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"Nu Vintage returns with his highly anticipated new album, The Beat Bodega, a follow-up to his acclaimed 2023 release Vibrations In Color.

Like a crate-digger’s dream corner shop, The Beat Bodega offers a vibrant assortment of beats and textures, stacked high with dusty samples, laid-back rhythms, and head-nodding vibes. Adding to the flavor are collaborations with fellow beat luminaries Pat Van Dyke, Emapea, and MichRyc, each bringing their own distinct flair to Nu Vintage’s finely tuned production.

True to Cold Busted’s dedication to high-quality physical editions, The Beat Bodega will be available in carefully crafted formats: a limited run of 500 copies on 180-gram white vinyl and 100 copies on baby blue cassette tape, alongside its digital release.

With The Beat Bodega, Nu Vintage reaffirms his place in the modern instrumental hip hop movement while pushing his artistry forward, offering listeners a richly detailed soundtrack that feels both rooted and refreshingly new."

Eine halbe Dekade nach der Veröffentlichung ihres Albums "Anak Ko" (2019) hat sich Melina Duterte, alias Jay Som, sich selbst und ihren Erinnerungen geöffnet und Songs geschrieben, die den Klang ihrer Jugend wieder aufleben lassen, und dabei ihre Erfahrung als Musikerin, Produzentin und Performerin einfließen lassen. Kein vorheriges Jay-Som-Album klingt so wie "Belong", ein packendes 11-Song-Set über Selbstdefinition und Zugehörigkeit, das zwischen kraftvollen Power-Pop-Hits und verschwommenen Balladen, zwischen elektronischen Kuriositäten und aufheiternden Hymnen schwebt.

Melina wuchs mit Alternative-Rock außerhalb von San Francisco auf und lernte als Teenager die Hits des Pop-Punk/Emo der frühen 2000er auswendig. Passenderweise ist es Jim Adkins (Jimmy Eat World), einer dieser Kindheitshelden, der bei "Float" die backing vocals übernimmt. Während Hayley Williams sanfte Harmonien auf dem schwungvollen "Past Lives" beisteuert und Lexi Vega (Mini Trees) zu "Cards On The Table" beiträgt, sind diese drei Jay Soms allererste Gastsänger*innen und repräsentieren Dutertes Bestreben, mit Menschen ihres Vertrauens Neues auszuprobieren.

Seit ihrem letzten Album hat Melina beschlossen, sich selbst und ihrem lebenslangen Interesse am Recording etwas zu gönnen. Mit dem Kauf einer alten Neve-Konsole nahm sie sich vor, mehr zu werden als nur ihre eigene Tontechnikerin zu Hause. Fünf Jahre später kann sie nun auf eine umfangreiche Liste an Produktions- und Mixing-Credits zurückblicken, darunter auf Lucy Dacus’ neuestem Album "Forever Is A Feeling", Gastauftritte an der Seite von Troye Sivan, No Rome und beabadoobee, einen Beitrag zum Soundtrack von A24s "I Saw The TV Glow" und einen Grammy für ihre Arbeit an "The Record" von boygenius, der Band, der sie später als Tourmitglied beitrat.

Born Osborne Ruddock in Kingston in 1941, he grew up around High Holborn Street in Kingston, before moving to the new Waterhouse district in 1955. His electronic genius grew from working and fixing radios and TV sets. A natural progression led to working with amplifiers, and starting his own sound system, 'Tubby's Home Town Hi-Fi'. A very competitive games i the late 60's. You were as good as the EXCLUSIVE records you played.
Tubby discovered during his time cutting discs for Duke Reid's Treasure Isle set up, that by dropping vocals/instruments in and out of the backing tracks, you could invent new versions of existing old tunes. These early versions tried and tested on his sound system went down so well that he invested in a four track mixing console with delay echo effects, sliders and phasing units and so began King Tubby's 'Studio Of Dub' at 18 Drummlie Avenue, Kinston 11 , Jamaica...His Home.....
This is where all the producers would bring their tracks for Tubby to put his magic over. Most tracks that came out in Jamaica from here on in would carry a 'Version' on it's B- Side more than likely a Tubby Dub.
One of the producers who used him the most was Bunny Striker Lee, who's labels Jackpot, Justice and Attack all carried Tubby's mixes/versions on their flip sides.
Our collection here, all taken from original master tapes you might have heard the tracks before but not these versions....Lost in the vaults till now. So sit back and enjoy the dub master at work.

RESPECT.... JAH FLOYD

Track 1 CHERRY'S DUB
We start off with a very early version of Eric Donaldson's 'Cherry O Baby'.
This version was recorded at Dynamic Sounds, in 1971 and has remained lost on master tape until now.

Track 2 FRENEMY DUB
This classic rhythm known as 'Mad Mad World' and 'Crying in the Ghetto' both voiced by Winston Jarret
got worked on by Tubby as an exclusive mix for his sound system. Released here for the first time featuring
the late, great Jacob Miller on dubbed vocal.

Track 3 FALLING FOR DUB
A version here of Cornell Campbell's 'My Whole World is Falling Down' Tubby in fine form.

Track 4 DUB ON THE STREET AGAIN
Yes my friend The Street Again finds Cornell Campbell's vocal dubbed King Tubby Style Nice Rockers drums from Sly Dunbar.


Track 5 DECEIVING THE DUB
Sly and Robbie dubbing up Delroy Wilson's ' So Long Jenny' with King Tubby at the boards

SKA was the name given to the music that came out of Jamaica between 1961-1966. Based on the American R&B and Doo-wop records that the Sound Systems in Kingston Town used to play. However, the American records style started to mellow out, while the Jamaicans preferred a more upbeat sound. So the Sound System bosses became record producers to cater for this demand. Sir “Coxonne” Dodd and Duke Reid led the way putting the top musicians on the Island in the studio to make music unmistakably Jamaican. A lot of their early recordings were cut at Federal Records before they built their own studios.

Federal Records was the first domestic Jamaican studio, based at 220 Foreshore Road, Hagley Park, Kingston. It opened it’s doors in 1961 owned by Ken Khouri who first licensed American records to the island of Jamaica, before cutting his own tunes, which were some of the first Jamaican RnB and Ska singles. Ken Khouri initial studio was Records Limited but very basic so with the help of engineer Graeme Goodall built the new studio complex at 220 Foreshore Road which also contained a pressing plant and disc cutting room. The studio was not only the forerunner for Ska music but the music that followed and in 1981 Ken Khouri sold the complex now on the renamed road Marcus Garvey Drive to Bob Marley who renamed the premises Tuff Gong Studios whose legacy carries on today.

We have compiled some of the best SKA SOUNDS that came out of the Federal Vaults, with some of the best artists, musicians from the time. The great Lord Tanomo, Don Drummond, Rico Rodriguez, Roland Alphonso, alongside some lesser known artist. However, one thing is for sure, the quality never drops on this fine collection of Ska Hot Tunes……

Effortlessly picking up from their excellent demonstration cassette, it sees the band refining their sound even further. An audio amalgamation combining the profoundness of early Ulver, with the gloom of old Katatonia and exalted boldness of Fields of the Nephilim, thus adding unique elements of nostalgia and atmosphere to their own melodic interplay of guitars and excellent musical framework.

