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Second Skin is Nene H's declaration of liberated identity. Across nine tracks, Nene traces the metamorphosis from conformity to authenticity that unfolds after a breakup. They trace a step-by-step transformation: the shedding of imposed narratives and the layering of a new, liberated self. The result is a sonic diary of emancipation, where musical ideas move through noise, South West Asian modalities, trap, future bass, house, trance, minimal and deconstructed club music fusing and mutating freely. With their second album, Second Skin, Berlin-based artist Nene H deepens their commitment to radical honesty through sound. Where their debut was a tribute to their late father and a processing of personal grief, the second album turns inward toward identity, the fracturing and reassembling of the self that follows the dissolution of a long-term relationship. They carefully infuse shattered Southwest Asian motifs with their vocals. Vocals appear and disappear like traces of memory. The opening track, Where Was I, continues the story of their previous album Ali. From there, the question "where was I?" transforms into an existential inquiry. The starting point of both their personal journey and the journey of this album. After stepping through that door, the album unfolds into a deliberate balance: four deconstructed pieces and four more straightforward 4/4-driven tracks. The sibling tracks on A2-A3 and B3-B4 share the same DNA, though their destinies are not the same. Every element is placed with intention; every sound carries its own narrative thread. Each track gestures toward a different genre, a different world, yet together they form a coherent, flowing story. It's the story of closure and liberation.

Repress of the 13th chapter of this highly acclaimed compilation series, originally released in 2017.

As usual FSOJ is compiled by Compost head honcho Michael Reinboth with a solid sense of leftfield tracks, punchy floorfillers, ghostly, cinematic, balearic, frazzled, bitter-sweet or mind-shaking hybrid tunes.
Several magazines voted FSOJ as the one of the best compilation series of all time. With this series starting 1995 the term Future Jazz became a genre landmark.

FSOJ 13 including some exclusives, sought-after tracks and previously unreleased tracks. Some highlights are: First of all the Van Hai track in a Ripperton remix is a perfect opener into a tranquil music venture. A sheer bliss tune. Montezumas Rache „Wu Du Wu“, which was only released on vinyl before - still difficult to find the original 12“ - is a freaky outstanding funk hybrid. Karim Sahraoui – with a punchy Detroit-ish track, picked up from Derrick May’s Transmat label - is currently in the works with a follow up 12“ later in 2017 on Compost. Acid Pauli delivers a brand new dubby balearic remix, which he recently did for Matanza, a live band from Chile. Peter Kruder came up with something special exclusive, a warm breath in the open air tune, which drives listeners into a chilled wormhole. Beside new names, bigger names like Axel Boman, Tony Allen with a Ricardo Villalobos & Max Loderbauer remix, you’ll find more lefties tracks from respected labels like Studio Barnhus, Innervisions, Lovemonk, Transmat, Mule, Tru Thoughts, Rebirth, Ninja Tune and m.o. next to other exclusive deliveries by Manuel Tur, Marsmobil, coupled up with semi exclusives: the first time on vinyl or digital.

Josh da Costa's "New Wave Graveyard" ist ein Solo-Debüt, das die Vielfalt der Underground-Musik feiert und sich dabei eine eigene Nische schafft. Nach anderthalb Jahrzehnten in Bands wie dem Synthpop-Duo CMON (Mexican Summer) und den New Yorker DIY-Legenden Regal Degal (Terrible Records), veröffentlicht Josh da Costa endlich sein Solo-Debüt. Der erfahrene Kollaborations- und Tourmusiker spielte bereits mit Künstlern wie Drugdealer, Jessica Pratt, MGMT, Chris Cohen und vielen anderen. Über fünf Jahre entstand "New Wave Graveyard", das weit mehr als nur das im Titel erwähnte Genre der späten 70er/frühen 80er Jahre umfasst - von Flying-Nun-Compilations über den Glam-Rock von Sparks und Japan, Art-Pop von Prince und Yoko Ono bis hin zu Power-Pop, Electro, Britpop und Shoegaze - allesamt aus da Costas umfangreicher Plattensammlung. "New Wave Graveyard" mag zwar vom Genre der 70er und 80er Jahre inspiriert sein, das dem Album seinen Namen gibt, doch ist die/der New Wave nur eine(r) von vielen musikalischen Einflüssen von Josh da Costa. Das Album ist ein wunderschöner Mix aus Stilen und Ideen, von Glam bis Shoegaze, allesamt geprägt von Joshs vielseitigem Geschmack. Mit geistreichen Texten und einer Fülle eingängiger Songs ist es ein mitreißendes Statement eines vielversprechenden neuen Künstlers, ein komplettes Soloalbum, für das da Costa alle Songs und Texte selbst geschrieben, nahezu alle Instrumente gespielt und das Album selbst gemischt hat. Gemastert wurde es von Heba Kadry (Björk, Panda Bear, Blood Orange), das Albumcover stammt von Robert Beatty (dem legendären Künstler hinter den Plattencovern von Tame Impala, The Weeknd, Mdou Moctar, Oneohtrix Point Never und vielen mehr). Die klassische schwarze Vinyl-LP enthält ein farbiges Booklet mit den Songtexten.

FLO are leading the modern revival of the British girl group — and doing so at a scale not seen in over two decades. With over half a billion global streams, the trio have delivered the highest-selling tour by a British girl group in more than 20 years, becoming the first since the Spice Girls to reach that milestone. They are also the first British girl group to receive a Grammy nomination in two decades, alongside three MOBO nominations in 2026, cementing their status as both a commercial and cultural force. Rather than simply revisiting the past, FLO are reshaping the possibilities for what a contemporary girl group can be.

Comprised of Renée Downer, Stella Quaresma and Jorja Douglas, FLO’s story is one of intention, craft and deep-rooted connection. The trio had long been aware of one another through theatre school circles, social media and shared creative worlds before coming together as a group in 2019. That early familiarity quickly grew into a sisterhood, shaped behind the scenes through years of studio work, vocal development and trust. Raised by strong single mothers and immersed in performance from a young age, each member brings resilience, emotional intelligence and discipline into the group — qualities that underpin both their sound and their dynamic.

Individually, FLO’s balance comes from contrast. Renée is the group’s compass: composed, business-minded and creatively precise, grounding the trio with clarity and vision. Stella is the spark and the glue — sociable, emotionally intuitive and collaborative — shaped by a childhood between England and Mozambique where music was communal, expressive and felt. Jorja is the fire: outspoken, instinctive and vocally commanding, with a natural ear for harmony and arrangement. Their roles shift and evolve, but together they form a unit built on mutual respect, honesty and shared authorship.

