Поиск:the ex

Album "My Life - Preisner's Music is a live recording from a concert held in November 2024 in Bielsko-Bia?a, marking the occasion of Zbigniew Preisner receiving Honorary Citizenship of his hometown, Bielsko-Bia?a.
This year, on May 20th, Zbigniew Preisner will celebrate his 70th birthday, and the album is a his gift he made to himself.

The album includes 17 iconic themes composed by Zbigniew Preisner among others from Three Colours, Decalogue, The Secret garden, The double life of Veronique, Damage, When a man loves a woman, Eminent Domain, Aberdeen, Mouvements du desir, Lost and Love, but also Lacrimosa from Requiem for my Friend in the interpretation of Dominik Wania.

Few words from Zbigniew Preisner:
"For years, I've been thinking about reducing my orchestral themes to a single instrument. As a composer, I pay special attention to melody-each of my compositions always has melodic themes.
Ten years ago, I met Dominik Wania, now a jazz star and a brilliant pianist who records albums for ECM. I knew he was the perfect person to bring my idea to life.
The concert you are about to listen to is the result of our collaboration, which has given me great satisfaction. Dominik Wania's interpretation went beyond my wildest expectations. I hope you will enjoy the album."

Reviews of the album:

"When I teach the films of Krzysztof Kieslowski at Columbia University, I always mention that Zbigniew Preisner is one of the world's greatest film composers. He has many fans among my students. And now there is a new album, a haunting distillation of his movie scores into solo piano performances. It demonstrates how he is the master composer of the tritone, trill and tremolo. Listening to his compositions in their own terms - separate from the cinema screen - foregrounds his distinctive and often plaintive melodies.
Because orchestration, lyrics and narrative function are absent, the listener can focus on the richness of the "standalone" music, beautifully performed by Dominik Wania. For example, the memorable score from Kieslowski's "Double Life of Veronique" now feels more ominous than lyrical. From "Mouvements du desir," the tinkling piano sounds grow into cascading notes that envelop the listener. Whether classical (as in "When a Man Loves a Woman" and "The Waltz from The Funeral") or jazz ("The Secret Garden"), the music reigns when there is no movie screen to distract us. This is equally true of the minor-key gems like "Dekalog" and the briskly upbeat "Transient from Twilight" (which invokes for me the joy of Jon Baptiste's compositions).
In addition to Preisner's scores, the mournful "Lacrimosa" is stripped down from a public performance - which included a choir - to a more personal evocation of grief via solo piano. Finally, listening to "Lost and Love" suggests that if Frederic Chopin and Keith Jarrett had an heir together, it would be Zbigniew Preisner".
Annette Insdorf, Film Professor Columbia University

Ltd edition in transparent yellow vinyl!



The Mystery Lights 2nd outing on Daptone's rock subsidiary, Wick, sees them digging deeper into their cavern of influences, taking on tips from Suicide, The Kinks and Television as they look to build on their already party fuelled, raucous sound.

The Mystery Lights story begins in 2004 in the small town of Salinas California when friends Michael Brandon and Luis Alfonso -whose shared fondness for groups like The Mc5, Velvet Underground, Dead Moon, and The Fall (just to name a few) -decided to join forces and craft their own brand of unhinged rock and roll. From there they spent the better part of 10 years touring relentlessly before migrating to Queens, New York in 2014.

With a live show known for its raw, visceral energy and relentless assault –leaving little to no stoppage between songs –they barreled through countless NYC haunts and DIY venues, quickly amassing a fervent local following. The buzz soon caught the attention of Daptone Records execs who were in the beginning stages of launching a new rock-centric imprint, Wick Records. Impressed by the groups’ musicianship, groove, endless supply of energy, and understanding of musical history the Mystery Lights were quickly signed to Wick. Though a rock band at heart, the parallels to what Daptone Records had traditionally looked for in their Soul artists was undeniable. Soon sessions were booked with Producer/Engineer Wayne Gordon, and the release of their debut single “Too Many Girls” b/w “Too Tough to Bear” launched to mass critical fanfare.

Upon the release of their self-titled full-length on June 24th 2016 The Mystery Lights were quickly crowned “one of New York’s finest garage rock bands” by NME. Extensive touring, including multiple stops in Europe, Asia and Australia followed which found the group graduating from support slots at hole-in-the-wall clubs to headlining stages at major festivals worldwide.

After two years of break-neck, non-stop touring, the group settled back into Queens to prepare for their second full-length record, Too Much Tension(out May 2019). With Wayne Gordon in the producer’s chair and several intense writing sessions under their belt the group were back at Daptone’s House of Soul and ready to track. While keeping the hard-hitting approach of the first LP, Too Much Tension finds the group digging deeper into their well of eclectic influences, enriching their sound without echoing the past. Mixing the eerie, insistent synth sounds of groups like The Normal and Suicide, the energy and swagger of punk’s golden age, the pop sensibility of The Kinks, and the stark, deliberate execution of Television -The Mystery Lights are taking their idiosyncratic brand of rock and roll to dizzying new heights.

The Ramones were punks before punk rock was even invented. With their catchy, sing-along tunes, iconic hair styles and outfits, Joey, Dee Dee, Johnny and Tommy rewrote rock history and are now, as part of the first wave of US punk, firmly considered part of the subcultural world heritage. In the DUB-cultural world, on the other hand, their footprint has been pretty slim, particularly if one considers their stomping, three-chord songs, instantly recognizable chants (“Gabba gabba hey!”) and laconic humour. There are a few reggae and Latin versions of their songs online, but never before have the Ramones been honoured with an entire album in early reggae style…until now, bang on time for the band's 50th anniversary in 2024. The label Echo Beach, a bit of a specialist for missions such as these with a string of releases including “Bad Brains in Dub”, “Dubby Stardust”, got together with André Meyer (production, bass) and Manougazou (production, guitar). Both were part of the 2008 Echo Beach New Wave/Dub project DubXanne and were involved in the production and subsequent live shows. Also back in the team is keyboarder and DubXanne mastermind Guido Craveiro, who plays Hammond organ and piano on half of the tracks. The other two additions to the core team are singer and all-round instrumentalist Sebastian Sturm and drummer Raul Pfeffer. Together they homed in on the 11 most iconic Ramones three-minute-singalongs, including "Blitzkrieg Bop", "I Wanna Be Sedated", "Pet Sematary" and "Rock'n'Roll Highschool", and treated them to a reggae make-over. The whole process was kicked off by a slightly off-beat question (reggae music does that to you): What if Joey, Johnny, Tommy and Dee Dee had gotten together not in NYC, but in Kingston? And then stepped up to the mic alongside local singing and deejay greats? In musical terms the answer is surprisingly plausible and the line-up is sensational, even for a label like Echo Beach with its unrivalled connections. From up-and-coming youngsters to living legends, everyone is included, albeit with a focus on the elder statemen and stateswomen: the vast majority of the guests are over 60 and look back on deeply impressive careers! The artists come from Jamaica, the USA, the UK and Germany. All contributed one or two songs, and all of them tackle the songs in pairs with infectiously good humour, transforming legendary punk rock bangers into unpredictable dub tracks. Ramones’ classics such as "Blitzkrieg Bop" with its trademark battle cry "Hey! Ho! Let's Go!", "Sheena Is A Punkrocker" and "The KKK Took My Baby Away" are slowed down and underpinned with roots and rocksteady riddims. It almost goes without saying that the lyrics have been adapted to everyday Jamaican life with a great deal of fun and creativity. And amidst all the icons of early reggae, the Ramones also make an appearance: in the opening track "Pinhead", for example, we learn that the Ramones did actually listen to reggae and had even been planning a reggae album. Features guest vocals from Susan Cadogan, Ranking Joe, Ranking Ann, Prince Alla, Welton Irie, U Brown, Earl Sixteen, Dennis Alcapone and more

The original line up of all women featured Sally Sweet of Minneapolis garage bands THE CAVEGURLS and THE BLUE UP. After some time the original line up morphed into a mixed band of men and women and the group released a 45 on Ramo Records. This caught the attention of Boston record label RUM BAR RECORDS, who would release the BEEBE GALLINI album 'Pandemos', a collection of material made during the worldwide pandemic. A well-received collection ranging from garage nuggets to 60's BEE GEES' hit and original material.

For their next project producer and drummer for the group Travis Ramin brought the group into the legendary Kay Bank Studio in Minneapolis. A studio rich in musical history where everything from DAVE DUDLEY's Six Days on the Road and THE FENDERMEN's Muleskinner Blues to THE TRASHMEN's Legendary Surfin Bird and all of Soma Records' Big Hits Of Mid America were recorded. The early GUESS WHO recorded there and decided on their name in the building even ... the list goes on and on!

Travis' idea for a record was to re- record some Minnesota garage classics that were originally recorded there in the same room and invite some of their garage rockin' friends to join them. Run Run Run by THE GESTURES and Why by THE ACCENTS would feature on lead guitar Keith Patterson (formerly of THE FUNSEEKERS, THE SPECTORS, and THE CONQUERORS). I Believe from THE HIGH SPIRITS would feature Melanie Vammen of THE PANDORAS organ solo and Russell Quan famously of THE MUMMIES, FLAKES and DUKES OF HAMBURG would take lead vocal on THE KAN- DELS raucous Cry Girl. The session was so successful that it expanded into the full- length album "Begged, Borrowed and Stealed" and batch of material expanding beyond the Minnesota borders, with tunes from DAVE DEE, DOZY, BEAKY, MICK & TICH, OTIS REDDING, BEEBE themselves and more! Recording in the sacred space made for a special rock and roll party album which also features the artwork of legend Cliff Mott! So, get ready for an all-star cast and a little dose of Minnesota Garage Rock and Soul!

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. "We were trying to find our own space," says Cinder of the formative period Camouflage Heart emerged from, amidst a move from Edinburgh to London and Cinder's evolving exploration of gender identity, well before culture at large was equipped to understand. With contemporary discourse we see that the project manifested her transgender ideas as visceral music. The guttural, feral sound marked a notably darker turn from The Freeze's sixyear run on the fringes of punk. Changing the project's name became vital, not just because they kept hearing the former was already taken, but the desire to embody the spiritual and sonic shift, "to uncover new pathways_to feminize it," she says. Cinder, with bandmates David Clancy and John Byrne, arrived at Cindytalk, a winking nod to Sindy, the British fashion doll rival to Barbie known then for its pull-string talking mechanism. "The goal was to have a more interesting narrative, more interesting dialogue. Music was ultimately my only way of talking to people. That was my conversation with the world, an abstracted conversation_an attempt to make some kind of tiny, tiny mark, if possible, you hope somebody will notice." Over the years, Cinder has heard from fans who did pick up on the signals and find refuge in Camouflage Heart. Camouflage Heart plays with tension and pace, from creeping to feverish to claustrophobic. The percussion moves between restless marches and barely-there pulses; for some parts, they scratched and hit a tin bath, among other objects. Guitar lines vibrate and stab as Cinder contorts her voice freely. She pulls poetry from a cerebral abyss, like "make the snake in your eye, pierce the camouflage heart" on the slow-droning centerpiece "The Spirit Behind the Circus Dream." In that register is raw power, both vulnerable and menacing, an ability to locate something deep and emotionally charged within. "I still remember that person who was way too intense for their own good," Cinder reflects. "I couldn't make a record like that now, certainly not vocally, while that anger hasn't dissipated; there's still a kind of warrior." For all the destruction and disintegration of Camouflage Heart, Cinder maintains the objective was never full-on fatalistic; these songs seek not to destroy but to poke and provoke, to transform and heal, to find cracks of light in a crumbling world. She points to the last lines of the opening track, "It's Luxury": "Don't look down," the lyric pines through static and rhythm. Cinder extrapolates, "I'm essentially saying, just keep fucking going. As time went on, for me, that falling became flying. Camouflage Heart is the beginning of believing in flight."

Welcome to this wild ride of cheese, wooden shoes, green gold and a whole lotta Dutch rock 'n roll attitude! This album is a high-octane compilation where today's garage, beat and rock'n'roll artists pay tribute to the rich history of Nederbeat and pop Each covering a classic Dutch tune with their own twist, companied with their own original. Think of it as a musical time machine with a detour through the gritty, reverbing walls of Studio Teepdek, guided under strict supervision by studio guru Arjan Spies and released by Soundflat Records / Topsy Turvy Records; home of the best contemporary Dutch artists. Buckle up, because you're about to hear the Netherlands' musical past and present collide in a glorious explosion of sound with a shot of cheap adrenaline.Enjoy the ride and to turn it up to 11.