The album contains strong signs of a band that knew at a young age how to draw their canvas. Very Scandinavian in nature, and influenced by the American landscape of the Pacific Northwest, it firmly put Agalloch on the map and raised eyebrows about what a band from North America would be capable of. As a person that grew up checking out records based on their cover-artwork alone, this album is particularly notable for such an experience, considering the wooden cover with a gold emblazoned logo engraved. This is music that glorifies the night sky, envisions campfire magic, heralds nature over humans, arcane arts & poetry, and worships the beauty of a crackling fireplace. It could be the soundtrack for a lone wanderer striving through a wintry storm, only to end up knocking on a faded
wooden door to find shelter in a desolate cabin. In many ways the sound of forlorn times.

If you are looking to fill your heart with woodsmoke and the fire of
the mountain's spirit, look no further.

"Pale Folklore was a watershed moment in American heavy music, when a few young musicians with a shared love of underground death metal - and broad personal tastes beyond - turned their already virtuosic talents toward a fresh hybrid of metal and neofolk through a gothic lens." - Daniel Lake / author of USBM: A Revolution of Identity in American Black Metal

In 2005, teenage trio The Subways made a phenomenal breakthrough with their Gold-certified debut album "Young For Eternity". It set them on the road to an endless succession of highlights, including their iconic "Rock & Roll Queen" becoming a mainstay of rock radio and streaming playlists. Twenty years on, and now five albums deep into their career, The Subways celebrate their 20th anniversary with the career-spanning collection "When I"m With You". The compilation brings new material too. It includes two new songs: "I Need To Feel You Closer", and "Passenger"s Side". The collection features the band"s work with some of the most influential producers around, including Butch Vig (Nirvana, Foo Fighters), Stephen Street (The Smiths, Blur) and The Lightning Seeds" Ian Broudie (Echo & The Bunnymen, The Coral). The tracks taken from their self-titled album and "Uncertain Joys" were produced by Billy Lunn.

Grizzly Bear haben sich nie aufgelöst. In den sechs Jahren seit ihren letzten Auftritten haben sich die vier Mitglieder, die vor zwei Jahrzehnten als lose Freunde und sogar völlig Fremde zur Gruppe stießen – Chris Bear, Ed Droste, Daniel Rossen, Chris Taylor – anderen Dingen zugewandt. Sie haben andere Musik gemacht, andere Karrieren verfolgt, andere Familien gegründet und andere Leben jenseits dieser Band geführt. Und nun, zum ersten Mal seit 2019, kehren diese vier Musiker und Freunde zu Grizzly Bear zurück, um die Bande, die sie zu einem der fesselndsten und beliebtesten Acts dieses Jahrhunderts gemacht haben, auf die Probe zu stellen und zu sehen, wohin diese alten Verbindungen noch führen. Da sich Grizzly Bear nie aufgelöst haben, sind ihre ersten Auftritte seit sechs Jahren keine Reunion; sie sind Ankunft und Aufbruch zugleich, ihr nächstes Ziel noch unbekannt.

Diese Art von offenem Ansatz ist es schließlich, der Grizzly Bear noch immer zu einem der prägenden Acts dieses jungen Jahrhunderts macht. Vor zwanzig Jahren wandelten sie sich rasant von einem Lo-Fi-Songwriter-Projekt zu einer vollwertigen Band mit einem sofort einzigartigen Sound, unheimlichen Harmonien, die sich um Arrangements schmiegten, die den Glanz eines Kammerorchesters mit der Härte einer Rockband verbanden. Sie trugen dazu bei, die Möglichkeiten des Indie-Rock neu zu definieren, indem sie Üppigkeit mit Lockerheit, technische Exzellenz mit emotionaler Offenheit in Einklang brachten. Ihre musikalischen Spuren sind nach wie vor allgegenwärtig, Teile ihrer unorthodoxen Sicht auf Klang und Textur sind heute fester Bestandteil des musikalischen Erbes. Diese Songs im Jahr 2025 live zu hören, wird sich also weniger wie ein Händedruck mit der Vergangenheit anfühlen, als vielmehr wie das erste Mal, ihre Fingerabdrücke in der Gegenwart zu sehen.

Begleitet werden diese Live-Shows von Neuauflagen der Alben Yellow House, Veckatimest, Shields und Painted Ruins auf farbigem Vinyl.

Grizzly Bear haben sich nie aufgelöst. In den sechs Jahren seit ihren letzten Auftritten haben sich die vier Mitglieder, die vor zwei Jahrzehnten als lose Freunde und sogar völlig Fremde zur Gruppe stießen – Chris Bear, Ed Droste, Daniel Rossen, Chris Taylor – anderen Dingen zugewandt. Sie haben andere Musik gemacht, andere Karrieren verfolgt, andere Familien gegründet und andere Leben jenseits dieser Band geführt. Und nun, zum ersten Mal seit 2019, kehren diese vier Musiker und Freunde zu Grizzly Bear zurück, um die Bande, die sie zu einem der fesselndsten und beliebtesten Acts dieses Jahrhunderts gemacht haben, auf die Probe zu stellen und zu sehen, wohin diese alten Verbindungen noch führen. Da sich Grizzly Bear nie aufgelöst haben, sind ihre ersten Auftritte seit sechs Jahren keine Reunion; sie sind Ankunft und Aufbruch zugleich, ihr nächstes Ziel noch unbekannt.

Diese Art von offenem Ansatz ist es schließlich, der Grizzly Bear noch immer zu einem der prägenden Acts dieses jungen Jahrhunderts macht. Vor zwanzig Jahren wandelten sie sich rasant von einem Lo-Fi-Songwriter-Projekt zu einer vollwertigen Band mit einem sofort einzigartigen Sound, unheimlichen Harmonien, die sich um Arrangements schmiegten, die den Glanz eines Kammerorchesters mit der Härte einer Rockband verbanden. Sie trugen dazu bei, die Möglichkeiten des Indie-Rock neu zu definieren, indem sie Üppigkeit mit Lockerheit, technische Exzellenz mit emotionaler Offenheit in Einklang brachten. Ihre musikalischen Spuren sind nach wie vor allgegenwärtig, Teile ihrer unorthodoxen Sicht auf Klang und Textur sind heute fester Bestandteil des musikalischen Erbes. Diese Songs im Jahr 2025 live zu hören, wird sich also weniger wie ein Händedruck mit der Vergangenheit anfühlen, als vielmehr wie das erste Mal, ihre Fingerabdrücke in der Gegenwart zu sehen.

Begleitet werden diese Live-Shows von Neuauflagen der Alben Yellow House, Veckatimest, Shields und Painted Ruins auf farbigem Vinyl.

Grizzly Bear haben sich nie aufgelöst. In den sechs Jahren seit ihren letzten Auftritten haben sich die vier Mitglieder, die vor zwei Jahrzehnten als lose Freunde und sogar völlig Fremde zur Gruppe stießen – Chris Bear, Ed Droste, Daniel Rossen, Chris Taylor – anderen Dingen zugewandt. Sie haben andere Musik gemacht, andere Karrieren verfolgt, andere Familien gegründet und andere Leben jenseits dieser Band geführt. Und nun, zum ersten Mal seit 2019, kehren diese vier Musiker und Freunde zu Grizzly Bear zurück, um die Bande, die sie zu einem der fesselndsten und beliebtesten Acts dieses Jahrhunderts gemacht haben, auf die Probe zu stellen und zu sehen, wohin diese alten Verbindungen noch führen. Da sich Grizzly Bear nie aufgelöst haben, sind ihre ersten Auftritte seit sechs Jahren keine Reunion; sie sind Ankunft und Aufbruch zugleich, ihr nächstes Ziel noch unbekannt.