That chemistry is central to FLO’s music. Drawing from classic R&B and soul while pushing it forward through modern production, their sound centres vocal harmony, emotional nuance and storytelling that reflects the realities of young womanhood. FLO reject the idea that strength requires emotional distance; instead, they explore power through vulnerability, confidence and control. From independence and self-worth to intimacy and desire, their writing is direct and unapologetically theirs. As Jorja puts it, FLO are “the brains, the heart and the soul” behind everything they do.

The success of their debut album marked a defining moment — not only for FLO, but for British pop more broadly. It confirmed the appetite for harmony-led, female-fronted groups operating with creative agency, and propelled FLO onto global stages, from sold-out headline tours to major festivals and international television. Along the way they have earned respect from R&B legends and peers alike, performing during Grammy Week for icons including Mariah Carey, Brandy and Chaka Khan, and showcasing their vocal chemistry on NPR’s Tiny Desk — a moment that further underlined the trio’s technical precision and emotional depth.

With their next chapter, Therapy At The Club, FLO expand this emotional honesty into a fully realised creative universe. The concept reimagines the club not just as a place of nightlife, but as a site of release, confession and self-possession — encompassing the moments before, during and after the night out. From mirror affirmations and pre-game chaos, to late-night Uber conversations, dance-floor catharsis and the clarity of the morning after, Therapy At The Club captures how women process desire, heartbreak, confidence and healing in real time, together. It is both fantasy and reality: cinematic, fashion-led and emotionally raw, grounded in sisterhood as a form of survival.

Sonically, the new music leans into dark, euphoric R&B and pop with sharper edges, built on vocal mastery and diaristic storytelling. Lead single “Leak It” sets the tone for the era — playful, charged and unapologetically self-aware — exploring what happens when desire spills over, secrets surface and control is reclaimed. Across the new songs, FLO move fluidly between intimacy and euphoria, turning the club into a space where vulnerability is power and feeling everything is the point.

As a trio built on discipline, joy and deep creative trust, FLO represent a new model for the British girl group: one rooted in authorship, harmony and cultural impact. Balancing softness with strength and ambition with authenticity, they are shaping the future of R&B and pop on their own terms. FLO are not looking backwards — they are setting the standard for what comes next.

Australian black metal force, Faustian, have been referred to as a super group of the Antipodean extreme metal scene; the members of this formidable three-piece having set their demons loose with the likes of Werewolves, The Berzerker, The Amenta, The Antichrist Imperium, Psycroptic, Abramelin and more. However, when confronted with the atmospheric, majestic inferno that is the sound of Faustian, whatever else its creators may have achieved is inconsequential - nothing else matters beyond experiencing the firestorm they unleash in this particular incarnation to its fullest enticing, exhilarating, unnerving extent. With a new deal signed with Apocalyptic Witchcraft, the band are now prepared to unveil their latest collection of unholy hymns. Following in the scorched earth wake of 2023s We Come As Angels, Faustian present Parable Of The Sewer_ From the first, breathless assault of 'I Curse You', with its storm torn atmosphere, dramatic darkness and furious speed, to the warped denouement of 'The Rot Shall Inherit The Earth', a sickly melodious foretelling of putrefaction and degradation, Parable Of The Sewer careers through fear-filled twilight and tenebrous realms of profane secrets. A combination of powerfully evocative lyrics and soul scarring music creates an unequivocal, yet irresistible invitation to damnation. From the indefatigable velocity of the wicked 'Cephalophore' to the precision guitar patterns and chanted revelations of 'Immaculate', the cruel, haunting and surely damned 'We Do Not Use Names Here' to the cold menace of 'Tenements (Only The Wicked Walk In Circles), steeped in the sweat and stench of terror, every moment of Parable Of The Sewer is a masterful expression of black metal art. Sinister and insidious, overwhelming and darkly glorious, walking the edge of a sacrificial blade between repulsion and temptation, Parable Of The Sewer is music at its most potent and dangerous.

Ras Michael's Dadawah. The Singing Drummer, a devout Rastafarian musician. Dadawah brought Ras Michael together with veteran studio hands: bassist Lloyd Parks, drummer Paul Williams, guitarist Willie Lindo, and last but not least pianist/organist Lloyd Charmers, who also produced.

The resulting album Peace & Love is a work of faith. Although not a concept album in the strict sense of the term, it thematically evokes the Biblical final days. "Run Come Rally" calls together the world's righteous in preparation for the upcoming battle with evil. Having gathered together the brethren from "Seventy Two Nations," all bow before Jah in a celebration of His greatness, then give voice to their desire to return to "Zion Land." The set concludes with "Know How You Stand"'s call for freedom, and with it the ability to fulfill Jah's plan.

The extraordinary power of the set's themes is echoed by the equally phenomenal backings, all conjuring up the most haunting of atmospheres. While the hand drums give the album a grounation feel, Parks and Williams simultaneously ground the numbers deep in roots. Intriguingly, though, there's no reggae guitar, just Lindo's sublime riffs and licks that flick into the rock realm, while constantly sliding back into blues. Charmers' piano and organ occasionally take over the reggae guitar role, but mostly his keys intertwine around Lindo's leads, accentuating melodies, scattering elegant flourishes here and there, and subtly building up the atmospheres. Charmers' production is superb, the musicians inspired, and Ras Michael's power undeniable. An astounding album that's lost none of its potency over the years.

John Hassall (The Libertines) & The April Rainers release their long overdue second, self- titled album. It's is the followup to 2017's Wheels to Idyll, which picked up critical applause on its release. The new album was largely recorded at John's home studio in Aarhus, Denmark where he has been living since 2009. And was produced by the band, with string player Clementine Brown having a big influence on the sound. John Hassall "These 10 songs are the ones that survived, grew and took on a life of their own. There's no way of telling if a song will make it until the end. That Pale Lantern in my opinion, started off as a rank outsider and then turned into one of the strongest songs on the album. Lessons were learnt from Wheels to Idyll and a new musical development runs through it. Whereas the last album was recorded pretty much live. The new album maintains similar classic songwriting and pop sensibilities, though with more complex arrangements and production." Most of the songs were cowritten by John and longtime poet collaborator Steev Burgess exploring memories of school days, journeys and adventures, fading dreams, ancient empires and even somebody's trinket collection. Burgess who has known Hassall for many years, wrote the lyrics to lead single Miracles, a sort of Ballad of John and Line. Libertines band mate Peter Doherty is also involved with a co-writing credit on Doing Time. John Hassall and The April Rainers will be announcing UK shows shortly, in the meantime John will be appearing with his other band The Libertines at summer festivals across Europe and the UK.

