anthology series released in 1975.


Recorded on 8th March 1974, it is a beautiful 15-minute-long modal jazz piece. Four notes from the bass (the relentless Jean-François Catoire, who makes up the rhythm section alongside drummer Jonathan Dickinson and percussionist Keno Speller), and the group is up and running!

On piano, Gilson shows the subtle tact of a sideman, leaving the lions’ share of the place to the horns. This allows us to hear the trumpet of Clint Jackson III and the alto (which sometimes sounds almost flute-like) of Byard Lancaster each staking their claim in a long hallucinatory march which moves from moments of direct exaltation to profoundly sensitive collective playing.

Swedish DJ, producer and songwriter Johan Blende debuts on Hell Yeah with a journey to the heart of a grown-up dancefloor in the Med.

Blende is a master of mixing up retro 70s and 80s sound into modern dancefloor delights. He's been doing it for two decades on a wide range of cultured labels from Studio Barnhus to Eskimo, always with a rare charm and leftfield perceptive. With this EP, he taps into the magic of hazy afternoons turning into euphoric evenings by the sea.

'Off To Mallorca' jangles with taught bass notes and sunburnt vocals. Distant synths glow, the jumbled percussion injects just the right dose of ass-wiggling funk and this playful yet sophisticated cut builds toward a blissful rapture. 'Television' ups the ante with prickly acid panning about the mix over sleazy, low-slung drums. Tension simmers as edgy synth motifs stalk the groove and anticipation builds before the whole thing explodes into a cosmic disco payoff. It's raw, unpredictable, and perfect for when things start to get a little weird.

'Como No Brasil' gazes skyward and basks in a wash of shimmering melodies and breezy, wordless vocals that drift like clouds over layered, sun-drenched rhythms. It’s a dreamy, tropical float until a surprise acid storm rolls in and moves things from tranquil paradise to dancefloor hypnosis. Finally, 'Carousel Bagatelle' is a layered, late-night trip that feels both playful and introspective. Hypnotic synths swirl around screwy acid lines and supple, dubbed-out house drums that spin you into a daze.

Blende’s debut on Hell Yeah lands like a postcard from a perfect party - sun-dazed, acid-kissed and endlessly replayable.

Bassist, composer and producer Shay Hazan returns with his third solo album, "When It Rains It Pours", on Batov Records. Following the critical success of "Reclusive Ritual" and "Wusul" Hazan takes a bold step forward, shifting from the guimbri-led sound that established his reputation to a broader palette of bass, guitar, and synth-driven compositions.

INCANTATION presents the Onward to Golgotha deluxe box set, celebrating over 30 years of the band's legendary debut full-length & Death Metal supremacy! The Onward to Golgotha box set features all new expanded liner notes, a live 2LP featuring 3 legendary sets remastered by Dan Swano, and the Deliverance of Horrific Prophecies and Entrantment of Evil EPs! Onward to Golgotha - Live, now newly remastered & available for the first time on physical and streaming formats, is taken from the Onward to Golgotha DVD, originally released in 2006. The live audio features sets from the Onward to Golgotha 1992 Tour at Cell Block in Bensalem, PA on March 29, 1992; from Studio 1 Show in Newark, NJ in 1992 & Flashes Show, recorded in Cleveland, OH on March 28, 1992. Entrantment Of Evil and Deliverance Of Horrific Prophecies 7"s are exclusive to the deluxe Onward to Golgotha box set. All pressed on tri color merge with splatter vinyl and come housed together in a clamshell style hard box featuring silver lamination.

Cold Steel's patented brand of aggressive, hardcore thrash metal takes no prisoners on 'Discipline & Punish'. To bring the album to life, the group decamped to Philadelphia and teamed with producer Arthur Rizk (Blood Incantation, Power Trip, Cavalera). In the studio, they drew on influences like Metallica, Machine Head, and Slipknot while sharpening and solidifying their own signature sound.