Diese Art von offenem Ansatz ist es schließlich, der Grizzly Bear noch immer zu einem der prägenden Acts dieses jungen Jahrhunderts macht. Vor zwanzig Jahren wandelten sie sich rasant von einem Lo-Fi-Songwriter-Projekt zu einer vollwertigen Band mit einem sofort einzigartigen Sound, unheimlichen Harmonien, die sich um Arrangements schmiegten, die den Glanz eines Kammerorchesters mit der Härte einer Rockband verbanden. Sie trugen dazu bei, die Möglichkeiten des Indie-Rock neu zu definieren, indem sie Üppigkeit mit Lockerheit, technische Exzellenz mit emotionaler Offenheit in Einklang brachten. Ihre musikalischen Spuren sind nach wie vor allgegenwärtig, Teile ihrer unorthodoxen Sicht auf Klang und Textur sind heute fester Bestandteil des musikalischen Erbes. Diese Songs im Jahr 2025 live zu hören, wird sich also weniger wie ein Händedruck mit der Vergangenheit anfühlen, als vielmehr wie das erste Mal, ihre Fingerabdrücke in der Gegenwart zu sehen.

Begleitet werden diese Live-Shows von Neuauflagen der Alben Yellow House, Veckatimest, Shields und Painted Ruins auf farbigem Vinyl.

Mit dem weltweiten Erfolg von Natural Brown Prom Queen im Rücken legt Sudan Archives noch eine Schippe drauf: Aus einer hands-on DIY-Künstlerin ist eine ausführende Produzentin geworden.



Aufgenommen in Los Angeles, Chicago und Detroit, hat sich die innovative US-amerikanische Geigerin, Sängerin, Songwriterin und Produzentin mit THE BPM - ihrem dritten und bislang wohl ehrgeizigsten Album – ganz der Clubmusik verschrieben. Nach wie vor geprägt von ihrem Signature Instrument, der Geige, präsentiert sich die Musik auf The BPM tanzbarer denn je.

Mit dem weltweiten Erfolg von Natural Brown Prom Queen im Rücken legt Sudan Archives noch eine Schippe drauf: Aus einer hands-on DIY-Künstlerin ist eine ausführende Produzentin geworden.



Aufgenommen in Los Angeles, Chicago und Detroit, hat sich die innovative US-amerikanische Geigerin, Sängerin, Songwriterin und Produzentin mit THE BPM - ihrem dritten und bislang wohl ehrgeizigsten Album – ganz der Clubmusik verschrieben. Nach wie vor geprägt von ihrem Signature Instrument, der Geige, präsentiert sich die Musik auf The BPM tanzbarer denn je.

"Rumah Sakit 25" vereint das Debütalbum von Rumah Sakit und ihre lange vergriffene EP Travels In Constants in einem außergewöhnlichen Paket. Die Band hat sich erneut mit Bob Weston zusammengetan, um die Original-Masterbänder sorgfältig zu remastern. "Rumah Sakit 25" enthält neues Cover-Artwork von alten Freunden und Mitarbeitern, Jeremiah Maddock und Marty Anderson. Die umfangreiche 180-Gramm-Gatefold-2xLP in Audiophile-Qualität enthält vollfarbige Innenhüllen mit Hunderten von bisher unveröffentlichten Fotos, die die inspirierte Anfangszeit der Band dokumentieren, sowie ein massives 24-seitiges Kunstbuch im Format mit bisher unveröffentlichten Kunstwerken von Maddock. Es ist ein exquisites Werk, das eine Band meisterhaft einfängt, die letztendlich die nachfolgenden Künstler inspirierte und deren spätere Zusammenarbeit mit Foals, Pinback, Sweep the Leg Johnny, Sleeping People und HEY!TONAL unterstreicht, wie einzigartig vielfältig und produktiv Rumah Sakit wirklich waren. Rumah Sakit war eine vierköpfige Rockband aus San Francisco, Kalifornien. Die Gruppe begann 1998 Gestalt anzunehmen, nachdem Gitarrist John Baez, Bassist Kenseth Thibideau und Schlagzeuger Jeff Shannon alle von Redlands nach San Francisco gezogen waren. Nachdem Gitarrist Mitch Cheney schnell hinzukam, war die Band komplett und entschied sich für den Namen Rumah Sakit - eine wörtliche indonesische Übersetzung von ,Krankenzimmer" (alias Krankenhaus) - und einen Sound, der die frenetische Energie von King Crimson aus der "Red"-Ära mit einer meditativen Melodik verband, die in starkem Kontrast zu den meisten ,Math-Rock"-Bands dieser Zeit stand. Bald darauf betrat Rumah Sakit zum ersten Mal das Studio, um ihr gleichnamiges Debütalbum aufzunehmen. "Rumah Sakit" wurde 1999 im ehrwürdigen Music Annex Studio in zwei etwas geheimen Nachtsessions mit den Studio Praktikanten/guten Freunden/angehenden Toningenieuren Jay & Ian Pellicci aufgenommen. Das Album entstand nach einer ,No Tricks"-Philosophie, die den Ansatz der Band beim Spielen und Aufnehmen ihrer Musik prägen sollte. Aufgenommen vollständig live ohne Overdubs in nur wenigen Takes, nutzte die Band die Kunst, die natürliche Präsenz des Raumes und die strategische Platzierung der Geräte, um die reinste und genaueste Darstellung dieser Songs in diesen Momenten einzufangen. In einer Zeit, die schnell durch die aufkommende Popularität von ProTools und akribisch manikürten, maximalistischen Mixes verändert wurde, war die Welt von Rumah Sakit eine erfrischende Atempause. Ein Jahr später, im Herbst 2000, flog Rumah Sakit den renommierten Chicagoer Toningenieur und Shellac-Bassist Bob Weston nach San Francisco, um zwei kurze Tage lang eine neue EP im schäbigen Tiny Telephone Recording aufzunehmen. Diese EP wurde Teil der Abonnement-CD-Reihe ,Travels In Constants" von Temporary Residence (neben Veröfffentlichungen von Mogwai, Low, Explosions In The Sky, Eluvium und MONO). Abgesehen von der Originalauflage von 1.000 CDs, die für Abonnenten reserviert waren, waren die Studioaufnahmen auf Travels In Constants bis jetzt nie wieder erhältlich.

God = doG is the collective around Belpop icon Rudolf Hecke and consists of Nikkie van Lierop (Erotic Dissidents, Praga Khan), Toon Derison (Steven De Bruyn, El Fish), Klaas Tomme (Iskander Moon, Illuminae), and Yassin Joris (Jokke, Naima Joris).

Rudolf Hecke's LP “God is doG spelled backwards” was voted the best Belgian album of 1989 by De Morgen. Humo crowned him “The Nick Cave of Flanders”.

36 years and many musical adventures later, he is back with a strong, dark, and atmospheric album comparable to the works of, for example, This Mortal Coil: different styles of songs sung by different band members. The album is produced by Hecke, David Poltrock, and Ian Caple. Additional lead vocals are by Elsje Helewaut.