A real cult favorite of the American psychedelic underground, Three blends hypnotic guitars, immersive atmospheres, and deeply melodic songwriting into a rich, transportive listening experience. Drawing from neo-psychedelia, space rock, and dream pop traditions, the album has become a sought-after modern psych classic with enduring appeal among collectors and fans of expansive, guitar-driven music. Originally released in 2012, Three by Flavor Crystals has steadily become a cult favorite within the modern psychedelic underground. Blending hypnotic guitars, immersive atmospheres, motorik rhythms, and deeply melodic songwriting, the album moves seamlessly between neopsychedelia, dream pop, and space rock. With its warm production, shimmering textures, and expansive mood, Three creates a rich and transportive listening experience that continues to resonate far beyond its original release. Over the years, the album has developed a devoted following among collectors and fans of atmospheric, guitar-driven music, earning recognition as an essential modern psych title. This vinyl reissue reintroduces a sought-after underground classic with strong crossover appeal across psychedelic, indie, and dream pop audiences, offering excellent long-term catalogue value for retailers and distributors alike. Recommended For Fans Of The Brian Jonestown Massacre, Spiritualized, Spacemen 3, Mazzy Star, The Black Angels.

This 45 reissues two Spanish classics-DJ'd, sung, and danced to exhaustion-featuring striking arrangements and rhythms inspired by soul, funk, and rock, pushing flamenco-influenced popular music into previously uncharted territory. The flamenco rock of 'Orgullo' (1974) by Las Grecas will appeal to international listeners already captivated by the Anatolian sound of Baris, Manço, Mogollar_ On the B-side, Paco, Paco, Paco' (1969) by Encarnita Polo is a soul-pop hit with an irresistible syncopated rhythm and killer bass lines. In the final years of Franco's dictatorship, when Spain's popular music was kept on the sidelines of avant-garde and countercultural trends, a number of records emerged that dared to bend and hybridize the country's so-called "national" musical genres (calling it flamenco outright would be imprecise) and infuse them with a dose of modernity. The first 20 seconds of 'Orgullo' (1974) hit with a powerful sonic punch built on ferocious fuzzed-out guitars, distorted keyboards, and thunderous drums that could easily belong in the discography of Led Zeppelin, The Guess Who, or Cream_ until, suddenly, Las Grecas start to sing and Flamenco rock is born. It will undoubtedly resonate with international audiences already drawn to the Anatolian sounds of Bar?? Manço or Mogollar. A few years earlier, in 1969, the brilliant Argentine producer and arranger Adolfo Waitzman had already transformed a harmless light pop tune recorded by a yeyé girl, Encarnita Polo, into a soul-pop hit driven by an irresistible syncopated groove and killer bass lines. The playful 'Paco, Paco, Paco' became a bestselling single in Spain and, more than 50 years later, is still celebrated as a brilliant example of the romance between flamenco-inflected sounds and soul-pop. First-ever single reissue.

With Fuck, Marry, Kill, Tink delivers her most provocative and conceptually sharp body of work to date, firmly reclaiming her position as a premier storyteller in the modern R&B landscape. Moving beyond the diary-entry style of her earlier years, this project utilizes the titular game as a brutal yet honest framework for the complexities of modern intimacy. Tink navigates the chaos of the dating world with a dual-threat precision that few can match, seamlessly blending the grit of her Chicago rap roots with the velvet textures of contemporary soul. Under the executive production of Hitmaka, the album finds its heartbeat in the friction between high-gloss production and raw, unfiltered lyricism.

The album is meticulously structured to mirror the chaotic cycle of urban romance: the adrenaline of fleeting lust, the heavy stakes of long-term commitment, and the inevitable coldness of a bridge burned. In the "Fuck" segment, Tink radiates a lethal confidence, delivering anthems of autonomy and physical desire that demand space in the club and on the charts. As the project transitions into "Marry," she peels back the armor, offering a vulnerable look at the desire for stability and the terrifying leap of faith required to trust a partner. However, it is in the "Kill" section where Tink’s songwriting truly bites; here, she chronicles the aftermath of betrayal and the empowerment that comes from cutting ties, transforming her heartbreak into a weapon of self-preservation.

Ultimately, Fuck, Marry, Kill is a masterclass in "Toxic R&B" that refuses to settle for easy answers. Tink captures the specific anxiety of a generation trying to distinguish between a temporary thrill and a permanent soulmate, all while navigating a world of ghosting and digital infidelity. By leaning into her flaws and her triumphs with equal intensity, she creates a sonic space where listeners feel both seen and vindicated. This isn't just an album about love—it's a survival guide for the heart, narrated by an artist who has seen every side of the game and lived to write the definitive soundtrack for it.

Auckland-based indie-pop outfit Borderline officially plant their flag in the New Zealand music scene with their self-titled project, Borderline. Seamlessly blending the nostalgic warmth of classic indie-rock with the polished, infectious hooks of modern pop, the band delivers a sonic snapshot of youth, ambition, and navigating the fine line between late-night euphoria and introspective vulnerability. Driven by shimmering guitar lines, driving bass rhythms, and anthemic vocals, the project feels both intimately local and ready for a global stage.

Borderline serves as a definitive introduction to the band’s signature sound, trading in sun-drenched, feel-good anthems built for summer road trips alongside high-energy tracks that tackle the fast-paced nature of modern relationships. By balancing cinematic storytelling with irresistible hooks, the up-and-coming band crafts a listening experience that is both fresh and deeply relatable, securing their place as a compelling new voice to watch out of New Zealand.

Tiki Nation finds Truckstop Tomahawk charting new territory at the outer edges of modern exotica. Created by Robert Kress—one half of Kava Kon—the album treats tiki not as nostalgia, but as a living, evolving sound world. These tracks roam freely through imagined geographies: remote islands, half-remembered myths, roadside rituals, and sun-bleached dream states where vintage exotica collides with forward-leaning composition.

Rather than simply revisiting mid-century tropes, Tiki Nation recontextualizes them—layering cinematic arrangements, unexpected textures, and playful titles that hint at folklore, travel, and quiet surrealism. The result is music that feels exploratory and unbound, equally suited for deep listening, late-night reverie, or drifting into unfamiliar landscapes with a drink in hand.

The album’s visual centerpiece deepens this atmosphere. The cover art, Pele’s Release, was painted by Catherine Robbins, a self-taught artist and longtime Hawaiʻi Island resident who created the oil painting in her rainforest studio just miles below Kīlauea’s erupting summit. That proximity to raw, elemental power mirrors the album itself—beautiful, mysterious, and quietly volatile.