The Krontjong Devils:The Greatest thing to come out of Holland since the Dutch Treat! Playing Surfmusic since 1991 and still going strong! Mooon: This young power trio consists of brothers Tom and Gijs and their cousin Timo. These cats take you to the Golden Age of pop music: the psychedelic boom of the 60's and 70's. The Kryng:Three jinxed no-good guys with an insatiable appetite for great popsongs. Their ace in the hole is singer/ guitarist/ cult- hero Mark ten Hoor, an extraordinary craftsman //when it comes to writing catchy and powerful songs. Fleur:She has the looks, the moves and a voice that sounds like a cool breeze on a hot summer day. The Heck:High pace, hectic, energetic and wild 60's garagepunk outfit all the way from Klazinaveen. Feel free to place them somewhere in between The Sonics and Reigning Sound. Frankie:The young and aspiring talent Frankie from the Eindhoven writes double edged songs like a head in the clouds and roots from your feet. Written like a dream but grounded in reality. Les Robots: Mechanical men from outer space, stationed in Rotterdam, presumably programmed by legendary producer Joe Meek to make astonishing instrumental music.

WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.

An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.

O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.

Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.

A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.

The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.

Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.

The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.

The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.

Inspired by Abba, early AC/DC, Beefheart and the dark heart of outsider pop, The Beyond and the Better Way is a record featuring warped orchestrations, extended autobiographical rants and sumptuous performances by a collection of Glasgow's (and Ireland's) finest musicians and singers The Gorgeous Pouting Mr AR is a pseudonym for Ronan Breslin - a recording studio owner, composer and academic who teaches sound and music at The Glasgow School of Art.

Ronan comes from an Irish family of musicians, with the most notable being his brother Niall Breslin, who helmed the iconic Irish band "The Blizzards" before becoming a highly regarded mental health podcaster and now presenter on BBC Radio 3. Niall's stellar guitar playing features on many of this record's tracks. The recording will be released on the 23rd May via Strength in Numbers Records on vinyl and digital platforms and will be accompanied by an online collection of song- related essays (aka rants). The album is distributed by Last Night From Glasgow. "The songs explore OCD, politics, anxiety, grief, regret, rage, lost love, but also reflect on joyous moments that define the transition from fearful child to fuck- you adolescence and finally reluctant adulthood. The album title song 'The Beyond and the Better Way' is morbidly confessional; however, it is also a statement of resilience, positivity and optimism for the human condition. There is always a better way." - Ronan Breslin

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path_ one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn't long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born. (Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.) With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito's style. "Kwaito was the thing `in' at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy," says Radebe. "We didn't have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar." That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke "H." They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn't have music production or engineering backgrounds so they required support from engineers together their ideas down on tape. They were inspired from South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs_a perfect blend of local flavor and global influence.

More than 20 years after their debut, Witchcraft's seventh album, 'IDAG,' is an awaited full accounting of who they are as a band. Those who have clamored for the return to an earlier sound rooted in '70s classic progressive and heavy rock will delight to the strut of "Irreligious Flamboyant Flame" while the eight-minute opening title-track is the heaviest the band have ever sounded, and a succession of interspersed acoustic-based pieces helps create a vision of a new, soulfully folkish doom taking shape as they continue to move inexorably forward. Founding guitarist/vocalist, Magnus Pelander, says of 'IDAG': "This album will reap souls and destroy wicked minds. And perhaps mend a couple of broken ones." These enigmatic few words from the Swedish band's main songwriter give clues as to the songs' intentions; a reference dropped to Coven's 1969 album, 'Witchcraft Destroys Minds and Reaps Souls.' Coven also had a folkish, proto-doomed take at that point in their history, and that multifaceted nature has been a part of Witchcraft all along. On one level, Magnus is winkingly telling you it's a Witchcraft record. The actual meaning of that becomes clear when you hear the album and find out just how much 'a Witchcraft record' can encompass. The storyline of Witchcraft's growth, from Pelander's starting the band in Örebro in 2000 in the wake of his prior outfit Norrsken's disbanding. A generational landmark of a 2004 self-titled debut helped spark a retroist movement that has become its own subgenre, but Witchcraft never stopped growing. 2005's 'Firewood' and 2007's 'The Alchemist' introduced more progressive sounds, and five years later, the pointedly modern 'Legend' established in 2012 that they had moved beyond the analog worship they had been a part of pioneering within the contemporary heavy rock and doom scene. In 2016, the 2LP 'Nucleus' introduced fuller-toned doom, and 2020's 'Black Metal' diverged into moody acoustic minimalism familiar to some fans from Pelander's early solo work, but different from anything Witchcraft had done prior. 'IDAG,' then, is the tie that draws all of this - more than two decades of exploring and growth - together. Whatever they've done in the past and whatever they'll do in the future, 'IDAG' feels like a nexus for defining who and what Witchcraft are. Even crazier, that might be the point of the thing. JJ Koczan

More than 20 years after their debut, Witchcraft's seventh album, 'IDAG,' is an awaited full accounting of who they are as a band. Those who have clamored for the return to an earlier sound rooted in '70s classic progressive and heavy rock will delight to the strut of "Irreligious Flamboyant Flame" while the eight-minute opening title-track is the heaviest the band have ever sounded, and a succession of interspersed acoustic-based pieces helps create a vision of a new, soulfully folkish doom taking shape as they continue to move inexorably forward. Founding guitarist/vocalist, Magnus Pelander, says of 'IDAG': "This album will reap souls and destroy wicked minds. And perhaps mend a couple of broken ones." These enigmatic few words from the Swedish band's main songwriter give clues as to the songs' intentions; a reference dropped to Coven's 1969 album, 'Witchcraft Destroys Minds and Reaps Souls.' Coven also had a folkish, proto-doomed take at that point in their history, and that multifaceted nature has been a part of Witchcraft all along. On one level, Magnus is winkingly telling you it's a Witchcraft record. The actual meaning of that becomes clear when you hear the album and find out just how much 'a Witchcraft record' can encompass. The storyline of Witchcraft's growth, from Pelander's starting the band in Örebro in 2000 in the wake of his prior outfit Norrsken's disbanding. A generational landmark of a 2004 self-titled debut helped spark a retroist movement that has become its own subgenre, but Witchcraft never stopped growing. 2005's 'Firewood' and 2007's 'The Alchemist' introduced more progressive sounds, and five years later, the pointedly modern 'Legend' established in 2012 that they had moved beyond the analog worship they had been a part of pioneering within the contemporary heavy rock and doom scene. In 2016, the 2LP 'Nucleus' introduced fuller-toned doom, and 2020's 'Black Metal' diverged into moody acoustic minimalism familiar to some fans from Pelander's early solo work, but different from anything Witchcraft had done prior. 'IDAG,' then, is the tie that draws all of this - more than two decades of exploring and growth - together. Whatever they've done in the past and whatever they'll do in the future, 'IDAG' feels like a nexus for defining who and what Witchcraft are. Even crazier, that might be the point of the thing. JJ Koczan

Purple Vinyl, limited to 450 copies. More than 20 years after their debut, Witchcraft's seventh album, 'IDAG,' is an awaited full accounting of who they are as a band. Those who have clamored for the return to an earlier sound rooted in '70s classic progressive and heavy rock will delight to the strut of "Irreligious Flamboyant Flame" while the eight-minute opening title-track is the heaviest the band have ever sounded, and a succession of interspersed acoustic-based pieces helps create a vision of a new, soulfully folkish doom taking shape as they continue to move inexorably forward. Founding guitarist/vocalist, Magnus Pelander, says of 'IDAG': "This album will reap souls and destroy wicked minds. And perhaps mend a couple of broken ones." These enigmatic few words from the Swedish band's main songwriter give clues as to the songs' intentions; a reference dropped to Coven's 1969 album, 'Witchcraft Destroys Minds and Reaps Souls.' Coven also had a folkish, proto-doomed take at that point in their history, and that multifaceted nature has been a part of Witchcraft all along. On one level, Magnus is winkingly telling you it's a Witchcraft record. The actual meaning of that becomes clear when you hear the album and find out just how much 'a Witchcraft record' can encompass. The storyline of Witchcraft's growth, from Pelander's starting the band in Örebro in 2000 in the wake of his prior outfit Norrsken's disbanding. A generational landmark of a 2004 self-titled debut helped spark a retroist movement that has become its own subgenre, but Witchcraft never stopped growing. 2005's 'Firewood' and 2007's 'The Alchemist' introduced more progressive sounds, and five years later, the pointedly modern 'Legend' established in 2012 that they had moved beyond the analog worship they had been a part of pioneering within the contemporary heavy rock and doom scene. In 2016, the 2LP 'Nucleus' introduced fuller-toned doom, and 2020's 'Black Metal' diverged into moody acoustic minimalism familiar to some fans from Pelander's early solo work, but different from anything Witchcraft had done prior. 'IDAG,' then, is the tie that draws all of this - more than two decades of exploring and growth - together. Whatever they've done in the past and whatever they'll do in the future, 'IDAG' feels like a nexus for defining who and what Witchcraft are. Even crazier, that might be the point of the thing. JJ Koczan

"I loved Julia Sabra’s Natural History Museum—it was released at the end of the year and is quietly devastating. Her lyricism and sensitivity in timbre and harmony is akin for me to the great Linda Perhacs. The songs are intimate and infinite feeling at the same time—I love the raw and soft poetic settings of love and death." Julia Holter (Best album 2024- Fader)

“This album is a collection of songs written between 2020 and 2024 in Beirut. I wanted to capture them the way they were written by keeping the rawness and fragility intact, like the late-night voice memos I send to my bandmates as soon as I have a first draft of a song. Fadi and I decided to record them live on tape, with no overdubs, barely any effect - with all the imperfections. Most of the tracks were done in one take only. Some were recorded in the studio, and some in the church I grew up going to every summer in Dhour Shweir.

This is a collection of songs that slipped through the cracks, and some of the most personal ones I ever wrote. Songs about the port explosion, its aftermath, picking up the pieces and trying to move on, coming to terms with the past, regret and nostalgia for a childhood that lives only in memory, the uncertain future, learning to love, getting married, watching a genocide unfold on my phone screen, having it fill my every waking moment, imagining a better send off for all the dead, processing the violence and terror, and finding solace in community.
These songs would’ve probably stayed in my “songs in limbo” folder on my laptop had it not been for Pascal and Fadi, who pushed me to release them. And for this I’m eternally grateful.”









[h] 8.Dis, quand reviendras-tu? [Barbara cover]

'Heartstrings' is the fourth album from London-based Snowpoet, led by the creative partnership of Lauren Kinsella and Chris Hyson Since their debut EP in 2014, the band has built a devoted audience drawn to their emotionally rich songwriting, intricate production, and distinct sonic identity. With 'Heartstrings', they take a bold step forward, writing and recording in the studio as a collective for the first time, capturing the raw immediacy of live performance while expanding their sound with lush textures, layered harmonies, and deeply personal storytelling. "We wanted to capture the moment to create something that feels real, unfiltered, and alive," says Chris Hyson.

This album marks an evolution in Snowpoet's approach. Instead of the fragmented process of previous records, 'Heartstrings' was born in the moment, with the full band improvising, shaping, and refining ideas together in real time. The result is an album that feels alive - organic, immersive, and deeply human. Sonically, the group leans into rich, analogue synth tones, intricate drum textures, and a dynamic push- and- pull between electronic and acoustic elements. Lyrically, it is their most personal work to date, weaving themes of life, loss, and renewal with poetic honesty. "The sound of this record is richer, bigger, more expansive, representative of the culmination of everything we've done so far," reflects Lauren Kinsella. At the heart of 'Heartstrings' is a powerful contrast - moments of deep emotional weight balanced with luminous joy. Songs like "Host" dive into themes of grief and the body as a vessel for experience, while tracks like "New Tree" radiate warmth and rebirth. The band's signature harmonies and layered production give the album a three- dimensional quality, pulling the listener into a space where vulnerability and beauty coexist. With 'Heartstrings', Snowpoet solidifies their position as one of the most innovative and emotionally resonant bands in the UK's jazz- adjacent and electronic-acoustic crossover scene. This is an album for listeners who crave depth, sonic richness, and lyrical honesty.

Multi-instrumentalist and composer J.H. Burch gives new intensity to a neglected ethnographic and folklore reality: the rural Amazigh poets of the Ait Bouguemez valley of Morocco. His vision of cultural exchange led him to the vocal repertoire of the all-female Troupe Asnimer, whom for decades have been amongst the most important custodians of the various Amazigh oral art forms in the region. The Asnimer women recite in chorus songs written by numerous anonymous authors, some dating back centuries, making their tradition and a fluid and constantly evolving collective oeuvre. Each of the tribal forms has its own time and place, some like Tamawayt are poems of travel and lamentation, Timnadin of daily labour, others are sung as Sufi rites. From the Asia and the Pacific, J.H. Burch succeeds here through his knowledge of different sound traditions and a varied use of instrumentation (baglama, santur, tanpura, kamanche, organ, deyurey, electronics, percussion), and in becoming a conduit for Asnimer, frames the collaboration without distorting its ancestral and rural physiognomy. On the contrary, the songs of the Amazigh tribes of the Haut-Atlas are colored through afro-asiatic spiritual arrangements of meditative sensitivity. Limited to 200 copies.