Rudolf has also proven to be a gifted author and speaker. On 26 October 2024, he published his ninth book, How Rough is the Stone?, in which he immerses himself in Freemasonry. The journey to that book was accompanied by the recording of new God=doG songs. Mutual influence, symbolism, questioning, insights, and reflection emerged.

Thus, in the fascinating live shows, storytelling is never far away…

Jubiläums-Ausgabe: Neu abgemischt und remastered. Enthält den neuen Song "Glass Houses". Mit neuem Artwork, kommt in O-Card-Schuber. Strung Out feiern im Jahr 2025 zwei wichtige Meilensteine: ihr 35-jähriges Bandjubiläum und das 20-jährige Jubiläum ihres bahnbrechenden Albums ,Exile in Oblivion". Dieses Album, das weithin als unverzichtbarer Punk-Hardcore-Klassiker gilt, wurde zu diesem Anlass neu abgemischt und remastered. Zur Feier des Tages hat die Band mit Hilfe von Kyle Black und Rob Ramos "Glass Houses" fertiggestellt, einen unvollendeten Song aus den ursprünglichen Aufnahmesessions. Exile in Oblivion zeigt Strung Out's charakteristische Mischung aus melodischem Punk, Hardcore und Metal-Elementen, die jetzt besser klingt als je zuvor. Während frühere Alben ihr technisches Können andeuteten, zeichnet sich Exile in Oblivion durch disziplinierte Gitarrenarbeit und schnelles Schlagzeugspiel aus, das immer dem Kern des Songs dient. Das Album wurde durchweg für sein kraftvolles Songwriting, die komplexe Musik und den dunkleren, aggressiveren Ton gelobt und festigte seinen Ruf als bedeutende Veröffentlichung sowohl in der Diskografie der Band als auch in der breiteren Melodic Punk/Hardcore-Szene. Indie-Handel exklusives Red & Yellow Swirl Vinyl!

Returning to Curvature for his eagerly awaited second EP, Senses brings an impressively varied array of atmospheric jungle to the table, drawing from a multitude of influences across the musical spectrum with Convex Reflex.

A1 - Ratio
A break-laden intro lays the groundwork for a considered foray into the old-school - Senses flecking the mix liberally with synths and female vocal hits of yesteryear, before the welcome crunch of thunderous amens takes over. A cascade of rip-roaring edits
floods the track taking you on an epic ride through the ages, breaks chopped with riotous energy confirming this track as a perfect DJ tool for the dancefloor.

A2 - Sun Runner
Beautifully crisp drums open a DJ-friendly intro to Sun Runner, delightfully clear sounding with distinctive cymbals, a thick snare and subtle bongos. An airy soundscape soon washes into the mix with calming synths and flutes, creating a delicately jazzy blend of styles with soothing melodies contrasting perfectly with the breaks. More pronounced synthwork follows to spice things up as the bassline rumbles along below.

B1 - Spirit Vector
Dense atmospherics are the order of the day as Senses deploys Spirit Vector, opening with an array of synths and strings to create an intro reminiscent of Intense's work in the late 90's. Soon we are treated to a paradoxical assortment of heavy amens that work impeccably in the mix - thundering forth with pads soaring high and a heavy sub bass below. Various instrument samples litter the breakdown before a vocal sample declares "Yes". Yes indeed.

B2 - Still
Closing the EP in style, Still opens with sparse breaks, lightly building with extremely subtle apache breaks in the backdrop with sporadic keys and smooth pads. The drop arrives with warm, room-filling basslines and synths to elevate the atmosphere alongside luscious flute samples.Layers are added to the excellent breaks as Senses sprinkles instrument samples, keys and a classic female vocal, completing a joyous composition for Curvature.

Words by Chris Hayes (Spatial / Red Mist)

Debuting on Curvature with an impressively deep EP, Reviver delivers a sound that aligns perfectly with the core ethos of the Spatial family - incredible atmospherics and classic breakbeats.

A1 - Call From Space
Opening the EP we are treated to a DJ-friendly intro with thick breaks and crackly backdrops reminiscent of classic sci-fi movies with a slightly oppressive aura. A tapestry of melodies created from intertwining synths and samples follows, as Reviver tells a story of intrigue and redemption through this wonderful medium - a
stunning, rousing melody soon develops and elevates things to otherworldly levels for the latter stages. Quite simply, you've got to hear this.

A2 - Way Of Paradox
Old-school, finely edited breaks open a DJ-friendly intro to Way Of Paradox, a track which quickly builds a darkly suspenseful vibe through synths and pads, rising and swirling across the soundscape with mystique and a sullen vigor, before a mournfully intense earworm melody joins the proceedings. The atmosphere builds and envelops the listener like gathering storm clouds leaving this one etched firmly in the memory.

B1 - Define Or Destroy
Strap in as there is no let up with the intensity - Reviver unleashes Define or Destroy which sees that classic amen break deftly programmed with a variety of filtering and editing techniques on show, while sumptuous operatic female vocals add further depth along with melodic keys. This track rolls and rolls with the best of
them as you appreciate the subtleties of Reviver's varied edits with each listen.

B2 - Journey Alone
Generating an immediate sense of unease straight out of The X Files with delicate pads and synths, Reviver closes the EP in style, serving up a track dripping with atmosphere and intrigue. A wonderfully old-school breakbeat drives proceedings along with sparse kicks and excitable snares, patterns filtered to perfection with swirling micro melodies adding layer upon layer to an already impressive piece. A fitting end to an incredibly intense EP.

We're proud to present our third vinyl release, showcasing one of the rising talents in the contemporary electronic music scene.
M.I.T.A. lands on Chapeau Music with a 4-track EP that moves between straight grooves and refined sampling work.

The title track, 'Money Driven', goes straight to the point: groove, cadence, and a punchy vocal, essential elements finely designed to lock the dancefloor into motion. The A-side is completed by a sharp and highly functional remix by Elisa Bee.

Flipping the record, 'My Love' delivers a filtered, groove-heavy anthem, radiating a rush of joy while maintaining a tight, practical structure.
Closing the record, 'Movie Scene' finds M.I.T.A. at his creative freedom peak, where delicate melodic fragments and high-pitched vocals float above the groove, perfectly balancing the rhythm.

Founded by Dennis Quin, Eardrums is all about timeless house music, deeply influenced by the sounds of the UK, US, and the Netherlands. Dancefloor-oriented and driven by authenticity, the label provides a platform for both established artists and emerging talent—no hype, just pure quality.

Simon Popp is back on Squama with his fourth album Trio.
At its heart, Trio is a work about collaboration, playfulness and unification. It is music as a means of coming together, a sonic equivalent to the Japanese philosophy of Kintsugi, in which broken ceramics are repaired with a visible golden lacquer. Rather than hiding the breaks, Kintsugi embraces them, making them part of the story, a form of delicate transformation. Popp and his collaborators Flurin Mück and Sebastian Wolfgruber take a similar approach: three distinct drummers, three different temperaments, three personal styles. Fused together into a single expressive instrument.
The album is a celebration of timbre, texture, and touch, its sound palette drawn from across continents and traditions. Human beings at all points of time, across all cultures and continents have used music to celebrate, mourn, worship and bond. Along with our voices, creating rhythm with our bodies. Clapping, stomping, hitting with sticks. A celebration of rhythm as both a shared human memory and an audible expression of close bonds.
Trio is a reflection of the beauty of imperfection and the timeless pull of rhythm as a shared human force. The cracks are not hidden. They are filled with gold.