Tiki Nation stands as a bold statement of intent: exotica untethered from the past, alive in the present, and pointed firmly toward uncharted horizons.

There’s a new sound shaking up the Upper East Side — and it’s not related to Serena this time.

It’s ‘gg’, the new track from Lolina.

We've all heard the rumors of L performing this one around the globe for months, & some of the lucky ones got the chance to catch it live... but now the wait appears to be over for the general public. There are officially plans to release the studio version of ‘gg’, and it's safe to say the track is scandalous. Meeting same time, same place to get to the bottom of it all. Confusion lingers, yet everything stays comfortably in strife. It all keeps moving.

Who is the city even for now? What’s our own involvement in the distress? That’s one secret I’ll never tell!

Why is it that L must use song to persist in this city that never sleeps? Have fables fallen so out of fashion that princesses have to do everything themselves now?

Well... according to some tips we received this doesn't seem to be the case. L has enlisted help from some very exciting sonic connoisseurs, resulting in remixes stronger than a knight in shining armor could ever provide.

So let's check out this track list, shall we?

A-Side
gg (Extended Version)
gg (NEW YORK Remix)

B-Side
gg (Arca Remix)

Sounds like the perfect soundtrack for eating a yogurt cup on the steps of the MET to me.

We seriously doubt you'll be able to ignore this release.
Run the credits, roll the dice.

xo xo
GOSSIP GIRL

Press release by Kaitlin Simotics
Mastering and additional mixing by Amir Shoat
Artwork by Lolina
Vinyl design by Termite Lounge

Channeling his trademark style of driving techno and robotic rhythms, Phase Fatale makes his Dekmantel UFO series debut, upping the ante with his forward cutting production methods. His first solo release in 2 years, the Berlin-based DJ, Producer and Label owner hotwires his signature wall of sound with precise, hypnotic magnetism and dystopian textures.

A key protagonist in Techno’s lexicon as a regular in the booth at ∄ in Kyiv and with residencies at queer collective Merge in New York, alongside institutions Berghain and Khidi. The New York native’s unflinching mutualism of past and present comes forward in his introspective production style of textural waves and melancholic narrative, welded together by true techno formation. A deep referential lens cutting through layers of whirling cybernetics form his sonic coil, surrendering the listener into dissociative euphoria.

Underpinned by a focus on bass heavy techno, the 4-track EP circulates an ebb and flow of surrealist, atmospherics and whirring futuristic frequencies. Hypnosis inducing polyrhythmic analog sequences, flesh-out the EP’s core whilst the track progression traverses over a terrain of experimental cuts, driving beats, and oscillating sonic shrapnel. A culmination of influences spanning techno born out of Birmingham and Detroit alike form an architecture of stripped back electronics alongside soulful melodies, as well as references to acid house, post-punk and shoegaze. The title track ‘Off Desire’ a nod to longtime friend and collaborator the late Silent Servant, evokes a dream like crescendo between David Lynch and the sci-fi body tech of David Cronenberg, electric stabbing beats are offset by wistful guitar riffs and the digital rain of ethereal distorted vocals as if echoes from the void.

ALP002, Alpine Sound’s second self-released record, sees the duo charting new territory, trading their signature heavy-hitting steppas sound with a more meditative and introspective palette.

‘Do The Cobra Dance’ on side A delivers deep acid-dub textures, anchoring a hypnotic rhythm with healthy doses of washed-out 303 action. Flip it over and you enter the more atmospheric realm of dub techno with ‘Clouds Connect’, where muted stabs, heavy low-end, and expansive delays send you drifting straight through the echo chamber.

Mastered by Jack Robinson at The Dub Crate and pressed at Well Tempered, these are two weighty dubs, equally suited to home-listening and the dance.

Lorelle Meets The Obsolete return with their seventh album. It's the Mexican duo's finest, most ferocious work to date which sees them turbo-charge their psychedelic post-punk with a new electronic engine. Mixed by Antoine Goulet (live sound engineer for SUUNS) and mastered by Mikey Young (Eddy Current Suppression Ring), the most obvious comparison in terms of mood and mode is Primal Scream's classic XTRMNTR, another record that processed personal and political conflicts and spat them out as distorted dance music. It shows the influence of the duo's DJ sets and last year's radical Remezcla remix collection on their way of thinking and why they are now namechecking the likes of Moor Mother, MF DOOM, Patrick Cowley, The Bug, Paula Garcés, Phil Kieran, Coby Sey, Run the Jewels and Anadol."Playing other artists' music is different," says Lorena Quintanilla about the change of direction towards the dancefloor. "You're not just listening, you're watching how energy flows and how it affects other people. It gives you the chance to witness what moves other bodies." And Corporal, as the title suggests, is all about the body. "The body is what carries the weight of stress, exhaustion, sadness. It's the body that the system breaks first," explains Lorena. "Unintentionally, while composing the album, our bodies were seeking joy in the songs. Reconnecting with pleasure became a way to open new dimensions - a way to escape, yet remain present." The theme is carried over into the lyrics which, according to Lorena, variously refer to "the bodies that disappear, the abused bodies, the bodies we miss, the bodies that march together in protest, the bodies that are being controlled".

Multi-coloured vinyl LP or CD. For fans of Nektar, Van Der Graaf Generator and Progressive Rock! Formed in Germany in 1969, Nektar favoured extended compositions and concept albums over the constraints of pop. They were among the progenitors of the progressive rock movement of the 1970s as well as the jam-band scene that arose in the late 1990s. Their sound travelled well to the States, where they enjoyed Top 40 success with "A Tab in the Ocean" (1972) and "Remember the Future" (1973). Nearly 20 albums and a half-century later, the band's artistic and personal charisma has earned them masses of devoted fans. Now Nektar is broadening their horizons with the first in the "Mission To Mars" trilogy. Their first to feature new drummer Jay Dittamo, alongside longtime members Ryche Chlanda (guitars),Kendall Scott(keyboards), and original members Derek "Mo" Moore(bass) and Mick Brockett (visual environment).From the rocking title track "Mission To Mars" to the beautiful "I'll Let You In", Nektar covers all of the prog rock bases while venturing into some new melodic territories. Track listing: Mission To Mars; Long Lost Sunday; One Day Hi One Day Lo; I'll Let You In

Van Morrisons neues Album 'Remembering Now' markiert seine Rückkehr zu Original Music mit einer reichen Mischung aus Soul, Jazz, Blues, Folk und Country und enthält die lang erwartete Single 'Down To Joy'.