UK death metal gods Cancer burst onto the UK extreme metal scene over thirty five years ago, & quickly amassed a strong global following over the course of their early careers which later resulted in a stint with major label EastWest under Warner Music. After a period of inactivity, Cancer returned for 2018's Peaceville debut, 'Shadow Gripped', followed up by 2025's new opus, 'Inverted World'. 'To The Gory End' was Cancer's debut studio album & was released in 1990. Along with sophomore opus 'Death Shall Rise', 'To The Gory End' became a firm genre classic with its influential display of sonic savagery containing fittingly shocking topics to match.

The album swiftly established Cancer as one of the highlights of the rising UK death metal scene alongside such bands as Bolt Thrower & Carcass. 'To The Gory End' was recorded at Loco Studios in the winter of 1989, with legendary producer Scott Burns (Death, Obituary, Sepultura) overseeing the recording & also mixing duties, which subsequently took place at Morrisound in Florida, itself synonymous with the creation of many classics of the genre. The album also notably features a guest appearance by John Tardy of Obituary on the track 'Die Die'. This edition of 'To The Gory End' marks the album's 35th anniversary & is presented on limited red galaxy vinyl.

Denmark's premiere outlet for forward-thinking modern jazz, April Records proudly presents the debut of a brand new quartet featuring some of Scandinavia and the UK's most celebrated instrumentalists: Mathias Heise, Anton Eger, Rasmus Sørensen and Conor Chaplin. Meeting for the first time on a spring day in 2023, the quartet quickly discovered a natural synergy.Their debut performances that summer were met with resounding acclaim, with Politiken music editor Thomas Michelsen calling them a "supergroup" and awarding their concert at Balders Plads five hearts. Buoyed by their success, the group headed into the studio to record their eponymous debut album. THE ACTION 4s thrives at the intersection of jazz, rock, funk, fusion, and electronica. Their music is a dynamic interplay of raw energy and masterful artistry, seamlessly blending the acoustic and the electronic. The chromatic harmonica's soulful tone meets the rich textures of piano and synthesizer, while the foundation laid by the electric bass and dynamic drumming creates a playful arena for ever-evolving spontaneity. Their compositions pulse with rhythm, melody and interplay, pushing the boundaries of genre and tradition to forge an exciting new direction for Danish jazz. The quartet brings together four internationally acclaimed musicians, each a master of their craft: Mathias Heise: Chromatic Harmonica, Synthesizer Anton Eger: Drums, Percussion Rasmus Sørensen: Grand Piano, Synthesizer Conar Chaplin: Electric Bass

Following ‘No Closer To Heaven’, The Wonder Years released ‘Sister Cities’, their most transformative work to date.
Recorded at Sunset Sound with Joe Chiccarelli (Manchester Orchestra, The Shins, Spoon) and Carlos de la Garza (Jimmy Eat World, Paramore), ‘Sister Cities’ is an album about distance, connectivity and the way humanity towers above boundaries.

What The Wonder Years do so effortlessly on ‘Sister Cities’ is no small feat; through poetic lyricism, ambient guitar swells and Jimmy Eat World-levels of crashing momentum. On ‘Sister Cities’, they take a massive, unexpected leap forward both sonically and thematically, now speaking confidently to the world at large.

Vocalist Dan Campbell on the inspiration behind ‘Sister Cities’: “It started with journals and photos. We started by documenting. We didn’t know where it would go or if it would go anywhere at all, but we wrote it all down. We took photos of everything. And
then when it came to put it altogether, we had this catalog of how we felt and what it looked like and sounded like and we built from there. Figuring out what the moments were that stayed with me the most. When did I feel most connected to the people around me and why? What did being in this place during this moment teach me? It was a difficult year personally and globally and we experienced that through this lens of being everywhere but home, kind of floating through places and seeing how being there altered our perspective.”
The album is housed in a 200-page, 13”x13”, full-colour book that includes photos, artwork, journal entries and lyrics. LP pressed onto Shinjuku Street Splatter coloured vinyl.
An overpowering sense of earnestness and vulnerability.” - Pitchfork
There is a lifetime yelled in every punk song, captured in the desperate and catchy ‘Sister Cities’.” - NPR MusicFrom the first notes, it’s already clear that The Wonder Years are stepping into uncharted territory.” - UPROXX

Polish producer Newborn Jr. joins forces with the incredible vocalist Annjet for their highly anticipated debut full-length vinyl LP under the collective name Krush Klubb, set to be released through the renowned Bristol-based independent label, Shall Not Fade.

The Zone Out LP seamlessly blends the best of modern dance music, effortlessly merging the smooth, hypnotic rhythms of deep house with the frenetic energy of breaksy jungle cuts, all while showcasing the rich, captivating vocals of the talented Annjet. This dynamic collaboration not only highlights Newborn Jr.'s unparalleled production abilities but also elevates the musical landscape with Annjet's signature vocal style, which adds an emotive, immersive layer to each track.

With its intricate soundscapes and genre-defying approach, Zone Out stands as a testament to Krush Klubb's versatility and vision, offering a unique listening experience that crosses boundaries and defies expectations. The LP promises to be a perfect soundtrack for those who love to lose themselves in the rhythm of dance music, whether you're winding down or getting lost in the groove.

The Zone Out LP drops on Friday, 23rd May via Shall Not Fade, ready to leave an indelible mark on the dance music scene and introduce Krush Klubb as one of the most exciting new acts in the genre.

The visionary Walter Maioli (Futuro Antico, Aktuala) and the eccentric electronic musician John Zandijik first met in 1984 when they both gravitated toward the experimental Sound Reporters collective, participating in the release of Ethnoelectronics (1986). Shortly afterward, the two met at Zandijik's studio in Rotterdam, where they completed their journey of exploration to the edge of the Universe in just three nights. The recordings were made only after 3 a.m., when psychic energy is at its peak, and inspiration belongs solely to the realm of dreams. It was a ritual of long galactic fluctuation, where the mystical sound of the flute was filtered and expanded by the Aureal system, a device capable of breaking it down into cascades of aureal harmonies. Through its extemporaneous approach, the music transforms perceptions of ancient pyramids or tropical forests into phosphorescent nebulae, luminous fountain openings, and unprecedented planetary interstices—interstellar portals leading to new archetypal-ancestral visions. It feels like sailing through colored orbits in the red gases of Jupiter and Mars, lost and dissolved forever in the engines and gears of the most secret cosmos. Between Pink Floyd-esque psychedelic flashes and Tangerine Dream-inspired sidereal architectures, Maioli and Zandijik reveal the most phantasmagoric and unknown side of Sound Reporters.

Drone legends Earth, the Seattle group led by Dylan Carlson, ready their first release on Fire Records. Deluxe Ltd edition 'Dark Star' effect vinyl with matte and spot UV sleeve, DL card. Unreleased live recording taken from their show at London's KOKO in 2016. Includes live renditions of fan favourites 'The Bees Made Honey In The Lion's Skull' and 'High Command'. For fans of: Sunn O))), Sleep, Boris, OM, Spacemen 3, Witch, Hawkwind, Boris, Melvins. Seattle drone-rock titans Earth release their latest live document, WEM Dominator (Live in London NW1, 2016), an unrelenting display of the band's seismic force, recorded during their performance at London's KOKO in 2016. Sharing the bill with legendary heavyweights Neurosis, Earth delivered a set of hypnotic intensity, crushing volume, and towering, glacial beauty. For over three decades, Dylan Carlson and his ever-evolving ensemble have been crafting tectonic soundscapes that defy convention, forging a path between meditative drone and colossal doom-laden riffs. WEM Dominator is an album of mesmeric modal patterns, it's a recording that captures the trio's intricate, slowly evolving euphoria in a period when their experimentation swerved through endless possibilities. From the creeping grandeur of "The Bees Made Honey In The Lion's Skull" to the ominous crawl of "Even Hell Has Its Heroes," the album presents Earth at their most immersive and powerful. This record reasserts Earth's mastery of atmosphere and weight, where every note feels tectonic, and silence itself becomes an instrument of crushing tension. It is a hypnotic, stripped down sonic symphony embracing influences as wide ranging as the Velvet Underground, Terry Riley and La Monte Young, a visceral slow-motion reading of the original sound that inspired Sun O))) and the generation that followed. The lineup of this performance was Dylan Carson (guitar), Jodie Cox (baritone guitar) and Adrienne Davis (drums), it was recorded live at KOKO, London on November 7th 2016 and is mixed and mastered by Mell Dettmer at Studio Soli in Seattle.

In 2005, Headphones arrived as a seismic shift in David Bazan's already formidable canon- a collection of synth-driven confessions that push the boundaries of narrative songwriting. Stripped down to its barest essentials, the album finds Bazan and collaborators Tim Walsh and Frank Lenz constructing an audaciously raw soundscape: no guitars, just synthesizers, live drums, and Bazan's unmistakable vocals. Twenty years later, it remains a masterwork of emotional excavation and geopolitical reckoning, as relevant today as the day it was released. This 20th Anniversary edition, remastered by Christopher Colbert at National Freedom (The Walkmen, Richard Swift, Pedro the Lion), is housed in a gatefold jacket with expanded artwork by Grammy-nominated designer Jesse LeDoux, plus liner notes by writer and Belmont University Associate Professor David Dark. The self-titled album threads a delicate needle, simultaneously personal and prophetic. Songs like "Major Cities" tackle the macrocosm of American imperialism with clarity and anger, while tracks like "I Never Wanted You" unearth the raw wounds of interpersonal defeat. These are stories of inner and outer collapse, of bullies (both personal and political) wreaking havoc, yet rendered with humanity. Even in its darkest moments, though, Headphones pulses with the hope that honesty might light a way forward if only we'll bear witness to the truth. On its twentieth anniversary, Headphones feels more vital than ever. For those who've lived with it since 2005, this reissue is a chance to revisit an old wound, to press on it and see what's healed and what still aches. For new listeners, it's a chance to sit with something audacious and true an album that invites us to reckon with the ways we fail each other-and the ways we might still be good. Twenty years on, Headphones remains a rare album that doesn't just speak to you, but asks you to listen harder. + PROJECT FROM DAVID BAZAN OF PEDRO THE LION + DELUXE 20TH-ANNIVESARY REMASTERED REISSUE WITH BONUS TRACKS + DELUXE FIRST PRESSING ON LIMITED EDITION OPAQUE YELLOW VINYL LIMITED TO 750 COPIES + EXPANDED GATEFOLD ARTWORK BY GRAMMY-NOMINATED ARTIST JESSE LEDOUX + LINER NOTES BY DAVID DARK + REMASTERED BY CHRISTOPHER COLBERT (THE WALKMEN, RICHARD SWIFT, PEDRO THE LION) + LP INCLUDES BONUS 7" ON BLACK VINYL WITH TWO BONUS TRACKS

t's been a half century since Pavlov's Dog burst onto the burgeoning progressive rock scene of the early 1970s. Hailing from the city of St. Louis, Missouri, their heady blend of rock, classical and folk music turned them into cult legends. The band has seen lots of lineup changes and internal turmoil over the years, leading to extended breaks between album releases. But today, David Surkamp - lead singer, main songwriter and last remaining original member of Pavlov's Dog - continues to fly the banner high, accompanied by an accomplished group of musicians that is a credit to the band's good name. For decades, Pavlov's Dog's "lost album" - "Has Anyone Here Seen Siegfried?" - recorded in St. Louis in 1977 - was available only in inferior quality. With the rediscovery of the master tapes several years ago, it became possible to hear the album as originally intended. Tensions within the band had reached the boiling point as they entered the studio and would lead to a breakup soon thereafter. Nevertheless, tracks like the piano ballad "Only You" and the somber "Suicide" are brilliant additions to the band's canon.

Trip-hop royalty Morcheeba make a blistering return with a stunning 11th studio album Escape The Chaos.

“This whole record is a process of trying to reconnect with what really matters. whether it’s what in your heart or with the world, putting your feet on grass and feeling the earth beneath you” says Ross Godfrey.

“For me, ‘We Live and Die’ is about my duration in the band and the music world and life in general,” Skye says of the lead single. “The lines become blurred after all this time. In a way, it’s a homage to the thirty years of being in Morcheeba which is 60% of my existence.”

Formed in London in 1995 the legendary band have extensively toured the globe, sold over 10 million albums worldwide and left their mark as one of the most influential acts of recent times. Releasing their acclaimed debut album Who Can You Trust? in 1996, the band have gone on to release a string of successful studio albums, including 1998’s platinum selling Big Calm, produced an album for Talking Heads’ David Byrne and produced soundtracks for Oscar-winning director Steven Soderbergh.

In their 30th year Morcheeba are as relevant as ever and are set to mark the celebration in style.