Romain has been a key innovator in the Hong Kong & Asian music scene for the past 18 years in various different facets, building bridges between cultures and erasing borders through music. He has since taken a step into the world of production and his music has been played by some of the biggest acts in the game such as DJ Harvey, The Black Madonna, Gerd Janson, Horse Meat Disco, Skatebärd, Lauer, Tornado Wallace, Lipelis, Orpheu The Wizard, Kamma & Masalo and many more. Here his musical production story continues with his latest collection of works coming via the esteemed Tokyo imprint, Sound Of Vast.

Leading the release is title-cut ‘Musique De Maison’, a five-minute excursion through organic percussion grooves, snaking elongated bass tones, intricately intertwined vintage-leaning synth melodies and an overall cosmic disco aesthetic that reflects Romain’s borderless, cross-cultural sound. ‘Tonal Spices’ follows and ups the energy levels with a sturdy rhythm section, squelchy acid licks, murky bass stabs, Indian vocals and cinematic strings ebbing and flowing throughout.

Monkey Timers take on ‘Musique De Maison’ next with their interpretation extracting the core essence of the original and reshaping it into a dynamically unfurling rework, fusing fragments of the original with expansive delays, heavy reverberations and modulating synth work. The ‘Psych-O-Delic (Live Mix)’ then concludes the release with off-kilter drums running in combination with, as the name would suggest, tripped-out melodies, processed spoken word and warbling synth licks — a nod to Romain’s playful, surrealist edge.

JP
東京とアムステルダムを股にかけながら、The People In FogやRed Pig Flower、GǼG (Monkey Timers & Keita Sano) 等のリリースを手掛け、オルタナティヴなディスコ/ハウス・レーベルとして存在感を放つSound Of Vast。その最新作は、Romain FXの12インチ！

フランスで生まれ香港/台湾/アメリカで育ったRomain FXはプロデューサーとしてのデビュー以降、自身が主宰するFauve Recordsや禁 JIN、Black Jukebox等で、イタロ・ディスコやプロト・ハウス、アジア産音源等を現代的に昇華したサウンドを展開。特に2024年にSound Metaphors Recordsの傘下から発表したイタロ・ディスコ金字塔"Spacer Woman"のカヴァーは、DJ HarveyやOrpheu the Wizardらのアーリープレイによってディガーたちに衝撃をもたらすと同時に、Romain FXの評価を確固たるものとした。

本作には、溌剌としたシンセの掛け合いにラテン・パーカッションが並走しドリーミーなクライマックスに向かうプロト・ハウス"Musique De Maison"、アフロ/コズミック影響下の初期プログレッシヴ・ハウスが現代のピークタイムとシンクロした"Tonal Spices"、バイレファンキやエレクトロ・ファンクの化合物がバッドトリップ直前まで交錯する"Psych-O-Delic (Live Mix)"といった3つのオリジナル曲を収録。更に今回は、ユニットGǼGとしての怪作を経てPanorama BarをはじめとしたEUツアーを敢行した日本人デュオ、Monkey Timersによる"Musique De Maison"のリミックスも搭載。Droid作品を彷彿とさせるFX処理やグルーヴ脱構築の技法により、本EPにダークな一面を持たせた。

本作に収録されたいずれの楽曲も、Romain FXが辿ってきた陽性のエネルギー溢れる遍歴と練磨されたスタジオ・スキル、現代のダンスフロアのムードが交差しオリジナリティの獲得を目指す、インパクト溢れる仕上がりとなった。近頃はライヴアクトとしても成長を遂げるRomain FXが如何にクラウドを熱狂に陥れているか、想像に難くないであろう。

Developed over three years across residencies, tours, and periods of deep listening, “Your Whistle Tells of Landscape” finds Australian sound artist Alexandra Spence continuing her investigations into the perceptual entanglements of sound, place, memory, and imagination. Like much of the artist’s work, it unfolds at the liminal edge between the real and the imagined — between what is heard and what is remembered.

Composed from a constellation of materials gathered across sites and seasons — snowscapes recorded in Vancouver, insect choruses from a Sydney backyard, ceramic fragments unearthed while mudlarking with tinysound — it renders an intimate cartography of experience: one shaped equally by ecological resonance and internal drift. Each piece traces a kind of imaginary geography, where sonic ephemera become proxies for topography, weather, or myth.

The album is informed by time spent at EMS (Stockholm) and MESS (Melbourne), where Spence deepened her engagement with microtonality and tuned feedback systems, and by dialogues with sympathetic artists such as Tashi Wada and Patrick Farmer. Sound materials were sourced from Serge Modular systems, a custom lyre built by Tim Wall, amplified objects, handmade electronics, and Spence’s own field recordings captured within rockpools, beneath sand, and among a flock of sheep in the French Pyrenees. On “Magenta,” a collaboration with Delphine Dora, the domestic and mythic intertwine, as layers of voice, environmental recordings, and Halldorophone feedback drift in and out of one another like overlapping weather systems.

Despite its diverse material palette, the album resists spectacle or accumulation. Instead, it moves with a quiet sense of continuity and a rich interiority — less a sequence of compositions than a set of situated attunements. Across its duration, sounds seem to murmur, glint, or hover right at the edge of presence, invoking a listening practice that is as much about orientation as it is about reception. These are pieces not simply about place, but of place — etched with the grains of time, vibration, and breath.

In 2005, Felt 2: A Tribute to Lisa Bonet brought together two of underground hip-hop’s most respected voices of the time—Murs and Slug—for a second collaboration that felt looser, livelier, and more charismatic than its predecessor. The album captures a moment of creative freedom, where both MCs were firing on all cylinders, trading verses with sharpness, humor, and effortless chemistry. Their interplay reflects a deep mutual respect and a shared drive to push boundaries while keeping things rooted in style and substance.

Working with different producers for each volume allowed Murs and Slug to bring a unique energy to each release, and Ant’s masterful production was central to the chemistry of Felt 2.


With roots in classic soul and West Coast bounce, his beats created a warm, funk-laced foundation that allowed both rappers
to experiment with new cadences and ideas. Rather than lean on moodiness or melodrama, the soundscape of Felt 2 is expansive, colorful, and rooted in rich, infectious rhythm—an aesthetic that has aged gracefully and continues to draw new listeners into its orbit. While undeniably fun, Felt 2 is also structurally tight and full of moments that reward repeat listens. The chemistry between Murs and Slug is effortless, and their shared sense of humor, timing, and respect for the craft creates a lasting impression. It’s a standout entry in the canon of early-2000s indie hip-hop, and one that’s long overdue for a proper vinyl reissue.

The electronic music producer returns to his songwriting roots with a kaleidoscopic new album, featuring collaborations across genres and generations

The revered debut from the genre-spanning guitarist, singer and songwriter, Terry Callier, has returned to vinyl. Originally recorded in 1964 for Prestige Records, the album features Callier’s version of standards such as “Cotton Eyed Joe” and “900 Miles.” AllMusic calls it Callier’s “most timeless and inviting” release.” Pressed on 180-gram vinyl at QRP and newly (AAA) remastered from the original tapes, while a replica tip-on jacket completes the package.

Many Amerindian cultures share the belief that the future lies behind us, while the past is what we face ahead. This challenge to Western chronology is, however, rooted in common sense: the open possibilities of what is to come are, in theory, what we cannot see—the uncertain—whereas the events that have already happened unfold before our eyes and are available for us to learn from.