Introducing: Temporary Blessings, the new project by stalwart Naarm / Melbourne trumpet player and composer Liam McGorry.

Assembled to realise McGorry's compositions drawing on 1960s Italian & French soundtrack music, Temporary Blessings brings together trusted instrumentalists and fellow travelers from Melbourne's rich enclave of cinematic soul. With Liam at the helm, the group is composed of members of Surprise Chef, Karate Boogaloo, Saskwatch and Let Your Hair Down.

The resulting recordings realise McGorry's sonic visions of film noir, giallo, library music and cinematic soul, captured live in one room with what the maestro describes as "a shared spirit". The recordings, produced by paragon Henry Jenkins, bring together emotive string arrangements, tough horns and a steadfast rhythm section with an acute attention to detail McGorry has developed over years in the saddle.

Liam says: "I find great comfort in collaborating with good friends and playing together in the same room and taking these blessings as they come."

A veteran of Melbourne soul, McGorry's steady hands have touched some of the city's most revered projects over the last 15 years; McGorry-led projects Saskwatch, Dorsal Fins and Ex-Olympian sit aside Sampa The Great, Ella Thompson and Adrian Eagle on Liam's heavy list of credits and collaborators. He has contributed more than his fair share of bricks to the great structure of Melbourne soul, always playing the background, true to his humble nature.

LP available in black or orange and brown splatter vinyl.

Introducing: Temporary Blessings, the new project by stalwart Naarm / Melbourne trumpet player and composer Liam McGorry.

Assembled to realise McGorry's compositions drawing on 1960s Italian & French soundtrack music, Temporary Blessings brings together trusted instrumentalists and fellow travelers from Melbourne's rich enclave of cinematic soul. With Liam at the helm, the group is composed of members of Surprise Chef, Karate Boogaloo, Saskwatch and Let Your Hair Down.

The resulting recordings realise McGorry's sonic visions of film noir, giallo, library music and cinematic soul, captured live in one room with what the maestro describes as "a shared spirit". The recordings, produced by paragon Henry Jenkins, bring together emotive string arrangements, tough horns and a steadfast rhythm section with an acute attention to detail McGorry has developed over years in the saddle.

Liam says: "I find great comfort in collaborating with good friends and playing together in the same room and taking these blessings as they come."

A veteran of Melbourne soul, McGorry's steady hands have touched some of the city's most revered projects over the last 15 years; McGorry-led projects Saskwatch, Dorsal Fins and Ex-Olympian sit aside Sampa The Great, Ella Thompson and Adrian Eagle on Liam's heavy list of credits and collaborators. He has contributed more than his fair share of bricks to the great structure of Melbourne soul, always playing the background, true to his humble nature.

LP available in black or orange and brown splatter vinyl.

Pianist and singer songwriter Tilda Gebhardt creates a curious and immersive world on her debut "Come the Afternoon", a tender portrait of her upbringing in the bleak yet beautiful north west English countryside.

Telling tales that take us back to a 1936 premier of Swing Time, or inside a telescope where a man named Ernest lives, via the vast plains of the Australian desert - Gebhardt's unusual combination of playfulness, storytelling and profound reflection is carried along by her crystalline voice, and acrobatic piano.

Inspired in turn by the magic of moving images and nature, "Come the Afternoon" is like a collection of miniature films, chronicling Tilda's adventures on the fells of the langdales, hiding in the heather on the Trough of Bowland, and exploring the fields and valleys that surround her home in Lancaster.

Sounds like: Joni Mitchell, Liza Minelli and Joanna Newsom picking cockles in Morecambe Bay.
Recommended if you like: Keith Jarret, Emahoy Tsege Mariam Gebru, Issa Kobayashi, John Berger.

The stunning debut album by Peki Momés is back in store after selling out the first edition in a few weeks! This 2nd pressing has a different label design. Featuring twelve outstanding original tunes. Turkish psychedelic, global disco and outernational!