Van Morrison, blue-eyed Soul-Shouter und wild-eyed Dichter-Magier zugleich, ist einer der wahren Erneuerer der populären Musik. Er ist ein rastlos Suchender, dessen beschwörender Gesang und alchimistische Verschmelzung von R&B, Jazz, Blues und keltischem Folk das vielleicht spirituellste Werk im Rock'n'Roll-Kanon hervorgebracht hat. Seine Aufnahmen, die nur den Launen seiner eigenen Muse unterworfen sind, decken ein außergewöhnliches stilistisches Terrain ab und bewahren doch eine Geschlossenheit und Reinheit, die unter seinen Zeitgenossen nahezu unerreicht ist. Was sie verbindet, ist die mythische Kraft seiner einzigartigen musikalischen Vision und seines feurigen Gesangs: spiralförmige Wiederholungen von Klagen und Flüstern, die die Grenzen der Sprache umgehen, um emotionale Wahrheiten zu artikulieren, die weit über den Rahmen der wörtlichen Bedeutung hinausgehen.

MAR 004 continues the evolving catalogue of Moozikeh Analog Room, a label imprint emerging from the broader Analog Room ecosystem. Over time, Analog Room has developed into distributed creative structure spanning, bridging club culture, archival releases, and experimental instrument design. MAR 004 extends this trajectory, reinforcing the label’s position as a long-form documentation platform for contemporary electronic music practices rooted in both regional and international dialogue.

From The Label:
"The relationship with Roman Flugel started with us listening to his music and be fascinated by the simplicity but bold sound. The sound design and the story telling was inline with how we enjoyed music. After inviting Roman for a few times to perform at Analog Room, the relationship led to the point that when it was time for us to think of the MAR releases, we could not miss on asking Roman to join the label and the rest is what you are going to experience with this thick, deep and rhythmic EP that represents what the world need at the moment, some SOLUTIONS. Analog Room has always tried to bypass the issues in the South West Asia region through music and art and show how we are all the same and connected."

From Roman:
"My record for Analog Room is essentially a long-term project that was sparked by multiple invitations to the Analog Room club in Dubai over the course of several years. The club held a special place for me—a sanctuary for the underground music scene in a city otherwise defined by a very different ethos. I am delighted to now be part of the Analog Room label family. The record blends various moods and directions within my personal musical landscape, and "Solutions," in particular, has created euphoric moments during my DJ sets over the past few months."

Italian producer Gledd has been quietly carving out a reputation for groove-led house music that balances raw dancefloor energy with rich musicality. Drawing on influences that span gospel, afrobeat, and classic deep house, his productions channel both heritage and forward-thinking club culture. My House Is Your Church marks his debut release on Delusions Of Grandeur - a fitting home for his expansive, souldrenched sound - and signals a bold new chapter in his evolution as an artist.

The EP opens with On His Way, a percussion-heavy deep roller built for maximum dancefloor impact. Anchored by fat, heavyweight production and a massive low-end presence, the track surges forward with relentless energy. An incredible gospel vocal cuts through the mix, elevating the groove into something transcendent - equal parts spiritual and physical. On It’s Not That Easy, Gledd leans further into his gospel house influences. Highimpact and rhythmically rich, the track weaves together organ fills and subtle tropical flourishes, creating a vibrant, sun-soaked energy while keeping the pressure firmly on the floor.

It’s a track that feels both uplifting and commanding. Flipping to the B-side, Habibi Gospel pushes into more “outernational” territory. A wild, expressive lead vocal takes center stage, riding atop a heavy, driving groove. Organ stabs punctuate the rhythm, locking dancers into a hypnotic flow that bridges cultures and styles with effortless confidence. Closing the EP, Can You Hear My Noise? brings things to a richly textured finale. Slightly more organic in feel, it blends echoing synth stabs, percussive melodic lines, and chopped vocals into a melting pot of sound. The result is a seamless fusion of gospel, afrobeat, and classic house - deep, emotive, and undeniably danceable. With My House Is Your Church, Gledd delivers a statement of intent: music as ritual, the dancefloor as sanctuary.

Featuring Sarathy Korwar, Dudú Kouate, Marysia Osu and more

French-born, London-based composer and musician Pascal Bideau aka Akusmi announces his second full-length Terra Incognita, an album of intrepid sonic exploration that delights in the sensation of being somewhere you've never been before. The listener is invited to experience seven faraway sonic imaginariums, as global and spiritual jazz are fused with modern electronics and life affirming minimalism into a hypnotic, polyrhythmic odyssey.

The album's rich multilayered sound world features contributions from tabla virtuoso Sarathy Korwar, Senegalese musician Dudú Kouate adds an array of percussions, ngoni and flutes and Levitation Orchesta's Marysia Osu brings harp and flutes. Following Akusmi's widely acclaimed debut album Fleeting Future (2022) which was supported by The Guardian, The Quietus, MOJO , Gilles Peterson, Mary Anne Hobbs etc, this time, the sound palette for Terra Incognita is more vibrant, earthy and abundant, drawing inspiration from the radiating optimism and high-energy sources heard in Afrobeat, Highlife and Electronic Afro-pop music, sounding looser, free and primarily interested in raw sensations

Es gibt Kooperationen, die sich wie ein Kunstgriff anfühlen, und dann gibt es solche, die sich anfühlen wie die Wärme der Sommersonne an einem Sonntag. ,Helado Tropical", das gemeinsame Debütalbum von Helado Negro und Reyna Tropical, setzt diese ungezwungene, sonnenverwöhnte Zärtlichkeit klanglich um. Es begann weniger mit einem Plan als vielmehr mit einer Begegnung: Zwei Künstler, die sich mit ähnlichen Fragen rund um Sprache, Identität und Musik beschäftigten, landeten schließlich im selben Raum. Was folgte, war weniger ein traditioneller Schreibprozess als vielmehr eine gemeinsame Entfaltung - ein instinktiver, intensiver Austausch, der sich über Geografien, Zeitzonen und Seinszustände erstreckte. Das Duo traf sich erstmals im Juni 2024 in North Carolina, zusammengebracht durch einen gemeinsamen Freund und eine lockere Einladung, Zeit im Studio zu verbringen. Was eine kurze Session hätte sein können, entwickelte sich zu etwas, das eher einem dreitägigen Übernachtungsbesuch glich - zu gleichen Teilen Gespräch, Neugier und kreatives Wagnis. Reyna Tropical, die an enge Kooperationen gewöhnt war, betrat neues kreatives Terrain, während Helado Negro eine ähnliche Neugier und Fluidität mitbrachte. Was dabei entstand, war unmittelbar: Anstatt sich langsam an die Zusammenarbeit heranzutasten, wurden die beiden von ihr vorangetrieben - sie schufen Songs in Echtzeit und reagierten auf die Instinkte des anderen, ohne diese übermäßig zu erklären. Es gab keine starre Rollenverteilung. Der eine brachte eine Idee ein, der andere antwortete darauf. Eine Melodie suggerierte einen Rhythmus; ein Rhythmus formte einen Text neu. Auf ,Helado Tropical" ist eine spürbare Abwesenheit von Zwängen zu bemerken: nicht nur musikalisch, sondern auch konzeptionell. Beide Künstler teilen einen langjährigen Widerstand gegen die Erwartungen, die oft an lateinamerikanische Musik gestellt werden: wie sie klingen sollte, wie sie sich anfühlen sollte, welche Geschichten sie erzählen sollte. Wie auch in ihrer Solokarriere schaffen diese beiden Künstler in diesem Projekt Raum für etwas Fließenderes und Persönlicheres.