This second album by Chilean producer, live performer, and DJ Valesuchi could be described as an experiment with time through music. Some years after relocating to Rio de Janeiro, she released Tragicomic LP (2019) on MAMBA rec—a label founded by the boundary-pushing Brazilian party Mamba Negra—and the self-released EP Cascada (2024). In both works, we can already appreciate her musical imprint: rhythmic and emotional timbral lines—wet, filtered, mathematical,

devotional, multilingual, fantastic, and unreal. However, in Futuro Cercano (Discos Nutabe, 2025), we can hear a leap: the sedimentation of her lived experiences in electronic communities across Latin America, her search for a universal yet personal language to convey emotion and new spiritual meaning, finds in this release a consistency and spontaneity that is rarely heard these days.



In a time when all cultural expression is not only expected to be taggable, but is also increasingly produced from templates that precondition our perception—favoring categorization and connections to works or scenes of the past—the tracks on this album are generically unclassifiable. They represent an openness to experiment without prejudice with electronic instruments and rhythms that are asancestral as they are futuristic. They publicly reveal an intimacy born from the compositional process, a bond formed through the encounter—sometimes tense, sometimes harmonious—between human will and that of the machines themselves. Or, as Valesuchi put it, "cyborging my friendship with the machine and becoming a tempest." Tempest as an eruption of the unknown into the present, the result of opening oneself to a nearly meditative state to uncover the deepest feelings through improvisation on cybernetic feedback and loops. And in that improvisation, to develop “técnicas para estirar o medir el tiempo”

“techniques to stretch or measure time” as she sings in 22, the album’s first track. “Connecting knowledges” as a portal to access that future so near it lies behind us, and to anticipate it as intuition and prospection.



That’s why Futuro Cercano is more than just electronic music: it is a technological ritual, an immersion into the secrets that machines hold as artifacts of human and non-human knowledge, as mysterious objects that allow us to connect with our own otherness—the personal alien hiding beneath the skin that opens us up to uncertainty as possibility rather than catastrophe.

Joanna Duda Trio’s new album, 'Delighted' weaves a hypnotic tapestry of sound that immediately captivates the listener. From the very first note, the track invites you into a world where inventive rhythms and melodies dance with a mesmerizing intensity. The crispness of the percussion and the looming intensity of the double bass create a vivid sonic landscape that feels both fresh and accessible, while undeniably complex.

Duda’s composition is one of her strengths, having been sought out to compose the music for the first Polish film for Netflix Originals (Erotica 2022), and she again demonstrates her uncanny ability to blend subtle complexity with melodic piano hooks that ooze playfulness. Beneath the surface a darker, more menacing undertone that keeps the listener on edge.

"This delightful composition was worth the wait" (Twisted Soul Music) "Effortlessly interchanging some mind boggling time signatures, I love their precision" (Soweto Kinch, BBC Radio 3) "To say that Joanna Duda is a jazz pianist is an understatement. The artist transcends musical boundaries, often using jazz as a starting point for broader sonic explorations" (Polskie Radio)

The Trio has an extensive European tour planned to support her album release.

Clear Vinyl. Mit ihrem Debüt The Empty Space Between A Seamount And Shock Headed Julia hinterließen The Black Cat's Eye 2023 ein bemerkenswertes Echo in der Szene - ein energetisches und atmosphärisches Werk, das Psychedelic- und Postrock-Elemente auf einzigartige Weise vereinte und schnell vergriffen war. Nun, zweieinhalb Jahre später, präsentiert das Frankfurter Quintett sein neues Album Decrypting Dreams Of Weird Animals And Strange Objects. Auch diesmal lotet die Band die Grenzbereiche zwischen Psychedelic-, Kraut- und Post-Rock aus. Die Musik oszilliert zwischen hypnotischem Drive, verträumten Gitarrenflächen und dynamischen Spannungsbögen. Das Album umfasst sechs Songs, deren Spannweite von fünf- bis zehnminütigen Klangreisen reicht. Neu ist, dass diesmal zwei Bandmitglieder Kompositionen beisteuerten: Neben Gitarrist und Bandgründer Christian Blaser stammt die Hälfte des Materials von Bassist Jens Cappel. Sein kraftvoller, direkter Stil ergänzt Blasers atmosphärischen Ansatz ideal. Blaser: ,Auf dem Debütalbum stammten alle Stücke von mir. Als Gründer der Band lag mein Fokus zunächst darauf, eine musikalische Vision und Richtung vorzugeben. Jens war zu diesem Zeitpunkt noch nicht so in die kreativen Prozesse eingebunden, obwohl er ein außerordentlich talentierter und umtriebiger Musiker ist. Er veröffentlicht regelmäßig großartige neue Musik auf den Bandcamp-Seiten seiner eigenen Projekte, zum Beispiel The Black Black Paint. Als es dann an das Schreiben neuer Songs für das zweite Album ging, brachte Jens einige wirklich tolle Demos mit ein." Stilistisch verbindet das Album, wie schon der Vorgänger, klassische 70er-Einflüsse mit zeitgenössischer Rockmusik - man hört Anklänge an Can, Motorpsycho, Neu!, Indie- und Stonerrock, aber auch an David Gilmours Gitarrenästhetik. Die Musik ist instrumental, einzig im finalen Stück ,The Magic Balloon" übernimmt Jens Cappel den Gesang. Ähnlich rätselhaft wie bei der ersten Platte klingt der Albumtitel: Decrypting Dreams Of Weird Animals And Strange Objects. Blaser erklärt: ,Der Titel ist inspiriert von einem faszinierenden Aspekt der US-amerikanischen TV-Serie Westworld. Dort werden humanoiden Robotern Gefühle und Träume einprogrammiert. Doch weil diese Androiden dadurch immer menschlicher werden, geraten sie außer Kontrolle - die Programmierer suchen daraufhin den Fehler in den von ihnen geschriebenen Quellcodes, analysieren die künstlichen Gefühle, Gedanken und Träume mithilfe ihrer Computerprogramme. Übertragen auf unsere Realität ist der Titel durchaus ironisch gemeint. Unsere moderne Technik vermittelt den Eindruck, wir könnten jeden Bereich unseres Lebens vollständig steuern. Selbstoptimierung und die Kapitalisierung des eigenen Ichs werden zum obersten Prinzip. Eine trügerische Illusion, denn wir sind nur winzige Teile eines größeren, für uns unergründlichen Ganzen. Vor diesem Hintergrund stellt sich die Frage: Was kann Kunst zu unserer Wahrnehmung der Welt beitragen? Welche Bedeutung hat es, sich mit musikalischen Mitteln auszudrücken? Durch Technik, Mathematik, Physik und reine Vernunft kommen wir dem Wunder des Lebens und dem Sinn unserer Existenz nicht wirklich näher. Was uns bleibt, ist das Ritual, die Beschwörung, die Ekstase. Musik, Tanz, Malerei, Geschichten - sie offenbaren für kurze Momente den wahren Kern des Lebens, richten unser Verhältnis dazu neu aus und verbinden uns mit dem Universum." Aufgenommen hat die Band wieder im Tonstudio Bieber in Offenbach am Main. Oli Rüger, Studiobetreiber und selbst Musiker, hat langjährige Erfahrung mit dem Aufnehmen von Gitarrenbands. Innerhalb von drei Tagen spielte die Band die Basic Tracks live ein, anschließend ergänzten sie diese durch Overdubs. Rüger war auch als Co-Produzent beteiligt. Cappel: ,Oli hat das richtige Händchen für die perfekte Balance zwischen rohen, heftigen und filigranen Sounds, ohne gleichzeitig den Blick für das große Ganze zu verlieren." Das Werk wurde final von Krautrock-Legende Eroc gemastert - eine passende Wahl für eine Band, die sich nicht nur als Erben der 70er sieht, sondern diese Tradition aktiv in die Gegenwart weiterdenkt. Das monochrome Cover-Artwork unterstreicht eindrucksvoll die dunkle Atmosphäre der Musik. Es verdeutlicht den konzeptionellen Ansatz der Band, Musik nicht nur als Klang, sondern als Raum, Konzept und visionäre Erzählform zu begreifen. Das Titelbild - eine scheinbar endlose Spirale, Symbol für DNA-Strukturen und Ewigkeit - wurde vom italienischen Grafiker Daniele Stochino entworfen. Die Innenseite des Gatefolds verbindet dieses Motiv mit einer Illustration des in Berlin lebenden Grafikers und Musikers Max Emil Hurlebaus. Durch farbige Akzente eröffnet sie kontrastreich neue Perspektiven.