Peki Momés is a Turkish artist living in Germany - who only started to record music by accident in 2024. Blessed with style and intuition rather than formal education, her fresh and uncompromisingly authentic approach to music took hearts and ears by storm.

Ever since her debut 45 on Mocambo Records, Peki Momés has become a little sensation in and outside the organic groove scene: turntablist DJ Koco played doubles of "Göc Mevsimi" in his set, Iggy Pop announced "Rüya" on his "Iggy Confidential" show on BBC and the second vinyl single surprised everyone with a mesmerizing cover of Marco Valle's much loved "Estrelar" in the turkish language. Both records sold out quickly and are in the bags of tastemakers like Coco Maria.

Peki Momés' music is an eclectic mix of sounds from the global underground, tastefully crafted by producer Dustin Braun and a troupe of ridiculously talented jazz musicians. Dirty disco, fuzzy funk, anatolian rare grooves, experimental synth, library music and japanese city pop all blend naturally with her distinct vocals to create a unique ethereal outernational sound that is all her own.

Once dubbed as 'turkish discodelic', Peki's songs have a dreamlike, enchanted and psychedelic quality and instantly take the listener on a journey. In a poetic way, she approaches topics like "dreams and a naive fear of losing or not fulfilling them" or expresses "worries about our weary world and call for solidarity from all" - always with an outlook of hope. You do not have to speak turkish to understand - the message is transported by a universal language.

With her debut album, Peki Momés is now telling her full story. Displaying a young Peki on the cover, the artwork hints at the freshness and enthusiasm of the project. We should consider ourselves lucky that Peki chose to disrespect rules in favor of self-empowerment and made this wonderful longplayer that you never knew you needed.

Goodbye Matters retraces Silly Boy Blue’s intimate journey through a year shaken by the loss of a loved one and the emotional transformation that follows. This EP explores the emptiness left by this sudden absence, and how, over time, that void slowly fills with acceptance.


Each track represents a stage of the grieving process, associated with a color and a season, reflecting the emotion that accompanies it.



Summer 1 opens the story with an apparent calmness of everyday life that hides an inner turmoil. Autumn dives deeper into the tangible pain of absence, as memories gradually fade away with the falling leaves of the season.



With Winter, the EP reaches a breaking point. The music is stripped down to its bare essence, conveying an emotional landscape emptied out, where the outer cold mirrors inner loneliness.



Then comes Spring, where sadness still lingers but gives way to a glimmer of hope, symbolizing the struggle between memory and renewal.



Finally, Summer 2 marks acceptance — a last imaginary conversation, a gentle farewell. The cycle closes, yet light returns, offering a peaceful conclusion to this journey through loss and reconstruction.

Kill Them With Kindness is the 18th album from Beans on Toast, recorded at Greenmount Studios in Leeds with The Beans on Toast Band, a collection of musical friends he handpicked from the UK music scene a few years back.

"We've done a few tours together, but this was our first venture into a studio. Each one of them is amazing, and together... well, I'm proper chuffed with how it sounds. Have a listen for yourself," says Beans.

This album is a bit of a juxtaposition, as is the title. "There are songs that deal with the current state of the world: wars, maniac leaders, the rise of AI and the fall of the establishment. Then there are songs about trees, late nights in music venues, art, love and my new cat. As usual, it's a time stamp of my thoughts and feelings from the past year on planet Earth."

Over the course of 2025 IARC will be celebrating their eleventh year of existence by revisiting some of the most celebrated (and hard to find) entries in their decade of releases. These LP packages will be presented with new liner notes, new insert booklets, and the fresh 2025 redesign of their iconic obi and dome logo. They will also be at a price point intended to help make it easier for stores to stock and sell these essential pieces of their catalog.