Die Evolution des Terrors geht in die nächste Runde.


Motionless In White melden sich mit ihrem kommenden Album „Decades“ zurück. Die Band knüpft an ihre tiefsten Wurzeln an und liefert gleichzeitig ihren bisher härtesten und aggressivsten Sound. Erwarte die perfekte Fusion aus ikonischem Gothic-Metalcore, cineastischen Industrial-Elementen und markerschütternden Breakdowns.

Initium Mortis, the upcoming new album from LEFT TO DIE, sees the DEATH-inspired supergroup—including original DEATH members Terry Butler (OBITUARY) and Rick Rozz (MASSACRE)—joining Harvey (EXHUMED, GRUESOME) and Gus Rios (GRUESOME) to capture DEATH's deep, die-hard-only catalog.

and the second chapter in an ongoing improvisational document recorded inside one of Santa Cruz de Tenerife’s abandoned oil tanks.

Gaf & The Love Supreme Arkestra work outside conventional studio frameworks. Their music emerges from extended improvisation sessions that unfold sporadically, sometimes over several days. Built around drums, guitar, bass, modular synthesis and samplers, and expanded with vibraphone and winds (flutes, saxophone, Herreño whistle), the group continues to move between jazz, psychedelic rock and free-form experimental composition.

While Ganzfeld drew from the misty northern coast of Isla Baja, Retiro Espiritual turns toward Taganana, one of Tenerife’s most remote regions. Its isolation, Atlantic exposure and volcanic terrain inform the record’s pace and focus. The title reflects this shift: a space for retreat, collective creation and suspended time.

Sonically, Retiro Espiritual leans warmer and more reflective. Flutes drift over slow grooves, extended jams unfold patiently, and traces of 70s spiritual jazz surface throughout. The experimental core remains, now shaped by repetition, space and a calmer, sunlit atmosphere.

Another autonomous transmission from a band committed to ritual, territory and long-form collective improvisation at the edge of the Atlantic.
—
Recorded live in 2020 in Tenerife Canary Islands
Produced by Mladen Kurajica
Mixed by Jorge Lozano
Master by Daniel García
Artwork Felipe González Cabezas

One of the finest singing brother duos of all time, The Everly Brothers ' close harmonies became one of the most identifiable sounds of the early rock & roll era of the late 1950s and early 1960s. Presented here are the very best of The Everly Brothers' pop charting-singles from the peak of their career. "There have been some wonderful harmony pairings in popular music: John Lennon and Paul McCartney, Michael Stipe and Mike Mills, Marvin Gaye and Tammy Terrell, everyone will pick their own; but there is something very special about family and especially sibling harmony. A modern group like The Proclaimers took their inspiration directly from the Everleys, who borrowed something in turn from The Louvin Brothers and other acts of the time. The voices were not just in tune but shared a very particular timbre. The brothers fell out in time, as brothers do, but when they sang - and there's no need to list the songs; they're stitched into the history of rock'n'roll - they didn't sound like two men, but like one." - Brian Morton "Phil and Don were the most beautiful sounding duo I ever heard. Both voices pristine and soulful." - Paul Simon

In 2016, with the blessing of David Lynch and Angelo Badalamenti, Xiu Xiu released and toured the surprisingly successful album and concert, Plays the Music of Twin Peaks. Out of respect and deference to the beloved series, the band decided to put the concert to rest in 2018. After the recent and untimely passing of David Lynch, Xiu Xiu began to receive several high-profile requests to revive their interpretation of this iconic music. However, in wanting to always try to follow, honor, and continue to be inspired by the incredibly high bar of artistic challenge set by Lynch, Xiu Xiu is instead going deeper. Eraserhead Xiu Xiu is a new live concert with an accompanying film and full-length album that uses field recordings, concert-specific homemade instruments, organ, modular synths, vocals, flashlights, electrical interference, and elements of musique concrète to express the bizarre emotionality, conflicted sexuality, relentless darkness, and singularly unsettled moonscape of this most incredible of midnight masterpieces. The album itself is a masterpiece in sound collage and experimentation, with tracks like “Tetra” and “Sleep Synth” shifting from minimal auditory sensations to a clobbering, grotesque cacophony. The album’s closing track, “In Heaven,” is a beautiful rendition of Peter Ivers’ original composition, with Stewart’s delicate and soft vocals showcasing the elegance and wonder found in Lynch’s directorial debut, Eraserhead. Eraserhead’s original sound design and score by Alan Splet and Lynch guide Xiu Xiu’s expanded interpretation, reflecting their influence as fans and musicians. The original film gives birth to Xiu Xiu’s visual lens, through which audiences are baffled and pummeled by the band’s imaginary unused auxiliary footage.

Is it a short-term art installation, an exploded tribute to a cinematic triumph, an epitaph to an idol via an entirely new work? Yes. Is it intense, odd, curious, and shrouded in the gloomiest of nights? Of course. After all, it is Eraserhead.