Back on limited classic black vinyl, includes the original 8 track album. At the forefront of the Paisley Underground scene, The Dream Syndicate are one of the most revered indie-rock bands of the 1980s. Medicine Show is the band's second album. Remastered from the original reel-to-reel tapes and featuring liner notes by Steve Wynn. Medicine Show has always been a controversial album, even before it was recorded. The indie rock darlings became the first Paisley Underground band to sign to a major label, hire a mainstream rock producer, change bass players, and spend months recording the album - after having banged out their previous one, The Days of Wine and Roses, in mere hours. After succesful debut and waves of positive press and , A&M Records signed the Dream Syndicate and they went into the studio with producer Sandy Pearlman, who spent five months in the studio guiding the band through their second LP. ... Medicine Show was greeted with openly hostile reviews, largely because it sounded practically nothing like the album that sent tongues wagging two years earlier. ... [...] sounded big and polished, but also dusty and weathered, with the terse, nose-thumbing lyrics of the debut replaced with dark, complex narratives full of bad luck and bad blood backed with booming drums and roaring guitars that were significantly more rockist than what Steve Wynn and Karl Precoda brought to their earlier recordings. Viewed in the context of Wynn's career, Medicine Show marks the spot where the lyrical themes and musical approach of his later work would first come into focus, but it still doesn't bear much resemblance to what the Dream Syndicate would create on their subsequent albums in its grand, doomy tone and obsessive but curiously unobtrusive production style. [...] there are a few great songs scattered throughout (especially "Merrittville" and "Armed with an Empty Gun"), and once it works its way in, the 8:48 of "John Coltrane Stereo Blues" is as potent a guitar workout as anything this band would ever release. [...] Lots of bands let loose with a major-label budget for the first time have made lavish records that didn't quite work, but unlike most of them, Medicine Show doesn't sound like a grandiose waste of money. Instead, it's a widescreen guitar spectacle [...] and if it doesn't always work, enough of it does to make it worthy of serious reappraisal. - allmusic.com

First time on vinyl reissue of this indiepop classic, 15 years after its original release.

Living & Growing was the debut album from The Felt Tips, a Glasgow-based indiepop band that gloriously combined gritty lyrics with sublime jangly guitars. Set For October 17th Vinyl-Only Reissue On Unspun Heroes.

• A band synonymous with the 2010’s indiepop renaissance
• Ten melodious, infectious and utterly unforgettable songs
• Reissued for the first time on EcoVin™ Bio Vinyl

October might not appear to be the ideal time to release a bright and sunny set of songs, but autumnal days bring a mix of dark and light that perfectly matches the overall vibe of the debut album by the jangly indiepop band, The Felt Tips.
 
The Felt Tips debut album was originally released by Peruvian label Plastilina Records in 2010 to much acclaim in the international indiepop scene. The ten songs are crammed full of catchy melodies and chiming guitar riffs, with memorable lyrics covering everything from religious hypocrisy (Boyfriend Devoted) to what teenagers get up to in the park after dark (Lifeskills).
 
It’s clear that these four lads grew up listening to The Smiths – not only name-checking the 80’s indie darling’s frontman and his ever-expanding girth but also deftly leaning into similar unconventional lyrical themes. And while there’s an obvious Belle and Sebastian comparison being Scottish, musically the enigmatic and skillful guitar playing from Miguel Navarro owes more to Bernard Butler and Johnny Marr – and his talents learning flamenco guitar in his native Spain. The weaving of the guitar’s melodic musical backdrop, alongside the pulse of Kevin Carroll’s inventive drumming and Neil Masson’s intricate bass playing, is what truly elevates The Felt Tips.

 And it’s this juxtaposition of bright melodic tunes from the band and the exploration of the darker side of human nature conjured by Andrew Paterson’s lyrics makes The Felt Tips such a noteworthy addition to the indiepop scene.

Originally recorded at CaVa Sound in Glasgow, the album has been remastered and cut for vinyl by Guy Davie at Electric Mastering, and pressed on INEOS EcoVin™ Bio Vinyl at Press On Vinyl in Middlesbrough. New liner notes have been written by Roque Ruiz, the owner of legendary US-based indiepop label, Cloudberry Records. An extremely limited selection of the reissued albums will ship alongside a make-your-own cardboard rose sculpture created by London-based indie illustrator and maker, Hey Kids Rock ‘n Roll.

dxrvo, hailing from Hannover, Germany, has made a name for himself in the electronic music scene by creating hypnotic, minimalist, and atmospheric techno sets. His music takes the dance floor on a captivating journey, characterized by driving beats, rhythmic basslines and repetitive sounds. With performances at renowned venues such as Tresor Berlin, PAL Hamburg, Doka Amsterdam, Watergate Berlin, and Terminal Lyon, he showcases his presence in theinternational techno landscape. As a founder of the Kollektiv Synergie, dxrvo is committed to inclusive events and the promotion of diverse artists. His production skills are evidenced by successful releases on labels like SYXT, Room Trax, Modern Minimal, and NYXII. More than just a DJ, dxrvo is an architect of sonic experiences, continuously redefining the boundaries of electronic music.


Linear Phase
With a two-decade career in music production, Carlos, better known as Linear Phase, has become an established artist in the global techno scene. His eclectic sound proposal, ranging from ambient / drone, through minimal / deep / hypnotic, to raw techno, has earned him the recognition of both critics and the public. His prolific career is reflected in the more than 50 releases under his belt in the last 5 years on several internationally renowned labels such as Molecular, Planet Rhythm, Newrhytmic, Drumcode LTD or Edit Select, to name a few, thus consolidating his presence in the global scene. His 5 years of experience in the world of modular eurorack has allowed him to develop a unique and personal sound, characterized by its depth, textures and enveloping atmospheres. In addition to his role as a producer, Linear Phase is co-creator of the Barcelona Modular Society, a space dedicated to the exploration and dissemination of experimental electronic music. Linear Phase is currently developing the creation of both its own label and its new studio, which will become a creative hub oriented to host all kinds of activities related to techno production. This space will feature the participation of renowned national and international producers, consolidating his commitment to the scene and his vision for the future.