Something different from Causa Sui. While Causa Sui have always had one foot in heavy psychedelic rock, they've had the other one deep in a wide variety of esoteric styles. On this new double LP set, that other dimension of the band is being explored full-scale. "Szabodelico" paints with a colourful palette, both compositionally and sonically - digging deep into an assortment of cultures, eras and sounds with a true crate-digger mindset. Throughout their 15 year life-span Causa Sui has always been about seeking out new directions, exploring the past and the present in a way that's unique at each step of their subtle progression - forging new paths into an existing map. "Szabodelico" feels like discovering a small room under the stairs of your own house: familiar, yet new and exciting. Their latest vision is an elegantly zoned-out version of itself: a turn inward. Anti-bombastic, yet rich with ecstatic harmonics and dynamics. The band stringed together a long series of sessions in 2019 and early 2020 in their studio in Odense, often prioritizing playful first takes and good vibes rather than clinical perfection.Sparsely dubbed and mixed with a natural, full bodied flavour by Jonas Munk during the summer of 2020, each track has its own aesthetic. There's no simple equation to sum up the 13 individual parts of the album, but as a whole it creates an entity that's as complete as each of its parts. From the windblown opener "Echoes of Light", to the closing slow-motion epic "Merging Waters" you'll find yourself asking where did the time go? The answer of course is: Szabodelico.

Proudly presenting Maravilhosamente Bem the powerful, female-centred third album by Brazilian singer, songwriter, actress, and creative director, Julia Mestre.
Alongside being a member of the Latin Grammy-winning Brazilian supergroup, Bala Desejo, Julia has been steadily building a solo career where her unique vision and alluring soft, sultry voice take centre stage. Drawing inspiration from ‘80s ballads, MPB, pop and disco productions, each song on this third album finds Julia creatively exploring different characters and tones.

A love-song-driven LP at its core, Maravilhosamente Bem holds a playful mirror up to blissful days gone by, artfully reimagined with Julia’s own modern twist. An album filled with love and nostalgia, it pays homage to her love of classic female disco divas such as Donna Summer, Sade, Alcione, Lady Zu, and the Brazilian rock queens Rita Lee and Marina Lima. Of that latter pairing, the late iconic Brazilian vocalist and musician Rita Lee (Os Mutantes) is referenced in the music video for the first single, ‘Sou Fera’, blessing Julia with a magical guitar. Marina Lima then provides guest vocals on the album’s closing track, ‘Marinou, Limou’, with her name transformed into a mantra by Julia.

Channelling a lo-fi ‘80s ballad aesthetic, Julia navigates a multitude of themes across the nine sublime tracks. From the sexy, whispered performances on vintage horror movie-inspired tunes ‘Vampira’ and ‘Pra Lua’ to the delicate, fragile love lullabies of ‘Sentimento Blues’ and ‘Cariñito’, and the seductive disco diva embodiment on dance tracks ‘Veneno de Serente’ and title track ‘Maravilhosamente Bem’. Another hidden highlight is the palette-cleansing mini-suite, ‘Interlúdio dos Amantes’. A luscious strings instrumental piece that lends to the beautiful Sade-esque ‘Seu Romance’.

Produced by Julia and longtime collaborators Gabriel Quirino, Gabriel Quinto, and João Moreira, Maravilhosamente Bem sees Julia embarking on a new era of her musical career. This sensational third album is a captivating showcase of the creative vision and versatility of one of Brazil’s finest stars.

Released on Mr. Bongo (ROW) and Altafonte (Brazil).

Colored vinyl repress of last Pinback album, originally released in 2012. On one hand, their fifth album, Information Retrieved, is the logical and accessible realization of a sound Pinback have been developing and refining for over a decade. However, that consistency that we've taken for granted is what makes Information Retrieved such a euphoric surprise; their finest and most fully realized album, a dozen years deep into a career that includes bona fide modern classics like "Good To Sea" and Summer In Abaddon. Simply put, this is better than we ever could have expected. They could have coasted on automatic pilot to another lauded album that likely would have made it onto plenty of year-end lists, but instead they shot the moon, and the result is a major triumph. The touchstones are still there: Zach Smith's stunningly unique bass guitar acrobatics driving both rhythm and melody in lock-step unison; the incredible immediacy of Rob Crow's voice that could make a phone book sound compelling; and the musical and lyrical interplay between the two of them that made Pinback so special in the first place. The difference now is their exquisite control over dynamics and a greater emotional resonance throughout. It's the most complete and soulful Pinback album by a fair distance, the finest moment in the career of a band whose unfettered brilliance we've come to count on, but will never again take for granted. For Fan of The xx, Deerhunter, Built To Spill, Broken Social Scene

As on their first EP "Mokili Na Poche" on Seismographic Records, ATELIER KAMIKAZI'S collaborative lyrics are dedicated to their spectrum of life as street kids. They struggle with the exhausting and dangerous beauty of life in Kinshasa by encouraging themselves and promising never to give up. Neither in the face of lying politics, nor in the face of a religion whose representative they call "Priest Cat's Heart", nor in the face of that great power to which they dedicate several songs, the drug called "Bomb", made from car catalyst deposits mixed with a wild cocktail of ingredients. They warn against using this drug to see "the nakedness of the turtle", because the only thing that could really be seen would be the ridiculousness of those consuming the drug. They counter that they are on a mission to conquer the future with their weapons: the weapons of speech, their knowledge and Loketo, the hip swing of dance.

Amuleto Apotropaico has a way to fend off demons by channeling a secular spiritualism rooted in a rigorous but playful connexion to the infinite possibilities of noise. The propulsion of their continuous music ebbs into and flows out of this primordial flux through their unique brand of brutalist liturgy.

Amuleto Apotropaico is a Portuguese duo consisting of António Feiteira (drums & electronics) and Francisco Pedro Oliveira (guitar, flute & electronics) formed in 2021. Having grown up together, saturated in the lore of their hometown of Santa Maria da Feira, the duo now resides in Porto and continues to moor their rhythmic rituals in the traditions of Northern Iberia.

None of this is a nostalgic look back to a time-that-never-was. Amuleto Apotropaico's cycles are ouroboric: every step forward invokes a simultaneous step backward such that their observance of sonic ceremony (seeming to invoke a now-forgotten tradition) becomes a constructivist gesture that shapes its own legacy. If time-travel exists, this duo has found out how.

For their self-titled first release (also the first release of the Perf label), António Feiteira has culled, recomposed and processed recordings from the band's last two years of concerts in order to create a exciting 4-tracker. Apotropia I & II, which open sides A and B on the vinyl release, are both textural meditations on subtle density. Feiteira's sensitive percussion flourishes are married to Oliveira's modular-enhanced flute and guitar patterns. Albedo e Rito showcases the duo's sense of melodic contour while crescendoing to a peak of lightness. Bruxa do Calhau Branco, lifts the whole journey into an astral dimension where multi-layered drums, synths and digital clicks breathe out, announcing that their moment of worship has settled back into the ubiquitous hubbub of room hum.

Sie maschen's noch einmal. THE SOUND OF MONEY mit "Two: Rhyme On". Die Band aus dem Münchner Pop-Underground - genauer: mit Albert Pöschl, direkt aus dem Kern des faszinierenden Echokammer Labels, Claudia Kaiser, ex-Moulinettes, mit der aparten Stimme, die an eine Münchener Nico ohne den Drogen BS erinnert und Martin Lickleder, der für Wortakrobatik, Referenzspielereien und flotte Discostreicher berüchtigt ist - mit der Weiterführung ihres spielerischen, nicht minder faszinierenden Konzeptes: An Anagrammatical Exorcism of the 70s. Sie nahmen die Titel ihrer 12 Lieblingsalben aus den 70ern als DNA - und schüttelten die Buchstaben kräftig durch! Heraus kamen 12 neue Titel, für neue Songs. Im Jahr 2017, auf ihrem Album MORE? WHY NOT! haben sie das Gleiche mit den 60ern gemacht. Jetzt toppen sie den Spaß sogar noch. Kurz zurückgespult, 2017: Pu?nktlich zum 50-ja?hrigen Jubila?um des Summer of Love 1967 pra?sentieren The Sound of Money 2017 ihre Konzeptplatte "More? WHY NOT! - AN ANAGRAMMATIC EXORCISM OF THE 60S". Dazu stellen sie die Titel von 12 ihrer Lieblingsplatten aus diesem Pop-Ur-Jahrzehnt zu Anagrammen um - und schwuppdiwupp hatten sie 12 Titel fu?r ganz neue Songs: Aus "Pet Sounds" wurde "Nude Spots", aus "Piper At the Gates of Dawn" wurde "Tiger T - Death Happens to a Few", aus Bobbie Gentry's "The Delta Sweete" wurde "Let's Eat The Weed",... 2025: Geradezu u?berpu?nktlich vor dem 50-ja?hrigen Punk-Jubila?um sind sie wieder zur Stelle: Am 23.5. wird, wieder über das Hamburger BB*ISLAND Label "TWO: RHYME ON - AN ANAGRAMMATIC EXORCISM OF THE 70s" erscheinen - mit Anagrammen von David Bowie bis Chic, von Nico bis Slits, von Bob Marley bis Kraftwerk. Beispiel? Aus "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" wird "Dr. Dr. Themefart, Frustrating Himself, Posed as Gay Old Nazi SS".Exodus von Bob Marley wird zu Sex Duo. (Die beiden songs sind schon mal als Singles / videos veröffentlicht ) Und wie die Titel-Buchstaben haben sich auch Musik und Text zu einem schillernden, grotesken Kaleidoskop klassischer 70s-Popstile zurechtgeschu?ttelt: Landwirtschafts-P-Funk, Finanzcasino-Gospel- Disco, Anti-Pogo-Postpunk, zweifelnder Heimcomputer-Dub-Jazz, der gesamte Bowie in dreinhalb Minuten ru?ckwa?rts ... Nicht nur Live eine Wilde-Maus-Fahrt des Pop-Glam in Mu?nchner Underground-Allstar-Besetzung: CLAUDIA KAISER: Gitarre, Bass, Gesang ALBERT PO?SCHL: Bass, Gitarre, Gesang MARTIN LICKLEDER: Geige, Mundharmonika, Gesang TOM WU: Schlagzeug FRANZISKA ERDLE: Percussion SVENJA PFEIFER: Keyboards, Gesang

Pleaser’s musicality, ethics and community are undeniably punk, but their expression is vast and more personal than it is bound by the confines of any one genre. The band projects the heart-on-sleeve earnestness of early emo, the in-your-face vivaciousness of punk rock and a metal-tinged darkness, as well as infusing both classic rock and modern experimental elements into their own unique aural aesthetic. Songs are both catchy and impenetrable at the same time, with the band appreciating a pop hook just as much as a labyrinthine song structure. Pleaser chews it all up and infuses it with their own noisy but charming melodic rattle.
Double lead vocalists and guitarists Annie Nyvold and Suo Fei, drummer Oliver Nehammer and bassist Olle Bergholzall enjoy omnivorous taste in music, and a pure love for creative expression.
Pleaser’s 2023 debut was acclaimed internationally by media such as Cvltnation, Bandcamp and Maximum RocknRoll. Aligned with the release of their debut album, Pleaser played a wide range of concerts in Denmark, from underground punk shows to well established festivals such as Roskilde Festival, K-Town Hardcore Fest and Metal Magic. This sparked a new wave of attention and airplay on BBC Radio 6 Music, and led them to stages in Scandinavia and Germany.
With their new album more cohesive than ever before, Pleaser persists in experimenting with their catchy, yet aggressive and dynamic sound, heightening listeners’ emotions in the process. The forthcoming full-length presents a series of adventurous new punk songs, fusing their creativity with a new force of excitement and curiosity. This new universe revolves around the journey of self-exploration, liberation from inner darkness, and transcending that darkness to form new pathways.

Sophia Kennedy, the Baltimore-born, Hamburg-based artist, returns with her new album in May. Known for her genre-blending innovation and distinct vocal style, she has collaborated with DJ Koze and earned praise from The Guardian, Iggy Pop, and Resident Advisor.

Following her self-titled debut (2017, Pampa Records), a radiant dance between the glamour of the Great American Songbook, electronic textures, and clubland influences, earning her international acclaim, Kennedy released her second album, Monsters (2021, City Slang), and delved deeper into surrealism and transcendence. Now, on Squeeze Me, Kennedy and her long-time musical collaborator and co-writer Mense Reents sketch a more disillusioned commentary on the status quo of the world at large. The complexity of interpersonal relationships, questions of power dynamics, and the quest for self-determination—longstanding themes for Kennedy—run as a cohesive narrative throughout the album.
More minimalist than her previous works, Squeeze Me brims with Kennedy’s gift for catchy melodies with a certain pop appeal and psychedelic hues. The first single, "Rodeo," features hypnotic piano chords, shimmering synth basses, and glimmering choirs. 2025 will see Kennedy back on tour in Europe, supported by an international PR campaign to expand her global presence.