With hundreds of millions of streams worldwide, Samm continues to bring sincerity and soul to every note he sings. London-born Nigerian singer, songwriter, producer, and multi-instrumentalist is redefining modern soul with emotion and rich storytelling. Blending gospel, R&B, blues, and alternative influences, his music captures the highs and lows of love, growth, and self-discovery. After breaking out with fan favorites like “Broke” and “Grow,” Samm earned critical acclaim from COLORS, Clash Magazine, The Guardian, NME, and NPR and collaborated with artists like Pharrell Williams, John Legend, Quincy Jones, and more. Samm Henshaw’s new album It Could Be Worse captures the raw beauty of heartbreak, healing, and growth. Blending soul, gospel, folk, indie, and funk, the London-born Nigerian artist channels vulnerability and emotional honesty through live instrumentation and powerhouse vocals. The project reflects on love, loss, and the humor in pain with songs like “Float,” “Get Back,” and “Tangerine.” The result is a soulful, hopeful, and deeply human record that reaffirms Samm’s place as one of today’s most authentic voices in modern soul. It Could Be Worse is being released exclusively on Vinyl first.

One of the founding figures of Amsterdam's underground Techno culture Dimi Angelis has been shaping the scene in the late 90s, throwing warehouse raves living up to the underground standards. Until today his approach remains unchanged: uncompromising, opinionated, and never aimed at easy pleasing.
Drawing from decades of crate-digging and an encyclopedic knowledge of Techno's evolution, Dimi crafts sets that feel familiar a reveal unexpected depths on closer listening.
These tracks follow that same philosophy as they are straightforward and honest on the surface, but wrapped in something appropriately unexpected.

180g Orange Vinyl LP

Lack Of Afro feiert das 15-jährige Jubiläum seines bahnbrechenden Debüts ""Press On"" mit einer neuen LP-Edition auf orangefarbigem 180g Vinyl im Gatefold samt 8-seitigem Booklet mit Linernotes von Radio-DJ Craig Charles (BBC 6Music) und Bassist Damon Minchella (Paul Weller, Richard Ashcroft, Ocean Colour Scene), einer Track-by-Track-Anleitung von Adam Gibbons selbst sowie unveröffentlichten Sessionfotos. Ein Album, das jede Tanzfläche zum Kochen bringt - mit den Cut-Up-Jazz-Drums von ""Rodrigo"", dem groove-geladen-mitreißenden ""The Outsider"" oder dem ultra-heavy Arctic Monkeys-Cover ""When The Sun Goes Down"". ""A musical brother...and I only f*ck with the best!"" - Madlib

Transparent Purple vinyl. Sometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and "junkers" into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio's mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. "You and Me," a simple but irrepressible demo credited only to Penny & the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny & the Quarters. Though we loved the song from the first play, it may've ended up a bit buried on our original compilation, as #18 of 19 tracks.Four years later, Eccentric Soul: The Prix Label hadn't exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record's back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny's piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance's indie-weeper film Blue Valentine. What we didn't know was that "You and Me" had won a major role in what became an indie circuit hit, and that Penny & the Quarters would instantly assume the role of world's most famous unknown doo-wop group.Every week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams_the formerly homeless guy with the awesome voice for radio_into a national news sensation. But both major daily newspapers in town, as well as the city's alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny & the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters' singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as "The Columbus Supremes," for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track ("You Are Giving Me Some Other Love") from the still-unknown Penny and her now-partly-known Quarters. "You and Me" is a song that could not be suppressed: not when Prix failed to release it; not when Penny & the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along.

15th Anniversary Edition. Black Vinyl. When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven "F**K YOU!" answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums -- Dinosaur, You're Living All Over Me, and Bug -- Beyond continued the band's march into rock greatness by making old ears smile and new ears bleed afresh. And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.'s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music. Farm encompasses Dinosaur Jr.'s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies. At times wholly 70's guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching "Plans" is nearly seven minutes of classic whipped-topping rock dessert, while "I Don't Wanna Go There" is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie. This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release:"Houses", "Whenever You're Ready" (The Zombies Cover), "Creepies" (Instrumental), and "Show". "Whenever You're Ready", a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there's J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make. Recorded in J Mascis' Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America's greatest living rock bands.

Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation.
Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean.
One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow.
Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom.
Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through—reddish, orange, violet.
Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai’s wave…

The piano recital/album sans retour forms the concluding part of Croene's 'Trilogy of Hopelessness' (Cortizona). The overarching theme is the sense of doom inherent in our responses to climate change. After the doomed indulgence in nostalgia ('cul de sac', 2019) and the doomed yearning for landscapes lost through climate change and human mismanagement ('solastalgia', 2022), he now presents 'sans retour': the doom of the inevitably failed fantasy of escape.

Six piano pieces serve as an in memoriam for six fearless aviation pioneers who ultimately lost their lives in plane crashes. The album opens with a sound recording of the communication between Yuri Gagarin and mission control one minute before the launch of the first manned space flight. At the end of Side A and the beginning of Side B, excerpts from the conversation between Richard Russell and air traffic control can be heard.

Conceived as a single, Beethovenian composition, Croene once again demonstrates the wide range of sound palettes a piano can produce. The common thread is a melody based on the 'Dies Irae', which takes six different forms to embody the in memoriam concept.

'In collaboration with the children of Nico Kasanda, better known as Docteur Nico, Planet Ilunga proudly presents an anthology dedicated to African Fiesta Sukisa, available as a 3LP set and a digital release with bonus songs. This release is the result of many years of preparations and was realized in close partnership with Liliane Kasanda, Nico’s eldest daughter. Marking forty years since his passing, we felt that the year 2025 was the right time to honor Docteur Nico’s legacy with this original collection.
'Almost all of the African Fiesta Sukisa songs were released on Nico’s Sukisa label which translates in Lingala for “the final accomplishment”. The music on Sukisa, crafted by Nico and legendary vocalists such as Chantal, Sangana, Apôtre, Mizele, Lessa Lassan and Josky, embodies the essence of that powerful phrase with genius, class and depth. The label ran between 1966 and 1975 and released approximately 280 songs. Ngoma also issued the group between 1967 and 1971 and, in addition, reissued material from the Sukisa label. Many of these songs have become part of the collective memory of Congolese society and are still heard, discussed, and analyzed daily across digital platforms worldwide, as well as on numerous Congolese radio and TV stations.
'The album we put together features some of Nico’s signature songs alongside never before reissued tracks from the Sukisa catalog. It furthermore contains a large booklet with song commentary, testimonial interviews from well-known musicians, journalists, fans and Nico’s entourage, besides never before published photography about his personal and musical life.
'Alastair Johnston, author of the book ‘A Discography of Docteur Nico’ and longstanding Planet Ilunga collaborator, designed a stylish booklet and cover using all our collected material. Audifax Bemba, longtime admirer, compiler and connoisseur of Nico’s music, and the author of most of the song commentary in our accompanying booklet, offers his portrait of Docteur Nico:
“After displaying technical virtuosity with African Jazz, expert and accomplished guitar with African Fiesta, which musicologist Sylvain Bemba described as a dream guitar, Nico Kasanda was consecrated ‘dieu de la guitare’ by the public in the late sixties. With his band African Fiesta Sukisa, Docteur Nico displays his wide palette of unusual sounds. While exploring the Hawaiian guitar with its clear, airy, plangent, psychedelic effluvia, he continues to replicate the piano comping technique, and adds two missing strings to his bow: a simulation of the sanza (likembé or thumb piano), whose sounds he reproduces right down to the noisemakers of the tiny tin rings, on the one hand, and the sounds of the Luba balafon on the other. The right note, in the right place, at the right time, is the triptych on which Nico Kasanda’s playing is based, a note dressed in the perfect sound. A guitar of pure emotion. With African Fiesta Sukisa, his playing takes a ‘Chopin-esque’ turn, sending out more notes in a sublime adagio. The true artist is the one who simplifies everything. Docteur Nico is a genius of our time, whose style makes him the supreme exponent of the most important guitar school in Congolese music. He is recognized by his peers as the greatest African solo guitarist of all time. Sculpting sound in a tireless quest for beauty, Nico Kasanda has sublimated the guitar throughout his career.”






