Sacred Leather is a traditional heavy metal band from the heart of Indianapolis, consisting of Dee Wrathchild (vocals), Lynn St. Michaels (lead guitar), Cvon Owens (rhythm guitar), Magnus Legrand (bass) and Don Diamond (drums). Following a privately manufactured live cassette, 2018’s debut album »Ultimate Force« and numerous (digital) singles, the new »Keep The Fire Burning« is the band’s most definite statement yet. Produced by the legendary Arthur Rizk (Eternal Champion, Power Trip), every track on the record is a call to arms. High-octane compositions such as “Spitfire At Night”, “Phantom Highways” or “Malevolent Eyes” show that Sacred Leather are true defenders of the faith. All songs breathe the raw power of classic 80s metal. Bassist Magnus Legrand comments: “Judas Priest has been a massive influence on us - not just aesthetically or stylistically, but in their ability to cover a wide range of sounds while always remaining unmistakably themselves. That balance is something we actively strive for: to explore every facet of heavy metal without ever losing our identity. The same can be said for KISS, Scorpions, and Queensrÿche - bands that can rock, rip, soar, go epic, or strip it down to something tender, all while keeping their signature intact. That versatility, anchored by a strong sense of self, is the standard we hold ourselves to.” According to Magnus Legrand, »Keep The Fire Burning« is a clear progression from the debut album »Ultimate Force«: “It’s sharper in its songwriting, stronger in its musicianship, and more focused in its execution. Where »Ultimate Force« laid the foundation, this record pushes further into those same territories with greater intent and refinement. It builds on what we established before, expanding the scope while tightening the strike. As a whole, »Keep The Fire Burning« is a relentless ride through the heart of traditional heavy metal - familiar in spirit, but undeniably Sacred Leather in execution.“

CROWD welcomes Gina Demarchi with 'Other Side', a driving 4-track EP that adds a new voice to the label's growing roster. Born and raised in Buenos Aires, Gina Demarchi has spent the last nine years refining her signature hypnotic blend of tribal-infused grooves, rolling percussion and emotionally charged energy, showcasing a sound rooted in 2000s techno and dubbed chords. As a resident at the event series Fungi and founder of her own label Seduction, she has built a strong reputation through performances all across South America, Europe, Australia, Asia and beyond. Opening track 'Never Enough' immediately sets the tone. Powered by a tom-driven bassline, huge open hats and uplifting chord melodies, it moves with a propulsive forward energy that plants the listener firmly on the dancefloor from the first bar. Next up on the A-side is 'I'm In Love', where endlessly echoing warm chords churn above a pulsing low end while marching claps and driving percussion lock the track into pure peak-time territory, serving as a reliable anchor for any uncompromising techno set. The title track 'Other Side' leans deeper and groovier, combining a gliding bassline with swinging chord stabs and crisp percussion that give full focus to the track's powerful low-end movement. Sitting somewhere between hypnotic and relentless, it is perhaps the clearest expression of what makes Gina Demarchi's sound so compelling. Closing cut 'Lonely' strips things back but lands with maximum impact: fast-paced chord repetitions, tight closed hats and sub-heavy drums generate a sense of momentum, creating a track that feels explosive and intense without relying on excessive speed. With 'Other Side', Gina Demarchi delivers a high-impact debut that reflects both the raw spirit of her unmistakable sound and the identity of the CROWD universe. The 11th release of the label is another statement from a label that has consistently refused to follow trends, instead carving out a singular identity rooted in raw energy. Join us for a high energy release party on July 5th 2026 al Le Sucre in Lyon!

Baby Ford perfected the minimal sound with his impeccable early run of releases. Now, one of them gets reissued many years on and it still sounds as strikingly new as ever, not least because it has been remastered by the legendary Dubplates & Mastering in Berlin. The sought-after EP from Peter Adshead emerged during his shift toward stripped-back techno and tech-house and captures a deeper, more hypnotic side of his craft. 'Serpentine Tale' coils through hissing rhythms and shadowy bass pressure, while 'Night D3 Died' pairs crunchy drums with mournful synth chords. Closing cut 'The Introducer' drifts into warm, spacious territory.

2026 Repress

Shep is back on his People Pleaser's label with a fourth transmission of groovy tech house that blends drive, cosmic atmospheres and just the right amount of vocal and melodic hookiness. 'Reach For The Tongs' is warm and dubby, one to get the head down and lock into. 'Pulver Zimmer' has warped synths and glassy percussion, bringing the early Terry Francis style drums to life and 'Rave Gravel Drive' gets more unhinged. The synths are wonky, the sound designs more trippy and abstract and the groove is minimal and synthetic. 'Mutzki' closes with a subtle, warming rush of low-key joy thanks to the muted chords that ride a slick groove.

Originally released in 2008. Although this album invites aesthetic comparisons to works by the likes of Philip Jeck, William Basinski, and Janek Schaefer – draped as it is in an obfuscating, soupy crackle – there’s a very specific conceptual agenda at work here.

Part of the success of »Persistent Repetition of Phrases« comes from the attention it pays to the function of »the loop«, not only as a narrative ordering system in modern music, but as a means by which the brain itself recalls and interprets information; it’s as old as recorded sound itself, but in this context the repetition of small shards of auditory information becomes an elegy to fading memory and the worn-out synapses of old age. The track titles offer signposts through Kirby’s labyrinth of faulty remembrances, pointing their way towards the peculiarities dictating the manner by which the mind stores and attempts to recover information: »Lacunar Amnesia« references a condition that leaves a specific event absent from the sufferer’s memory, and Kirby’s music sounds suitably stuck on a prelude to something that never happens.

Bathed in gusts of crackle, the piece gets stuck on what might be a start of something, but we never get to hear what. Many of the pieces refer to different ways the memory might find itself caught in a holding pattern: »Von Restorff Effect«, »Rosy Retrospection«, and the title track itself are all suggestive of reliving a single event or point in time – here, both music and memory are united by the notion of »glitch«, whereby a fault or fissure causes the replaying of the same pocket of data over and over again, but what distinguishes Kirby from so many other musicians operating within the field of loops and broken recordings is the unnerving, ghostly sentimentality that courses through this process. »Long Term (remote)« is particularly explicit in its reaching back through the first half of the 20th century, exhuming snatches of music hall romance, now warped into a sinister new form by the erosions of time. It’s like watching John Carpenter’s »The Fog« only to find that instead of vengeful phantoms emerging from the mist, it’s The Glenn Miller Band. Which is infinitely more disturbing. More eerie still is the detachment from authorship endemic to this sound – at no point do you really sense the presence of a composer’s hand; this album just... is. A remarkable thing that only seems to have improved with age (which is either highly appropriate or highly inappropriate, I can’t quite decide which), »Persistent Repetition of Phrases« is an even better fit on vinyl, a medium which itself wears and fades just as the memory does.

Off the back of an epic 3 part triple album “Sidequests”, Session Victim kept the collaborators in tow with “The Disconnect” EP, featuring the talents of Kenneth Scott, Rossano Snel, and Quarion across 5 tracks. It’s the Empire Strikes Back of Rhythm Section EPs – following up from widely acclaimed and best seller “Basic Instinct”. Balancing funk elements of breakbeats, bass guitar, rhodes and mellow synths with finessed modern production, the duo have assembled another masterclass in precise yet characterful house music.