Destiny of Illusion is a 24-track full length debut from Pretty V (aka. Voldy Moyo, v7backin2007, #Smokesito), a prolific artist from Wakefield, UK who has been frequently performing and releasing music & videos online for the past 9 years, building notoriety for his unique sound and prolific output and gaining support from artists such as MIKE & King Krule, both of which have brought Voldy out for many shows, and for collaborations.

The album will release on the 24th April 2025, along with a release show the same day at Ormside Projects.

The album is produced entirely by aloisius, a prolific artist & producer, as well as the founder of life is beautiful records). ‘Destiny of Illusion’ is a landmark album for both Pretty V & aloisius, being their first full-run vinyl release. The album will be available exclusively on Vinyl, Cassette & CD.

This album also holds additional historical significance being that it is the first official/ full-run vinyl release for life is beatiful records.

The first pressing of ‘Destiny of Illusion’ will be limited to 397 copies.

WHEN RIVERS MEET – BREAKING BOUNDARIES IN ROCK, BLUES & AMERICANA - When Rivers Meet aren’t just making waves—they’re blazing their own trail. The husband-and-wife duo, Grace & Aaron Bond, have carved out a unique sound that defies genres, fusing the raw power of blues-rock, the storytelling soul of Americana, and the heartfelt intimacy of folk. Their music is gritty, soulful, and electrifying, with Grace’s powerhouse vocals and Aaron’s dynamic musicianship creating something truly unforgettable. A huge part of their unmistakable sound comes from their dual vocal chemistry. Grace’s voice is raw, powerful, and deeply emotive, delivering every lyric with intensity, while Aaron’s vocals bring a rich, warm depth, perfectly balancing power with soul. Whether harmonising in haunting unison or trading lead vocals, their voices create a magnetic dynamic that sets them apart. Aaron’s expressive guitar work, especially his masterful slide guitar playing, adds another layer of grit and emotion, helping to shape the band’s signature sound—blending bluesy swagger with anthemic rock energy. Their breakthrough album, ‘Aces Are High’ (2023)—recorded deep in the heart of Suffolk—marked a seismic moment in independent music, launching them into the UK Official Album Charts Top 10, a first for an independent Rock/Blues band. Now, they’re ready to raise the stakes once again. Expect a bigger, bolder, and more dynamic sound, combining powerful harmonies, raw energy, and hard-hitting rock with foot-stomping Americana grooves. This album is When Rivers Meet at their most passionate, unfiltered, and intense. To celebrate, they’re bringing their explosive live show back to the stage: May 23 – Glasgow, Oran Mor, May 24 – Nottingham, Rescue Rooms, May 26 – Southampton, The Brook, May 29 – Norwich, The Waterfront - A SOUND LIKE NO OTHER – MUSIC THAT TRANSCENDS GENRES

Man was meant to replace God as the universal measure. The events of the 20th and 21st centuries, however, have brutalized the creature once known as Man beyond recognition. There is no going back. We are left with an erased image, a misnomer-a sacred animal wasting away in a profane world. Man is both insufficient and irreplaceable. Man Under Erasure is a musical exploration of this new, uncertain universe, where the last remnants of humanist hopes and dreams have been reduced to embers-barely legible carvings etched into eroding earth. Our trust in ourselves has been misplaced. Everything we ever knew will be erased. Feversea is a post-metal band from Oslo, Norway drawing on influences from black metal, sludge metal and shoegaze. Their music lies in the intersection of fast black'n'roll ferocity, heavy and fierce metal riffage and ritualistic and ethereal soundscapes. Musically, their debut album Man Under Erasure draws from various forms of metal while incorporating influences from neofolk and post-punk. The album is melancholic, despairing, and cathartic. Haunting and melodic while maintaining a strong sense of structure with recognizable riffs-an element often lacking in atmosphere-driven music. Fluctuating between song and scream, the voice is both from beyond and from below. Lyrically, it is deeply personal but delivered through impersonal images, parables, and riddles-like a spiritualist or Orphic medium carrying messages from beyond. A muffled scream buried under several inches of ice. The album begins in sardonic despair and ends with uneasy, desperate acceptance.

Ihr neuestes Werk "The Regeneration Itinerary" ist eine transzendente Entdeckungsreise in die Dualität von Licht und Dunkelheit. Aufgenommen in den Hallen von SoundSpiral Audio und perfekt abgemischt im Necromorbus Studio, webt dieses Album eine Geschichte, die so alt ist wie die Zeit und doch erfrischend modern. Mit Tracks wie dem ätherischen, technolastigen "Inertiae" und dem eindringlichen "Förnyelse i Tre Akter" entfaltet sich Mathias Lillmåns' lyrisches Können über Timo Kontios und Antti Simonens meisterhaften Kompositionen, wobei jede Note vor existenziellen Überlegungen und messerscharfen Riffs trieft. Stell dir vor, du wirst von einem sibirischen Sturm umarmt, während du über den Kosmos nachdenkst - das ist die elektrisierende Wirkung, die diese Songs haben. Das herausragende "Prophetical Mercury Implement" bietet einen inbrünstigen Einblick in die Musikalität der Band und verspricht eine ebenso tiefgründige wie raue akustische Reise. Vom melodischen "I am Coin, I am Two" bis zum unerbittlich treibenden "The Fire in Which We Burn" navigiert diese Reise durch das empfindliche Gleichgewicht, in dem Schatten die Morgendämmerung küssen!

Ihr neuestes Werk "The Regeneration Itinerary" ist eine transzendente Entdeckungsreise in die Dualität von Licht und Dunkelheit. Aufgenommen in den Hallen von SoundSpiral Audio und perfekt abgemischt im Necromorbus Studio, webt dieses Album eine Geschichte, die so alt ist wie die Zeit und doch erfrischend modern. Mit Tracks wie dem ätherischen, technolastigen "Inertiae" und dem eindringlichen "Förnyelse i Tre Akter" entfaltet sich Mathias Lillmåns' lyrisches Können über Timo Kontios und Antti Simonens meisterhaften Kompositionen, wobei jede Note vor existenziellen Überlegungen und messerscharfen Riffs trieft. Stell dir vor, du wirst von einem sibirischen Sturm umarmt, während du über den Kosmos nachdenkst - das ist die elektrisierende Wirkung, die diese Songs haben. Das herausragende "Prophetical Mercury Implement" bietet einen inbrünstigen Einblick in die Musikalität der Band und verspricht eine ebenso tiefgründige wie raue akustische Reise. Vom melodischen "I am Coin, I am Two" bis zum unerbittlich treibenden "The Fire in Which We Burn" navigiert diese Reise durch das empfindliche Gleichgewicht, in dem Schatten die Morgendämmerung küssen!

Ambient explorers SWIMS unpeel another heady debut, with the maiden effort by Korean artist Soo Kyung Kim, also known as soo:k. The curtain raises on Orchadia with an elysian glow: electro-acoustic compositions painting a golden topography of impossible fruit and uncanny astronomy.

soo:k's utopic brushwork finds obvious comparisons in the work of Hiroshi Yoshimura, and his meditations on the glacial pace of hidden, verdant spaces. Frida Kahlo's portraits of everyday life, intertwined with pain and magic symbology, also resonate in the album's exploration of fleeting moments.

Dissonance and experimentation take hold as the record progresses, Soo's Edenic vision creaking open to reveal ripe, fetid spaces between ribs of earth. Recommended if you like Ulla, Kara-Lis Coverdale, Visible Cloaks, Perila...

Lately, if you blink you may miss Goose fly by. Attributing much of their success to a dedicated and exponentially expanding fan base, steady creative output, and a collective commitment to improvement, the band is now universally recognized as a premier musical act nationwide. Dripfield, Goose's forthcoming studio offering, is a tale of introspection, carefully dissecting the details of the journey. Produced and engineered by D. James Goodwin at The ISOKON in Woodstock, NY, Dripfield is the band's first full-length project completed exclusively with an executive producer. Known for his unconventional recording style and eclectic equipment collection, Goodwin guided Goose through an entirely new process of album creation. Undoubtedly the product of multiple sold out concerts and consistent recording and songwriting, Dripfield is anchored by the theme of balance. Fittingly, the project features a mix of unheard originals and re-imagined catalog staples.

Stripping away all expectations, constraints, pressures, and limitations, there’s a certain purity and allure to art crafted simply for the sake of genuine expression. The desire to unleash one’s unencumbered ingenuity and unique vision into the world is an attitude embraced by those often celebrated for pushing boundaries, and it’s under this same premise that German newcomers SENNA were formed.
Drawing their name from the Arabic word for brightness, shine, or glow, bandmates Simon Masdjedi (vocals), Tobias Stulz (guitar/ vocals), Marcel Dürr (guitar), Fabian Cattarius (bass), and Leon Dorn(drums), never intended for SENNA–a musical outlet originally established as a studio side project–to come into its own as a fully-fledged unit. Yet, tackling a luminous blend of playful but technical instrumentation and edgy hard rock meets progressive post-hardcore styling, it’s only fitting that both the innovative outfit and their introductory work have entered the limelight for all to enjoy.
“It was really liberating,” guitarist Marcel Dürr recalls the group’s mindset leading up to their SharpTone debut. “Because we weren’t pursuing SENNA as a proper band at first, we had a lot of time to experiment with our sound. Our goal was to simply write the music that we enjoyed, without being boxed into any one genre.

Stripping away all expectations, constraints, pressures, and limitations, there’s a certain purity and allure to art crafted simply for the sake of genuine expression. The desire to unleash one’s unencumbered ingenuity and unique vision into the world is an attitude embraced by those often celebrated for pushing boundaries, and it’s under this same premise that German newcomers SENNA were formed.
Drawing their name from the Arabic word for brightness, shine, or glow, bandmates Simon Masdjedi (vocals), Tobias Stulz (guitar/ vocals), Marcel Dürr (guitar), Fabian Cattarius (bass), and Leon Dorn(drums), never intended for SENNA–a musical outlet originally established as a studio side project–to come into its own as a fully-fledged unit. Yet, tackling a luminous blend of playful but technical instrumentation and edgy hard rock meets progressive post-hardcore styling, it’s only fitting that both the innovative outfit and their introductory work have entered the limelight for all to enjoy.
“It was really liberating,” guitarist Marcel Dürr recalls the group’s mindset leading up to their SharpTone debut. “Because we weren’t pursuing SENNA as a proper band at first, we had a lot of time to experiment with our sound. Our goal was to simply write the music that we enjoyed, without being boxed into any one genre.

Brooklyn-based musician and producer Eliot Lipp has spent the last two decades crafting a signature sound that fuses hip-hop, synthwave, glitch, and electro. His breakthrough came in 2004 when Prefuse 73 released his debut album on Eastern Developments, a then-subsidiary of Warp Records. Since then, he has built an extensive discography across influential independent labels like Hefty Records, Mush Records, Pretty Lights Music, Young Heavy Souls, and his own Old Tacoma Records. Lipp's music, described by Billboard as "funky and experimental, crunchy and distorted, romantic, thoughtful, and all around playful," blends vintage and modern influences, with Kaltblut Magazine noting his inspiration from "sci-fi soundtracks and '70s and BDs funk" to create "weird, high-definition, melodic beats." His work has been featured by Bandcamp, Magnetic, XLR8R, and major radio stations like BBC Radio 6, KEXP, and KCRW. A seasoned performer, Lipp has toured extensively for over 15 years, playing in cities like New York, Los Angeles, Seattle, and Denver, as well as major festivals such as Electric Forest, Forecastle, and SXSW. With a career rooted in both classic beat-making and forward-thinking electronic production, Eliot Lipp remains a vital force in the independent music scene.

On his first release with Bastard Jazz, veteran Brooklyn producer Eliot Lipp delivers Kona, a bright blend of guitar samples, breakbeats, and his signature Korg MS-20 synth lines, evoking the feeling of kicking back on a beach at sunset. The beat hits hard from the start, but as the track unfolds, it eases into a more laid-back, summery vibe. Lipp's signature fusion of retro synth textures and crisp modern rhythms shines through, capturing an effortless, sun-soaked energy perfect for a night drive or a rooftop party. The B-side, Silver Bass, takes a different approach—starting with live drums, electric bass, and a groovy guitar and piano arrangement before morphing into a futuristic, digitally sequenced version of itself. With dueling saxophone and Moog melodies weaving between organic and electronic elements, the track transforms into a breezy electro jam that feels both nostalgic and forward-thinking, solidifying Lipp's ability to craft timeless, genre-blending sounds.

Emptyset, James Ginzburg and Paul Purgas, explore both spatial and physical properties of sound; specifically the perceptible boundaries between it and noise. They have produced installations for Tate Britain and the Architecture Foundation in London. Emptyset"s new album Dissever continues their exploration of the histories of 20th century electronic sound and media. Dissever delves into the intertwined evolution of cosmic rock, minimalism and electronic music, viewed through their prospective dreams and overlapping technological ambitions. Premiered at Tate Modern as a live performance, Dissever was part of the exhibition Electric Dreams, a large-scale survey of the global history of art and technology. The resulting album is astoundingly sublime, rich with sonics that are as thrilling and immediate as they are singular and dense with complexity.