[xd] Kamulangu [Outro] (Dr. Kasanda – Sukisa 135) Folklore Baluba

Nach einem erfolgreichen Jahr 2025, in dem Sam Fender Konzerte im London Stadium und dreimal im St
James’ Park in Newcastle ausverkaufte, neben einer Nominierung für den Mercury Music Prize und dem am
schnellsten verkauften britischen Album des Jahres, erscheint am 5. Dezember „People Watching Deluxe“.
Die Deluxe-Version enthält acht zusätzliche Songs, darunter „Rein Me In“ (mit Olivia Dean) und die neue
Single „Talk to You“ (mit Elton John).
Das Deluxe Album von ”People Watching” erscheint auf CD und Vinyl.

Eine bemerkenswerte Zusammenkunft improvisierender Meister aus unterschiedlichen musikalischen Hintergründen: Zakir Hussains Making Music erschien 1987 wie aus dem Nichts und fesselte die Hörer mit seiner
eigenständigen Klangwelt. „Der Austausch zwischen Flöte, Tabla und Gitarre ist oft atemberaubend“, bemerkte die Philadelphia Tribune und beschrieb Jan Garbareks Spiel als „Linien, die die Töne so biegen, dass
sie zur indischen Vokalmusik und zur Sitar passen – und an anderer Stelle die norwegischen Winter heraufbeschwören.“ McLaughlins elegante Akustikgitarreneinsätze fügen sich mit improvisatorischer Leichtigkeit
ein und verbinden die eindrucksvolle Flötenkunst Hariprasad Chaurasias mit Hussains scheinbar alle Pulse
durchwanderndem Tablaspiel zu einem harmonischen Ganzen. Es ist ein Leichtes, nachzuvollziehen, warum
die FAZ zu dem Schluss kam: „Ohne auch nur einen der vier wäre ‚Making Music‘ nicht vorstellbar.“
Das Album wird im Rahmen der Luminessence-Serie erstmals seit seiner ursprünglichen Veröffentlichung
wieder auf Vinyl aufgelegt und erscheint im hochwertigen Tip-on-Gatefold-Cover

After Hours ist ein Album aus dem Jahr 1957 von den Prestige All Stars unter der Leitung des Trompeters
Thad Jones. Mit dabei sind außerdem Frank Wess (Flöte, Tenorsaxophon), Mal Waldron (Klavier), Kenny
Burrell (Gitarre), Paul Chambers (Bass) und Art Taylor (Schlagzeug). Das Album enthält vier Titel, die
alle von Mal Waldron komponiert wurden. Diese Neuauflage des Albums erscheint als Teil der Original
Jazz Classics Series auf 180-Gramm-Vinyl, gepresst bei RTI, mit vollständig analogem Mastering von den
Originalbändern bei Cohearent Audio und einem Stoughton Tip-On-Cover.

Troye Sivans sieben Titel umfassendes Album „In A Dream“ mit den Singles „Take Yourself Home“ und
„Easy“. „Diese kleine Sammlung spiegelt eine emotionale Achterbahnfahrt in meinem Leben wider, in
der meine Gefühle und Gedanken besonders intensiv waren“, sagt er. „In A Dream“ wurde 2020 bei
EMI Music Australia veröffentlicht und feiert sein fünfjähriges Jubiläum mit einer brandneuen zweifarbigen
180-Gramm-Vinylplatte in Rot und Blau. Limitierte Auflage.