Innmenal
Innmenal is a DJ and producer from Pinamar, Argentina. Resident from FAS Producciones he focuses into hypnotic sounds and chaotic rhythms. He has been playing across the Argentinian coastline spreading his sounds characteristics. With continous work and dedication Innmenal's tracks can be found in labels such as Concepto Hipnotico, Apical Records and Diffuse Reality. His first album called Metatron's Cube was released this year on the Diffuse Reality's Label. Another album is planned over this year along other releases on other labels. His last track Winds Of change was released on the label Modern Minimal with some support coming from Rødhad, Svreca, Developer, Richie Hawtin, Slam, Justine Perry, Arnaud Le Texier, Distant Echoes, Dax J, Hugo Rolan and more. He has shared the decks with Mariano DC doing warm up during last year. With more than 10 years behind the decks he's still digging into the deep hypnotic sounds with some agressive percussions to give the listener a journey through his cosmic sounds. So far Innmenal has been active in various labels like Diffuse Reality, Modern Minimal, KPLR, Space Travel, Rowan Underground and Habitat Musical.

Qaypz
Qaypz is a DJ and producer hailing from Arlon, Belgium. As a child of the 90s dance music era, his journey into electronic music began in 2000, ignited by his first I Love Techno Festival experience in Belgium and the underground rave scene that was thriving in his hometown Liège, where Jungle and D'n'B from UK were dominating. This era made Qaypz start mixing on turntables and embracing vinyl culture in 2003. Today, he's versatile, seamlessly transitioning between turntables, CDJs and DAW-based setups, incorporating hardware and controllers for a hybrid mix performance style. In his early years, he organized local rave parties and later moved to Eupen, the capital of East Belgium, where he founded the collective Krank'm'Haus. Qaypz's passion for underground sounds is evident in his productions. He crafts dark, industrial tracks characterized by powerful kicks, somber melodies and a driving rhythm. His performances have graced notable locations such as The Ground Club in Luxembourg, The Liquid Club in Malta and The Kulturzentrum Alterschlachthof in Eupen as well as underground events like La Nature, Eupen Musik Marathon Festivals in East Belgium and the Rummelstilzchen’s illegal rave party in Berlin-Rummelsburg just before the building demolition the day after. Qaypz is currently focusing on his label development and continue producing and mainly releasing his music on Krank'm'Haus Records.

Original soundtrack of the film Little Amélie, an adaptation of Amélie Nothomb’s ninth novel The Character of Rain (Métaphysique des tubes), published in 2000 and a major literary success.



From Tokyo, Mari Fukuhara composed an airy and playful score for the film. She blends impressionistic piano (Ravel is never far), childhood timbres (marimba, traditional Japanese songs), and orchestral textures. The shakuhachi (flute) and the koto bring in a Japanese touch, at times lyrical, at times mischievous. The result is a reading and listening experience that is both deeply personal and universal.



The album unfolds like a musical tale in its own right, evocative yet profoundly intimate.



Released in France in June 2025, the film is now campaigning for the Oscars and will premiere in the U.S. in the fall.

All tracks written & produced by Skudge.

B2 Remix by Konrad Wehrmeister

Mastered by Tangible Air.

Designed by Gerardo Corizzo.

Stickered cover.

Talulah’s Tape is the debut offering from magnetic Midwest-jangle collective Good Flying Birds. Across a patchwork mixtape of stripped-down home recordings that span the independent-guitar spectrum, the band delivers colorful, intricate pop songs perched between the immediacy of DIY punk and the intimate sweetness of twee. Breakbeats, memes, and noise glue everything together, making the album feel as chronically online as it is timeless.

Originally released on cassette in January 2025 by Midwest-punk legend Martin Meyers’s Rotten Apple label, the tape sold more than 300 copies in under a month and quickly became an out-of-print and coveted item. Meyers called it “certified catnip for popheads.” Now, with a refined track list and a fresh master from Greg Obis, Talulah’s Tape returns on LP and CD via Carpark and Smoking Room in October 2025.

While production and approach vary, a through-line of sensitive self-contemplation rests on bright, scrappy guitars and hyperactive melodic bass. Opener “Down on Me” rides a buoyant bass line while jangling guitars frame reflections on overcoming trauma: “I see you in the mirror every time I cry / I hear your voice every time I try.” Next, the guitars trade twinkling counter-melodies on “I Care for You,” pairing sugary, lovestruck lyrics with effervescent strums: “You catch me when I fall / You build me up so tall.”

The rosy grin occasionally twists into a wicked smirk. “Dynamic” warns, “You used to paint the face, but now you’re just the clown,” while “Glass” asks, “Is it lonely at the top when everyone follows the trend, and you hold the pen?” Both tracks brim with sparkling guitar interplay. By the closing, nearly five-minute “Last Straw,” Good Flying Birds stand far beyond conventional indie-pop or 4-track punk, unveiling a roller-coaster of unpredictable changes, vocal harmonies, and instrumental cross-talk.

Altogether, Talulah’s Tape is a pastel-yellow, candy-coated shell filled with thoughtful juxtapositions and melodic experiments. Standing on the same ground as idiosyncratic songwriters like Connie Converse and Daniel Johnston, Good Flying Birds find sweetness in sadness, tear stains on a colorful flower-print couch. Simultaneously, it’s packed with the scratchy guitars and vibrant rhythms of Scottish guitar groups like The Pastels, Orange Juice, and Josef K. It’s a tremendous opening statement from a band just getting started.

Am 26. April 2005 veröffentlichte John Darnielle als The Mountain Goats sein drittes 4AD-Album The Sunset Tree - ein zutiefst persönliches Werk, inspiriert von seiner bewegten Kindheit. Zum 20. Jubiläum erscheint am 17. Oktober 2025 eine Neuauflage (20th Anniversary Edition) mit den 2025er Abbey-Road-Remasters, Original-Artwork und neuem OBI-Design von Chris Bigg, erhältlich digital, auf CD, Kassette und als limitierte apricotfarbene Vinyl. Zudem wurde das Musikvideo zu "This Year", inszeniert von Rian Johnson (Star Wars: The Last Jedi, Knives Out), in verbesserter Qualität neu veröffentlicht. Entstanden Ende 2004 mit Produzent John Vanderslice und Musikern wie Peter Hughes, Franklin Bruno und Erik Friedlander, gilt The Sunset Tree bis heute als eines der kohärentesten und bewegendsten Alben der Band. Die 13 Songs, geschrieben nach dem Tod von Darnielles Stiefvater 2003, zeichnen ein vielschichtiges Bild seiner Jugend - geprägt von Familie, Freunden, Gegnern und einer schwierigen Vaterfigur. Darnielle selbst sagte damals, er habe lange gezögert, dieses Material zu verarbeiten, aus Respekt vor dem eigenen Trauma und weil sein Stiefvater noch lebte. Statt schonungslos bleibt das Album letztlich versöhnlich: "You are going to make it out of there alive", heißt es in den Liner Notes. Auch nach über 20 Alben - zuletzt Jenny From Thebes (2023) - behalten The Mountain Goats kulturelle Relevanz, gefeiert etwa von Jack Antonoff und Stephen Colbert. Darnielles neues Buch This Year: 365 Annotated würdigt das Werk der Band mit einem Song und Kommentar für jeden Tag des Jahres.