After his critically acclaimed EP LOOP (national press coverage, playlist support, a sold-out tour with Odezenne, opening for Zaho de Sagazan and Pomme, winner of the 2024 iNOUïS of Printemps de Bourges), Jean unveils an ambitious and cohesive debut album, conceived as a complete work of art. Created without guest features or compromise, this 12-track record delves deep into introspective songwriting, raw yet poetic, at the crossroads of rap, melancholic pop, and modern French chanson. Jean isn’t trying to please, he exposes himself with no filter.



The album stands out for its strong narrative and visual identity, where each track plays like a film sequence, a resurfacing memory. It explores universal themes: love, solitude, escape, addiction, aging, through a deeply personal and always lucid lens. The imagery reflects this universe: the album cover, shot in a movie theater, introduces an ambiguous character, somewhere between absurdity and allegory, perhaps a manifestation of the artist’s inner demon. A disturbing yet familiar presence, intentionally open to interpretation, like a key without a lock.



Musically, the album spans multiple aesthetics without losing its coherence: each track asserts a distinct tone and balance. Jean positions himself within a new, demanding francophone scene, free from cynicism or affectation. He delivers a unique, sincere project, both accessible and profound, that invites listeners to experience it in one sitting, from start to finish.

LES ROBOTS are back on planet Earth again with the release of another smashing 7"! Already hailed as 'The Fight of the Galaxy', it's ROBO DIDDLEY VS THE ROCKIN' ROBOT! Two hard hitting rock'n'roll instro-stompers which will definitely get those buttocks' shaking on dance floors all over this and other planets If Bo Diddley and Johnny & the Hurricanes were lifeless programmed pieces of metal, they would sound something like this! After their previously released singles and their double- LP, TOPSY- TURVY RECORDS is proud to serve LES ROBOTS' latest extraterrestrial sound creation: An extremely catchy new single by these crazy intergalactic music-maniacs!

Record is limited to 100 copies, numbered on sleeve

Spectrums Data Forces returns to New Flesh Records 15 years after his debut on the french label. Following the "Exodus"(NF02) and "Reencarnacion" (NFLTD05) releases, Granada based Jose Maria Moreno Vega proudly presents the "Trinity EP", a collection of groundbreaking mayhems characterized by powerful basslines, intricate drum programming, and dystopian atmospheres.
Pounding electro "form900" opens A side with a captivating track where arpeggiated melodies fuse into retro modern vibes in SDF typical signature. The invasion has begun!!
This well-crafted tune comes with a devastating remix from NF mastermind. Umwelt unveils of pure distinctive and instinctive analog beast, merging techno to electro-driven rhythms. Merciless!
B side kicks off with outstanding "Mind restore". Written under SDF techno side project C-System, this 4/4 monster of a track alternates between eerie atmosphere, IDM touches and futuristic sororities.
Last but not the least "7H3 F4M1LY" from 7053M4R14 (another Spectrum Data Forces moniker) reveals subtle and crystal clear stabs over groovy yet dancefloor broken rhythms.
Rarely has a release ever stuck so much to the world of New Flesh Records. Rush on it!

Hailing from Naarm/Melbourne, punk trio CLAMM—comprising Jack Summers, Miles Harding, and Stella Rennex—delve into the tumultuous experience of youth striving to lead an authentic and principled life in an increasingly chaotic world. Their music confronts the challenges of navigating entrenched systems of power and oppression while striving to preserve mental well-being and a strong sense of self. Through their raw and visceral sound, CLAMM aspires to foster community, ignite creativity, and provide a channel for catharsis.



Serious Acts continues the band’s signature raw intensity, with frontman Summer’s commanding vocals and incisive lyricism delving deep into the highs and lows of human existence.

Pawel Pruski is an electronic music producer and composer, known for blending organic elements, subtle synthetic layers, and field recordings to create immersive ambient and experimental soundscapes. In his sound creation process, he experiments with various modular systems and logical-mathematical concepts, such as the implementation of probability theory. His work spans concerts, gallery exhibitions, film soundtracks, and producer albums. He has presented his music in various parts of the world, including China, Germany, Italy, Luxembourg, and more. Additionally, Pruski creates unique sound installations based on the creative processing of various stimuli using sensors and detectors, forming interactive installations where the audience often becomes an integral part of the experience.

Native Call explores the roots of ancient Latin America, weaving five hypnotic tracks inspired by the myths and mysticism of the Maya civilisation. Each piece is a fragment of Maoh's universe; a world where past and present collide, evoking sacred rituals, celestial beliefs, and the hidden lore of a lost era.

Deep rhythms and haunting atmospheres guide the listener through a soundscape where ancient traditions meet contemporary electronic expression.

Three years after the release of her successful debut album 'Alma', Munichbased singer, pianist, and composer Alma Naidu unveils her long-awaited self-produced new album 'Redefine' She presents 13 original songs that showcase remarkable emotional depth, musical diversity, and intensity. The album features a wide range of arrangements, from classic band settings to string orchestras and intimate voice-and-piano solo pieces. It explores themes such as friendship, love, personal growth, and thought- provoking topics like equality and the redefinition of gender roles. The record is further enriched by collaborations with renowned artists, including Mark Lettieri (Snarky Puppy), Raphaela Gromes, Nils Landgren, Jason "JT" Thomas, Lisa Wulff, and Simon Oslender.

Kommt als LP + Flexi 7" auf limitiertem "Yellow and White Splatter on Crystal Fuchsia" Vinyl. Eine frische, kreative Neuinterpretation des Artworks des klassischen Albums anlässlich des 20-jährigen Jubiläums und einer 2025er Welttournee, die in den USA beginnt und sich über Südamerika, Europa, Asien und Australien ausbreitet. Die limitierte Deluxe-Gatefold-Vinyl-Edition verkörpert den DIY-Geist des Albums mit abziehbaren Gecko-Stickern für die eigene Kreativität, eine Bonus-Flexi 7" mit der Originalaufnahme von "Heavy Metal", und atemberaubende Splatter-Vinylscheiben in einem raffinierten Redesign, als Hommage an eine der einflussreichsten Indie-Rock-Platten aller Zeiten. Alec Ounsworth hat einige der erbaulichsten und feierlichsten Songs dieses Jahrtausends geschrieben und auf einem Album von beständiger Exzellenz versammelt, das bis heute zu Recht dafür gelobt wird, dass es die Regeln dafür, was es bedeutet, ein unabhängiger Künstler zu sein, neu auslotete. Eine berauschende Mischung aus unkonventionellem Pop und melodischem, überschwänglichem Indierock, enthielt das Album eine Reihe klassischer New-Wave-Referenzen für eine neue Generation von Musikfans. Der raue, verwahrloste Sound der Platte war ein wesentlicher Bestandteil ihres Reizes; die Zeit hat diesen Charme nur noch verstärkt.

First released by Extreme in the massive, infamous 'Merzbox,' "Red Magnesia Pink" is extracted and recontextualized as a standalone release for the first time. Recorded in 1995, "Red Magnesia Pink" sees Merzbow in peak form. A psychedelic whirlwind of synthetic transmissions; harsh, wet, screeching sounds that could only be produced by Masami Akita. Featuring two previously unreleased bonus tracks from the same era.

Elliott explores the emotions of fatherhood in real time, having composed this new collection of solo piano pieces from time of anticipation in early ’23 to birth and beyond. From deep and meditative moments, to playful and whimsical waltzes Night Light is the perfect accompaniment for the journey of raising a child.

Deraps's sophomore album ''Viva Rock N' Roll'' is a trip back to the greatest years of Classic Rock music. The album features a nostalgic but unique sound & vibe, with dominant guitar riffs & solos, angelic vocal harmonies, deep & emotional, as well as fun lyrics, catchy musical hooks and choruses, and a variety of songs & styles that will keep you excited from beginning to end. With it's raw feel & mix, Deraps bring back authenticity, liveness & groove to Rock N' Roll, topped with a fully hand drawn cover artwork that delivers a powerful message. A breath of fresh air in the Rock genre, and in today's music.

CINDY HORSTMAN & FRIENDS feat. JAMES KINGS - SOMETHING NEW

300 COPIES / CLEAR VINYL.



Cindy Horstman, a Texas jazz harpist released an album in 1995 entitled ‘Fretless’. Lurking within the track listings is the smooth soul jazz masterpiece SOMETHING NEW - a sublime production on this mid tempo opus, crowned by the soulful vocals of James Kings.

On the flip is an extended smooth version, crafted by our own Philip Ward - elongating the song with effortless ease.

Over and through the hot cement of North East L.A., an almost-dry riverbed winds like a snake through the city. Coyotes lap at its trickling stream by moonlight, as pedestrians rush past it by day without a second glance, their thoughts tangled up in the distractions of life in a sprawling metropolis. Here, amongst the many avenues and gentle hills, we find Coffin Prick (alias: Ryan Weinstein).

Loose Enchantment, this latest Coffin Prick record, is music conceived of in a different frame of mind for humans living in a world nearly-disenchanted with itself. The album consists of eleven new pieces of music recorded by Coffin Prick himself at his home in Los Angeles, a great city of quicksand-like commitments and those who love them enough to uphold the ends of their collective bargains. A record as much about the confusion of modern life as it is endeavored to expose the lusts in the very loins of creation. Sounds enchanting enough for you? Let’s look a little more closely…

On the heels of 2023’s Laughing (Sophomore Lounge), Coffin Prick got busy. And fast. Playing shows into the year with a newly minted live band, while simultaneously working day and night in his home studio laying the ground for what would become Loose Enchantment. Whereas he was essentially a recording know-nothing at the inception of his last LP, he’d learned a thing or two about better capturing his ideas by this point, taking the sidesteps and victories born of the experience Laughing provided and turning the bright lights on them. As many of Los Angeles’s drivers choose to do, it was time to take some surface roads. Odes to self-delusion, the mysteries of creation, cleanliness, and the secrets in other people’s lives.

A little Loose Enchantment for everyone, basically.

La Pambelé Unveils Nací Mestizo, A Bold New Album Reviving Salsa with a Contemporary Twist Bogotá’s heavy guaguancó orchestra, La Pambelé, proudly presents their highlyanticipated second studio album, Nací Mestizo, now available on all major digital platforms as of November 27th. This album pays tribute to the golden era of salsa, particularly the 1970s, while breathing new life into the genre with modern lyrics and stories that resonate deeply with Latin communities.

All while maintaining a distinct Bogotan essence that highlights the city’s unique cultural flavor. Nací Mestizo seamlessly blends the timeless salsa brava sound with contemporary themes, reflecting the everyday lives of people across Latin neighborhoods. The album’s songs capture the struggles, passions, and joys of ordinary people, presented through the vibrant rhythms of salsa, creating a musical experience that connects the past with the present. Building on Their Rising Popularity Prior to the album’s release, La Pambelé debuted the singles “Amargura” and “Perdí mi Corazón”, which quickly captivated audiences and set the stage for the full album's success. The band’s electric performance of these tracks at the MedPlus Coliseum in Bogotá, before an audience of 22,000 attendees awaiting Marc Anthony, was met with enthusiasm as fans danced and applauded.

This moment marked a significant milestone for the orchestra, cementing their place as a rising force in the global salsa scene. Additionally, La Pambelé’s growing visibility has been marked by their appearances at major festivals such as Salsa al Parque and features on prominent radio stations, including Radio Nacional de Colombia and Latina Stereo. These platforms have helped introduce La Pambelé’s signature sound to a wider audience, building anticipation for the release of Nací Mestizo and reaffirming their influence in Colombia’s tropical and alternative music scenes. A Contemporary Salsa Sound with Classic Roots La Pambelé’s unique blend of traditional salsa brava and contemporary Latin storytelling is showcased through their distinctive nine-piece orchestra, which includes piano, conga, flute, trumpet, trombone, timbales, bongos, and baby bass. The dynamic vocals of Miguel RoRebolledo and Lorena Contento elevate the album’s themes, creating a sound that invites listeners to their feet and onto the dance floor. Under the direction of Camilo Toro Morato, the orchestra has honed its signature style, pushing the boundaries of salsa while staying true to its roots. As a proud defiance of stereotypes about Bogotá’s musical abilities, La Pambelé’s name pays homage to legendary Colombian boxer Kid Pambelé, symbolizing resilience and strength.