Comprising of sisters Eva and Grace Tedeschi, The Cords are the brightest new indiepop band from Scotland and this is theri debut. They started playing drums when they were little kids and later found that they liked 80s and 90s indie music more than their peers did, and so formed a band, just the two of them, with Grace on drums and Eva on guitar - and the songs started to flow. With only a cassette and a flexi single released so far (both of which sold out in a matter of hours), Eva and Grace honed their skills by playing a whole series of gigs with some of the biggest names in Scottish pop. Their first show was with The Vaselines, and since then they have played with Camera Obscura, Belle and Sebastian, BMX Bandits and others, while also sharing stages with the new generation of indiepop stars: the Umbrellas, Chime School, Lightheaded. Like all great pop bands, The Cords have taken familiar ingredients and created something utterly fresh. Older indie fans will hear echoes of The Shop Assistants, The Primitives, Tiger Trap and Talulah Gosh, but they will hear something else too: a yearning, dreamy melodic power that takes the songs into darker, stranger places. Younger pop fans won't care about these old reference points: what they will hear is the sound of two young women doing something utterly exciting: playing loud guitar and loud drums, taking analogue instruments and hitting them hard in the service of immediate and infectious pop tunes, and not giving a second thought about the digital world that wants to own everything we do. The Cords sound free: they remind us that pop music, played right, is expressive, liberating, joyful and deeply personal. First single `Fabulist' is a sweet and catchy pop song that races along, so headlong and hooky that, on first listen, you could miss the fact that it's a wholehearted take-down of people who lie for a living. And the album is a fun rollercoaster ride from that point onwards, with the real stars of this record being Eva's sinuous guitar and silky vocals, and Grace's clattering, expressive sing-song drums. It's the sound of two sisters having an intense musical conversation with each other, pushing each other on to greater heights, exhilarated by the set of perfect pop songs they have magicked up. DIGIPAK CD, LP on BABY BLUE VINYL.

Vinyl 7inch - Split-Single: Ofisboyz/ Ghostbastardz - Non Ska-Bands from all over the world playing Ska songs: Eine türkische Oi!-Core Band aus Istanbul und eine deutsche Punk-Kapelle aus Wetzlar spielen Ska? Funktioniert! Ofisboyz "Istanbul Skinheads" The song criticizes racial prejudice, mocks stereotypes about Turks, and reclaims pride and identity in a rebellious, ironic way _ fitting into punk and skinhead traditions of standing against bigotry. Ghostbastardz "Für Skapunk reicht's" "Für Skapunk reicht's" mischt klangvollen Punkrock mit tanzbaren Offbeats - ein sommerlicher Ska- Remix, der Sonnenbrille, Bier und Rebellion in einen Soundtrack packt. Sechste Ausgabe der Ska-Split-Single-Edition, 2025, 300 Stück handnummeriert

PIA UNITED zünden mit "PENG!" ihr zweites Album-Feuerwerk. Die Fürstenwalder Band um Frontfrau Frollein Höhne vereint das rotzig-freche Lebensgefühl der 80er Jahre mit aktuellem Sound, cleverem Sprachwitz und maximaler Energie. Egal ob Punk, Rock oder Neue Deutsche Welle - auf "PENG!" verschmelzen Eigensinn, Ironie und tanzbarer Wahnsinn zu einem musikalischen Manifest. Nur ein Jahr nach Erscheinen ihres Debütalbums TACH! liefert PIA UNITED im November 2025 ,PENG!" ab. Ein Album voller Wucht, Wortwitz und wohlgesetzter Haken. Frollein Höhne, General, Sir Herle und Costja Chaos kreieren einen Stil, der das Lebensgefühl der 80er augenzwinkernd für heute neu auflädt und sich dabei immer wieder selbst hinterfragt. Ob Hymnen wie ,Die 10 Gebote der Jungpianiere" oder rotzige Coverversionen - der ganz eigene Bandhumor und die Liebe zum rebellischen Genre-Mix machen ,PENG!" zur perfekten Einladung, gemeinsam aus der Reihe zu tanzen. Pia Uniteds zweites Debutalbum! NDW trifft Punk, Ironie trifft Melodie. PunkROCK. Digipac-CD, LP in Gatefold Sleeve!