The record begins with “Hey, Activate!”, oozing funk, ambient pads, a groove bassline and optimal arpeggiated synth noodling sets the tone for the whole EP. “Dream Theory” is quite it’s namesake, with a distant sax solo, tremolo sine motifs and a sumptuous lick combining piano and the Session Victim trademark bass guitar.

B-side opener “Flotsam” comes through with smooth breaks and incidental style sampling harking back to the vibes of Herbert, with slow filtered chord groove referencing the vibes of early French Touch masterminds Cassius.

Progressing into more relaxed territory, still ideal for dancefloor moments: “Open Minds” is indebted to old soul jams with bongos, muted guitars and rhodes followed by “Loom”, using similar elements with a vibe akin to early Bonobo.

This EP is testament to Session Victim’s mastery of housemusic, being their 40th EP and standing firm in a crowded scene. Their consistent application of production precision is carried by an emotional heart of gold that you can hear in every record they make. Not to be missed.

French-born, Berlin-based DJ and producer Benabou returns with 'Rise & Merge', her second solo EP and first standalone project since 2018's 'Hottan'. She now presents a body of work that reaches beyond the familiar contours of techno while retaining the rhythmic precision of her core sound. The six-track EP emerged from a period of creative recalibration. Benabou found herself drawn towards exploratory forms, embracing movement via dub structures, broken rhythms and ambient atmospheres alongside more direct dancefloor energy.

Benabou's position as a mastering/cutting engineer at Berlin's Manmade Mastering studio is a central element of the record. Conceived as a vinyl release and brought to life with the assistance of Mike Grinser, the run time is deliberately contained to 15 minutes per side to preserve the EP's warmth and fidelity.

The inky opening track 'Projet G' slinks through cosmic textures and prowling sub-bass, built around layered Korg Mono/Poly and rich analogue components. Kliche's remix follows with a spacious, kinetic dub techno interpretation that teases out the original's deeper currents. 'Interlude' then offers a fleeting bridge between worlds. Conceived during a flight back to Berlin, its unfinished quality is entirely intentional, allowing the listener to imagine where it might lead.

The B-side flows towards club territory with 'Rise' and 'Shift'. Both tracks favour broken beats and fluid arrangements that lend them an organic, elemental quality. 'Merge' provides the EP's emotional resolution. Its experimental/ambient resonance unfolds through wispy melodies and porous textures; the state of separate elements finding their way back to a common origin.

"I’m really happy to present something this eclectic and to go where people might not expect me", Benabou explains. "To step slightly outside the techno world I know, and reach for something more open and luminous."

Rawbeats Records returns to its main catalog with a heavyweight release from Mar del Plata’s own Juaan. Meticulously crafted between 2020 and 2022, these four tracks are essential peak-time weapons already backed by the scene’s biggest names.

A1. "Decihden" sets a relentless pace right out of the gate. It's built on a foundation of heavy, punchy kicks and a rolling, infectious bassline creating a high-energy, club-ready tool.
A2. "Fui Do Por", which shifts the EP into a slightly more hypnotic and spaced-out territory. Syncopated rhythms layered with dubby, atmospheric chords, create a solid tension that perfectly bridges the gap between warm-up and peak time.

B1. "Knt" goes straight for the business, heavy production, driven by raw drum work, acid-tinged squelches and underground flavor. Mixes into a perfect dark, constant, piece designed to lock the dancefloor into a pure trance-like state.

Closing things off is DC Salas Remix of KNT, Diego steps up to completely reinterpret the original, injecting a distinct percussive bounce and twisting the core stems into a darker, expansive journey. It serves as the perfect cerebral closer to a heavyweight EP.

On their fresh imprint, In.Visible, Uruguayan mainstays Kino and Manuel Jelen turn their sonics towards the slower, and stranger. On the front is Italian legend Dionigi’s first posthumous release, having sadly passed away during the making of the record, with ‘Komp 22’ an ethereal yet eye-closing opener, plodding through luscious strings and mysterious retrofuturistic sound design. The mechanically swung percussion of ‘Dust Distortion’ takes the record into straighter territory until it code-switches into a synth workout close, while ‘Bhaskara’ rounds offthe side by wiggling and scuttling through offkilter syncopations, bassline bleeps, and hellish, claustrophobic arpeggios. The flip is helmed by UK acid day-oner Scott Hallam; ‘Larb’ offers a moody, squelching downtempo groove, before closing with the most club ready (at a push) track on the record, ‘Stupendous’ – a soaring electro number bookmarked by oddball English vocal samples.

Ecstasy and delirium—Amterdam’s duo Match Box transport us once again, getting us back on bright, trance-leaning club sounds; while Berlin-based Olsvangèr takes on remix duties with patient in waveform form—dubby, radiant and groove-led. X-File’s is an ep leaned into pure ecstasy made for this summers festival calendar and beyond.

303 synthesiser leads, driven bouncy baselines, infectious chopped vocal samples from the nineties—Match Box sit somewhere between euphoric trance and high-energy progressive house, shaping the sound of the EP.
On B1, Olsvangèr takes Stone Again into dubby territory with his signature prog touch, full of intricate textures and depth.

River Songs sees Al Wootton head deeper into esoteric rhythmic territory. Polyrhythmic hand percussion and bells are offset with modular synthesis and narcotic sound design that evokes the mysteries of the rainforest and the inherent psychedelia of nature. A heady dance floor river ride through unknown and uncharted spaces.

Eddy Current Suppression Ring make a surprise return with their sixth album In Light of Recent Events. True to form, it finds the disinterested careerists sidestepping expectation and working on their own terms, in their own time. Dialled in through closed-door weekly jams across 2025, that pent-up energy has only leaked via pseudonym-billed small-room shows as Jimmy and the Ringtones and Top Hats, record shop in-stores and country detours, plus a pair of phantom straight-to-YouTube singles (‘Swimming Hole’ and ‘Hard To Be Moved’), each with accompanying films by Chris Middlebrook and Amiel Courtin-Wilson respectively.

Modern-day anxiety and human disillusionment press through the album’s darker, more politically aware subject matter, as suburban melodramas and tender, hard-hitting reflections articulate everything you’ve never been able to. Taped within the band’s signature close-quarters claustrophobia, Brendan Suppression purges his dome with a newly awakened vocal range, while riff savant Eddy Current bleeds through quicksilver, blood-raw scratches, cut against the tension-wound, locked-in low end of Danny Current and Rob Solid.