The name also draws from the Bantú language, meaning "defender of one's own," reinforcing the band’s connection to their Colombian heritage and pride in their distinctive sound. Global Recognition and Continuing Influence Since the release of their self-titled debut album in 2022, La Pambelé has gained international recognition, especially within the vinyl collector community. Theirdebut album was released in both 45” and LP vinyl editions, further solidifying their unique position in the contemporary salsa movement. Influenced by salsa greats such as Markolino Dimond, Eddie Palmieri, Edy Martínez, and Ismael Miranda, La Pambelé has carried forward the torch of salsa brava with passion and innovation. Nací Mestizo marks a significant evolution in the orchestra’s journey, melding the old and the new, and cementing La Pambelé as a driving force in the future of salsa music. A Collector’s Dream With their 2022 debut album garnering international recognition, La Pambelé’s vinyl releases—including 45” and LP editions—have become coveted items for salsa collectors worldwide. Their music is a bridge between classic salsa traditions and a modern vision, appealing to seasoned fans and new listeners alike. About La Pambelé La Pambelé is a heavy guaguancó orchestra from Bogotá, Colombia, known for their vibrant, rhythm-driven sound that blends 1970s salsa brava with modern Latin influences. With a unique nine-piece lineup and powerful vocals, the band continues to break boundaries, defying expectations and inspiring audiences around the world

Carwyn Ellis & Rio 18 release their new album "Fontana Rosa". Possibly the world's only musical group to fuse Latin music of all kinds with the Welsh language, this time Rio 18 draw inspiration from slightly different musical corners, including Chicano Soul, Nuyorican pop, and Salsoul disco plus Latin sounds filtered through the cultural spectrum of the USA.

Most significantly though, the album was among the last ever to be recorded by the acclaimed producer Liam Watson at his legendary studio and shrine to all things analogue, Toerag Studios - a huge inspiration and influence on Rio 18's Carwyn Ellis. The "Fontana Rosa" sessions saw Ellis draw together an all-star band at the fabled studio which is perhaps best known through its place in the White Stripes history.

Talking about the story and gestation of the album, Carwyn said:

"I was in Mexico City with Baldo Verdú when I heard that Toerag Studios in London was going to close. It came as a shock - Toerag and Liam Watson, its owner and resident producer had been a massive influence on me. Liam, along with Edwyn Collins, had taught me much of what I know about recording, had hired me as an instrumentalist on countless sessions and had helped me to get started when I began my own solo career. And over the years, I'd still go in to record with Liam whenever the opportunity arose. When I heard that Liam was shutting up shop, I took it upon myself to try and ensure he went out with a musical bang. I rounded up the best band I could get: the aforementioned Venezuelan percussion wiz and singer, Baldo Verdú: American drummer, multi-instrumentalist and producer Shawn Lee: the Isle of Wight's finest drum and percussion master, producer and composer Rupert Brown (whom I'd originally met at Toerag many moons ago): Elan Rhys, one of Wales's finest voices and long term collaborator with Rio 18, as well as being one third of the wonderful folk group, Plu: and Kassin - my Brazilian brother from Rio de Janeiro, bassist and producer with artists such as Jorge Ben, Caetano Veloso, Gilberto Gil and a multitude of others, including Carwyn Ellis & Rio 18.

So this was my dream team, assembled to make beautiful music one more time at Toerag (I have to add at this point that Shawn and Rupert hit it off so well at our sessions that they booked their own session shortly afterwards! Look out for the brilliant Shawn Lee's Toerag Orchestra 'Percussion Discussion' album). Toerag, if you're not familiar with the place, made its name as London's foremost analogue studio for some 30 years, recording directly to tape which in essence means musicians playing live, together in a room until they get it right. And the sound? Oh the SOUND!! And this is all Liam Watson's doing, his sonic aesthetic - a real master engineer. The studio is perhaps best known as the place where the White Stripes recorded their monster hit album 'Elephant' but for me it's where I got to record with James Hunter, Lay Low (from Iceland), Quruli (from Japan), Fabienne Delsol (from France) and made many lasting friendships, learnt a great deal about popular music, as well as making a bunch of my own best recordings with Colorama.

Over the course of five days we laid down as much music as we could. We had some visitors too: guitar slinger Little Barrie (Primal Scream, The The and Liam Gallagher among other things, but also my dear bandmate in Edwyn Collins's band): sax and flute maestro Jim Hunt (Amy Winehouse, Primal Scream, Duffy and very many others): and Diego Laverde Rojas, the Colombian Latin harp virtuoso.

This time the music had a slightly different edge - although we still maintained our Brazilian/Welsh connection on 'Deffro'r Dydd' (written with and sung by Elan Rhys), our Cumbia vibe and some Merengue ('Mariposa' and 'Te Adoro', sung by Baldo Verdú) and even a traditional Afro-Venezuelan tune ('La Quichimba', again sung by Baldo) - the main influence for me this time was Latin music as recorded in the USA, both new and old. 'No More Secrets' is a straight up slice of Salsoul disco, while 'Hei Ti' is a punky funky but of Nu Yorican pop somewhere between ESG and the Beastie Boys. But one of my main influences in the last couple of years has been the current wave of Chicano Soul coming from California, particularly via the Penrose and Big Crown labels. I was turned on to this music when I was in Japan in early 2023 - Takashi-san at Pleased To Meet Me Records in Nara played me the Altons' 'Float' and I was hooked!

And that music has a similar aesthetic to Toerag: music recorded live to tape by excellent engineers, performed by fine musicians and singers. So our songs 'Impossible', 'Heartbreaker' and 'Lovesick' are very much in this vein. And that just leaves the title track, 'Fontana Rosa'."

"1980 was a huge year in pop music with every genre competing for hits. We have already included many tracks on the records of the 1980 Yearbook, the 80-84 Final Chapter, and their extras so far in our appreciation of the year…

Those tracks were generally the bigger hits of the year, with their chart achievement a factor in their inclusion – however – that’s not the whole singles story of the year, and our celebration of 1980 wouldn’t be complete without shining a light on some of the years’ singles that have been compiled much less frequently over the years.

Welcome to THE VAULT for 1980… Some of the tracks included were Top 40 hits, some missed the chart completely. Some were representative of massive selling albums, and some were big hits in the U.S. and not in the U.K… but all are part of the wonderful pop story of 1980. "

A multifaceted artist, who over his career has traversed between singer-songwriter, hit producer, DJ and curator, Ben Westbeech now arrives on Glitterbox Recordings with a fully realised artistic vision on his new album Everything Is Within You.

Encapsulating Ben’s appreciation of the power we all have within us to achieve joy and peace, as conveyed sonically by all the musicians involved, Everything Is Within You came together organically. His first full length solo LP since the acclaimed There’s More To Life Than This on Strictly Rhythm in 2011, Everything Is Within You showcases Ben’s artistic development as a songwriter, curator and producer as he steps into his role as producer and arranger, away from lead vocalist.

“This album is about speaking the truth. The truth from within. Luckily, I have been blessed to come across the paths of other artists that shared the same sentiment over the seas that dwell. These artists all feature heavily on this record. It isn’t about me or you. It’s about everything that is within.” – Ben Westbeech

Spotlighting featured artists such as Dames Brown (recorded by Moodymann in Detroit), RAHH, Karen Harding, DAVIE and Obi Franky, with co-production credits including Honey Dijon, Luke Solomon and Chris Penny, as well as Mousse T., the record was born out of a Glitterbox writing camp in London at Defected’s studios. The collection of records that were made that week became a catalyst for the full album, now arriving on Defected’s Glitterbox Recordings.

An artist with a rich musical history, from the release of his mature debut album Welcome to the Best Years of Your Life for Gilles Peterson’s Brownswood, to his chart-topping club records as Breach, and work as The Vision on Defected, the path to this new album has included periods of sobriety, self-work, spiritual exploration and the integration of a healthier outlook all round. Now based in Ibiza, the omnipresent energy of the magical island has permeated into the music on his new album, as well as the influence of his personal and spiritual growth.

Exploring a range of genres across the LP, from neo soul to house influences, the breadth of Ben’s musical knowledge is demonstrated throughout the eight tracks. From the blissed-out piano grooves of ‘Times Are Changing’, since remixed by house royalty Louie Vega and Josh Milan as Two Soul Fusion, to the uplifting ‘Do Me Right’ and the emotional soundscapes of ‘So Good To Me’, Everything Is Within You puts the emphasis on the guest vocalists. With exquisite live instrumentation and songwriting that give the record an evergreen feeling, this is a timely album that exudes a contagious, positive feeling throughout, something the world needs right now.

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path_ one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn't long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born. (Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.) With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito's style. "Kwaito was the thing `in' at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy," says Radebe. "We didn't have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar." That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke "H." They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn't have music production or engineering backgrounds so they required support from engineers together their ideas down on tape. They were inspired from South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs_a perfect blend of local flavor and global influence.

''Stop'' is the emblem of Italo-Disco par excellence even if in 1983 it was inserted by Carlo Favilli and Stefano Zito on the B-side of the 12''of the nascent label House of Music. However, the song, although recorded in a hurry and with evident sound defects, is the perfect example of the musical genre that was developing in Italy in those very early 80s. ''Stop 4 Remixes'' is long-awaited answer that followers have been waiting for over 4 decades and now it lives with its own light with 4 new versions that testify how the piece was a driving force for the entire Italo-Disco movement."Pushed Up'' is the remix by Woody Bianchi, who according to Claudio Casalini (who does not allow any discussion on this matter) is the best Italian disc-jockey for the technical quality of the mixes and the artistic choice of the pieces to play. It would take a book to retrace the stages of his prestigious career. So here just a bravo' to Gino (Woody Bianchi). Ditto with potatoes for Danilo Braca who works assiduously in the clubs of the Big Apple, spinning only tracks by Italian composers and arrangers. Once again this Italian DJ-producer (Danyb is his old nickname), author of two very pregnant extensive versions: ''The Remix'' and ''Re-Visited'', shows his ability as a 'remixer', known everywhere, but especially in Ibiza especially where the DJs ((DJ Harvey included) often use his ''edits' existing only on pen drive. Among those who have madly loved ''Stop'' near Florence there are certainly Luca Pardini (Dirtyelements), Guido Sonato and Edoardo Guccione (Drunkdrivers) who when they are together form the renowned they Tuscan trio of DJ-producers Dirtyelements & Drunkdrivers with very interesting and successful experiences on Pusic Records, Masterworks Music, Samosa Records and Lego Funk. The approach to sounds in their ''Acid Re-Solution Remix'' is absolutely decisive. Here too, skill and passion seasoned with a pinch of art and... why not?... madness !!!

Mr Bongo proudly presents the third album by Melbourne/Naarm multi-instrumentalist, Don Glori, entitled ‘Paper Can’t Wrap Fire’. A kaleidoscopic genre-surfing odyssey that brings together the worlds of jazz, soul and funk. Feeling both contemporary and classic, familiar yet novel, it’s an assured third release that sees an artist in full flight, showcasing their creative prowess and the uniqueness of their musical voice.

Steering in a new direction, Don Glori (aka Gordon Li) has delved headfirst into his songwriting with ‘Paper Can’t Wrap Fire’. Deftly showcasing his talents as a writer and bandleader, he brings with him a whole host of friends from the creative crossroads that is Naarm. It’s an album enriched with more soul, R&B, and funk-oriented songs than his previous jazz-rooted productions, yet there’s still plenty of jazz material for those familiar fans of Don's earlier works.

The album’s title is an old Chinese proverb, roughly translated as 'you can’t deny the truth'. This underlying thread is woven between the songs. “A lot of them are in some way about truth-seeking, observations and the masks you put on to deal with life (hence the cover art)”, Don mentions. Take, for instance, the sensational soul single 'Brown Eyes' featuring silky lead vocals by ML Hall. A dissection of the minority experience, and the power and comfort in building those communities. Elsewhere, 'Disaster' is a satirical take on the structures serving everyone but the artists, and 'Flicker' tackles notations of truth and clarity after introspection.

To marry that meaning with the level of musicianship on these tracks is what really stands out. Don has set out his stall here as an artist who can write songs that hit home in the heart, as much as they do in the head. It’s a journey infused with a glistening jazz finesse, layered with nourishing vocal harmonies and powered by an instantly relatable human soul.

Recorded over two hot summer days in Rolling Stock Studios in Collingwood, Naarm, the lineup of musicians is built up of Don's friends and family. Featuring the backbone team of Tim Cox, Al Kennedy, Joel Trigg, Robyn Cummins and Lachlan Thompson, who were part of Don's touring band before he relocated to London, and a stunning selection of vocalists in the form of ML Hall, Ruby Dargaville, Isadora Lauritz, and Bianca Kyriacou. Also gracing the album are trumpeter extraordinaire Audrey Powne, saxophonist Joshua Moshe, and Alcides Neto who sprinkles some Brazilian magic into the record.

Taking influence from artists including Azymuth, SAULT, Jordan Rakei and Lynda Dawn, as well as from London musical beacons such as NTS and Total Refreshment Centre, Don has run with this, leaned in and come out with a record truly unique to himself and his distinctive core, with no mask necessary.

A SIDE: "Smooth Co-Operator" 124 BPM
Deep within the Co-op laboratory, a timeless classic was lifted from the ether and reborn under the alchemists’ touch. "Smooth Co-Operator"
takes the silk and smoke of Sade’s iconic Smooth Operator and fuses it with the pulse of an uptempo soulful house rhythm. Sprinkled with the
magic dust of hip-hop and funk samples, the track moves effortlessly—grooving on a smooth, rolling bassline, locked into a four-to-the-floor
heartbeat. The result? A dance where elegance meets momentum, where the past is reimagined for the now. Let yourself be carried away—
this is RnB soul jazz, remixed for the future.