Dharmacide is a Spanish band known for their eclectic fusion of genres, blending elements of shoegaze and dreampop music. Their sound is marked by intricate guitar riffs, powerful drumming, and deep, emotive vocals that create a unique atmosphere. The band, with members of Alcalá Norte and Depresión Sonora, has made a huge impact on various stages, performing at renowned venues and festivals, including iconic spots in their home country as well as internationally, earning praise for their high-energy performances and thoughtful compositions. Their latest singles have been produced, mixed and mastered by Mark Gardener from Ride. "Tougher Than the Rest" is their awaited second album. They take a step forward with a darker sound with gloomy riffs and ethereal voices in which they describe perfectly how the sound of a night full of random events -that surely, we all have experienced- would be like. Their sound is influenced by today's bands like Diiv, Warpaint or Beach House but also by classic artists like Cocteau Twins, Nick Cave and the Bad Seeds or Tom Waits. 'The Cigs, The Light, The Coffee and Crying' is the first single in which we find a powerful reverb-laden riff with a solo vocal melody in the middle of the chaos until breaking into a powerful chorus. Their debut LP "Cult Band Member" (2021) is sold out and the growing interest in the band anticipates that copies of this new album will not last long.

The inimitable Richard Youngs returns to Black Truffle with this third full-length for the label, Hidden. Like CXXI and Modern Sorrow, Hidden unfolds across two side-long pieces at once eminently listenable and possessed of the ‘bloody-minded’ dedication to ‘having an idea and sticking with it’ that Youngs himself has identified as one of the key qualities of his work.

At the core of both pieces are rapid, randomised arpeggios generated with a Moog Grandmother, hypnotic patterns that wouldn’t be out of place on a Berlin School classic. Alongside these arpeggios, across the seventeen minutes of the first side-long piece Youngs builds an airy structure of shakers, synthetic handclaps and a brief, repeated sample, impossible to identify but sounding like a glitched foghorn. Over the top we hear his unmistakable voice, repeating single syllables—Ha, Ho—with a slow delay, something like a lonely one-man-band take on Anthony Moore’s Pieces from the Cloudland Ballroom or a more musical elaboration of the hypnotically overlapping delayed phonemes of Anton Bruhin’s Rotomotor. Like much of Youngs' work, the arrangement of sounds is sparse, each layer punctuated by spaces that allow others to shine through, in a way that seems to have more to do with dub or early hip-hop than high-brow models of musical reductionism.

On the flipside, the arpeggios return, now accompanied by ringing, filtered guitar chords and long flute tones. The use of a similar ground layer across the two pieces with strikingly different overdubs calls up Youngs' first solo record, the classic Advent, reminding us of how consistent ‘theme and variations’ is as an approach in his enormous body of work. Joined by handclaps and a chiming sound, the piece almost feels like it is about to achieve dance-floor lift-off at times, only for the percussion to disappear and leave the listener once again floating among the guitar and flute, now joined by occasional cut-off vocal snippets, like a radio turned quickly on and off. The suspension of these disparate elements over the steady foundation of the Moog arpeggios might remind some listeners of the free-form studio explorations of Moebius & Plank and Holger Czukay or even give a nod to Youngs’ formative encounter with Cabaret Voltaire.

Like some of Youngs’ much-loved work with Simon Wickham-Smith, Hidden approaches relatively familiar sounds and instruments from skewed angles, delighting in loose structures of interaction that border on gleeful incoherence while remaining outwardly beautiful. Coming up to almost four decades of persistent activity, like little else in contemporary music Youngs’ work beams with the simple joys of exploration and experiment.



On his new cassette album Neuer Almanach, Felix-Florian Tödtloff creates a reflective narrative of electronic ambience, flowing guitar renderings and field recording observations. All created in Spain, Germany, Georgia and France, these pieces are filled with pondering musical intent without the need for borders.

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before. Gangster Doodles himself puts it best: "It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.