B SIDE: "Dream Alchemy" 120BPM
Summoned from the realm of dreams, "Dream Alchemy" is a hypnotic, Kubrickian voyage through sound and shadow. Co-op bends time,
doubling the original tempo into a driving force of tech-house vibes. J Diggns layers ethereal, cascading keys—melodies that flicker like lucid
visions—while Whiskey Drop layers in A$AP Rocky and grounds the experience with a deep, rolling bassline that pulses from the underground.
The groove is relentless, the atmosphere cinematic. Step inside—The dream and the Sandman await.

wetdogg was born in a grotto in Detroit, Michigan with a mission to information to the masses. Through sonic awakening, wetdoggs mission is to enlighten the subconscious and shine light on the deepest crevices of the human psyche. Allowing pathways back into animalistic intuition and away from the technocracy, dig a hole, plant a seed, run in circles and free your mind.

Coming out of Detroit based label Hold Me Records started by Detroit Techno aficionado MGUN and Underground don of all dons Ryan Spencer, wetdogg releases her first Album pssssssp…

From the artist:
"When a dog runs into a river and comes out and shakes itself dry, there is no data collected, technology does not aim to control those that it cannot. Numbers are definite and infinite, a linear path to doomsday. With every move we make, we are tracked and traced and categorized in order to sell ourselves into data hell. Intimacy used to have meaning, the present moment, truth and love but so much of it has been taken captive by technology that seeks to psychologically manipulate and control. A dog runs into the water because that is what dogs do, but it seems these days we are starved from our natural instincts, instead relying on someone else's answer that we of course seek online. "

Using the primitive technology of the password journal (often marketed to little girls to keep their secrets) wetdogg uses the idea of the password journal to imagine a utopia free of the surveillance state in her upcoming album pssssssp…

Founded in 2022, Hold Me Recordings is an independent record label based in southwest Detroit, MI. It is run by Manuel Gonzales (MGUN) & Ryan Spencer, who with a deep-rooted connection to the city's musical history, showcase innovative sounds that challenge the status quo and push the boundaries of contemporary electronic music. Focused on promoting both emerging and established artists, Hold Me is releasing genre-defying tracks that blend unconventional productions with the sincerity of Detroit's legacy. From experimental techno, to downtempo and ambient, Hold Me is committed to offering music that sounds fresh, exciting, and unlike anything you've heard before.

With Harmonia, Trikk takes us on a rich, multi-faceted trip of club music. Spread across five singles, the project explores a wide spectrum of styles, tempos, and textures—all while staying rooted in the heart of the dance floor.

Sagrado marks the peak of the project, with Trikk once again on quality control. It hits the heart and essence of the project—club music to the core. The track begins with a tight framework of kick drum, claps, and a bubbling bassline, a welcoming foundation for the elements that follow. Gradually, it opens up into a wide musical sunrise, as Trikk demonstrates his sure instinct once more—balancing warmth with his distinctive style.



The project took off with Rigor, a peak-time statement that paired massive, tactile sound design with surprising moments of piano serenity—setting the stage for both bold and nuanced. Luxo followed, weaving together industrial grit and organic warmth, further expanding Trikk’s musical language. With Fortuna, the project stepped into the glow of summer, as Trikk joined forces with Kenyan vocalist Sofiya Nzau. The latest single Raiva unites two worlds, blending Trikk’s rhythmic, new-wave-infused sound with MEUTE's commanding brass power.



Harmonia is a carefully woven narrative of rhythm, design, and identity—an artistic statement built to move.

With Harmonia, Trikk takes us on a rich, multi-faceted trip of club music. Spread across five singles, the project explores a wide spectrum of styles, tempos, and textures—all while staying rooted in the heart of the dance floor.

Sagrado marks the peak of the project, with Trikk once again on quality control. It hits the heart and essence of the project—club music to the core. The track begins with a tight framework of kick drum, claps, and a bubbling bassline, a welcoming foundation for the elements that follow. Gradually, it opens up into a wide musical sunrise, as Trikk demonstrates his sure instinct once more—balancing warmth with his distinctive style.



The project took off with Rigor, a peak-time statement that paired massive, tactile sound design with surprising moments of piano serenity—setting the stage for both bold and nuanced. Luxo followed, weaving together industrial grit and organic warmth, further expanding Trikk’s musical language. With Fortuna, the project stepped into the glow of summer, as Trikk joined forces with Kenyan vocalist Sofiya Nzau. The latest single Raiva unites two worlds, blending Trikk’s rhythmic, new-wave-infused sound with MEUTE's commanding brass power.



Harmonia is a carefully woven narrative of rhythm, design, and identity—an artistic statement built to move.

The 1968 debut album from Norwegian guitar legend Terje Rypdal stands as a significant entry in the late 1960s jazz landscape, exemplifying the transition from psychedelic rock to a more intricate, freeform blend of jazz elements. Collaborating with legendary musicians like Jan Garbarek, Rypdal's work on this album showcases his innovative talent.

Recorded during three sessions in Oslo in 1968, Bleak House marks Rypdal’s departure from the psychedelic group The Dream as he ventured into new musical territories. He would go on to become one of the most recognizable instrumentalists in European jazz, with releases on the ECM label filled with his searing, evocative guitar sounds that evoke a future tundra.

Though only 21 at the time, Rypdal was already creating music that was incredibly mature, smooth, and sophisticated. While it undeniably captures the essence of the 60s, it remains enjoyable today. The album, originally released on Polydor, features slight Latin and blues influences, along with big-band arrangements that are both well-crafted and enchantingly loose.

The reissue of Bleak House offers much to unpack. Historically, it represents a bridge in the European transition from jazz-rock to a unique avant-garde/free jazz hybrid. Even at this early point in his career, Rypdal's ability to incorporate post-bop, fusion, and avant-garde elements into a cohesive album was an impressive feat of imagination. Rypdal has always been a bold composer, capable of weaving intoxicatingly discordant melodies, as exemplified in tracks like "Winter Serenade", or evoking an unearthly sadness in his more reflective pieces.
Bleak House is a timeless and important recording, and it is a pleasure to hear it in this 180g virgin vinyl format.
A must-listen for anyone interested in the evolution of modern jazz.

Repress!

This is the fourth release in the critically acclaimed Environments series and continues where the third left off. It is a fourteen track journey from the river's delta to no-man's land where murmurations lead across supercontinents and back to the clear light of reality. Strings meet choirs - cascading down to the glass valleys of synthesised biophany.
'Murmurations' was the track featured on an exclusive vinyl 10' release for Record Store Day in 2012, it coincided with the CD version of this album's release that year. The album also has collaborations with Riz Maslen (Neotropic) and Ivor Novello award winning composer Daniel Pemberton.

Back to the 80s: A Holy Grail of Italo Disco Returns on Vinyl

Oh, those magical 1980s… an era forever entwined with iconic music that still stirs the soul. For the young, it’s a source of fascination; for those who lived it, a flood of unforgettable memories. And when you combine that nostalgia with a collector’s thrill and the magic words “Italo Disco”, only a handful of legendary labels come to mind. One of them? Sensation Records: the experimental sub-label of the iconic Disco Magic, headquartered at Via Mecenate 78/A in Milan. Known for its distinctive blue label, Sensation was home to less commercial, often bold and boundary-pushing releases – tracks that dared to be different.

Today, Vintage Pleasure Boutique dives deep into the vaults of Sensation Records to revive one of the genre’s most coveted treasures: Marylinlove – “Another Love.”

Produced by none other than Bruno Mosti – a mastermind behind some of the most sought-after Italo tracks of the era. This is more than a reissue. It’s the return of a true cult classic, a holy grail for collectors and genre lovers alike.

If you know, you know. And if you don’t, this is your moment to own a piece of history. Don’t miss your chance to grab this stunning vinyl reissue, before it disappears again.

As Planka Records continues its relentless pursuit of sonic exploration, delving deeper into the shadows of the underground. PLNK004 showcases a seamless blend of fresh, boundary-pushing talent alongside solid contributions from familiar artists. Together, they craft a soundscape where hypnotic rhythms, ethereal textures, and bold experimentation merge to redefine what we know about the underground.

These tracks transcend the confines of time and place, speaking to the moments where the music wraps around you, drawing you closer into its enigmatic energy. Whether it’s the pulse of the club at midnight or a reflective session in solitude, PLNK004 is a testament to the transformative power of sound.

With this release, Planka reaffirms its commitment to nurturing innovation and pushing the scene forward, always evolving, always underground.

It has been less than a year since the dreamy 'Words of Love' single, yet Mystic Jungle is back with a new album of free-spirited forays into solar-sonic fantasy.

Despite the short time between releases, Dario di Pace’s third LP, 'Sunset Breaker', has been in gestation for a long while and reflects an arduous journey through studio closures and multiple recording locations. It also shows the stylistic variety that results when a set of songs develops over several years. Despite this difficult journey, Mystic Jungle has produced a rich and multi-colored display of sounds and styles, resulting in his most diverse and adventurous musical narrative thus far.

Standout dance tracks like “Secrets” and “Some Lovin'” feature disco beats and body-moving grooves, with searing guitars, sultry saxophones, and layers of loved-up lyrics and call-and-response vocals that add to the magical motion. Meanwhile, “Innervision” and “Twilight” draw inspiration from lovers rock and neon new-wave dub pop, where yearning vocals, ecstatic pixie hooks, and liquid fuzz leads intertwine with fantasy synths and exotic string instruments from faraway lands. On sunbaked, stoner tracks like “The Road” and “Get Me Higher”, Mystic Jungle blends harmonizing passages of 60s psychedelia, radiant summer soul, and low-down zoner jamming.

Salty Millers einziges Album ist ein verstecktes Juwel der Yachtrock-Szene, das 1980 in begrenzter Auflage erschien. Aufgenommen mit Mitgliedern der legendären Yachtrock-Combo The Embers, mischt die LP Soul, Disco und Midtempo-Stepper zum charakteristischen Szenetanz, dem Shag. Durchdrungen von pazifischen Sounds und gefühlvollen Streichern dient die LP sowohl als Liebesbrief an die goldenen Yachtrock-Jahre als auch als Ausreisser, der die Konventionen überschreitet. Während viele Songs nostalgische Yachtrock-Themen wie Liebe und Freude feiern, bieten andere mit einem nachdenklicheren Unterton eine seltene Abkehr vom traditionell sonnendurchfluteten Geist des Genres. Lang ersehnte, in den AIR Studios neu remasterte und geschnittene Neuauflage mit neuen Liner Notes.

The innovative French composer & visual artist Aude Van Wyller aka Oï les Ox (The Death of Rave, Primordial Void, Kraak) receives the remix treatment from the influential German musician Jan Jelinek (aka Farben, Faitiche) on a brace of singular reworks, comprising a sprawling, longform excursion and an uncanny mood piece.

New Generation Carnival Riddims from St. Lucia and Dominica A hurricane of turbo-charged, body-buzzing tracks collide on Road Fever, a compilation of razor-produced, road-tested instrumental riddims from St. Lucia, Dominica & Guadeloupe that showcases the producers forging the future of Caribbean music in 2025. Road Fever draws together instrumental Dennery Segment and Bouyon riddims originally made for vocalists, presented for the first time as stand alone pieces of music. Distilling carnival riddims down to the bare bones, producers push minimal 150+bpms, FL-percussion packs, DJ/vox samples & synth riffs, bridging trap, drill, dancehall, sped-up Haitian konpa & Angolan kuduro. Ricocheting at the intersection of TikTok culture, best heard blasted through walls of speakers travelled by stage-sized carnival trucks or via bluetooth car speakers, St.Lucia"s "Dennery Segment" sound, (as iconic producer, G6 described in an interview), "sparks your inside; a sound you can"t hear and not move". Amsterdam-based, Curaçao-raised compiler Rozaly echoes G6: "Once you hear it, you can"t unhear or unfeel it. This is a musical movement with an entire history with so many relevant reasons why it still exists, and why it exists the way it exists right now". Rozaly concludes, "there is nothing more simple, let the artists speak."

'Quiet Pieces' initiates Abul Mogard’s personal imprint Soft Echoes with a definitive self-portrait of calm, contemplative, and discreet inner landscapes made audible. It is the first solo album on vinyl in four years. RIYL Alessandro Cortini, William Basinski, The Caretaker.

While sifting through archived material left idle from earlier projects, a chance encounter with a late uncle’s trove of beloved 78rpm classical and opera records prompted the reworking and completion of what would eventually become the album. Spinning dusty records at 33 and 45rpm, Abul Mogard recombined their enduring spectres with unfinished sketches from his archive. The resulting soundscape blurs distinctions between his memories and those of another, exquisitely short-circuiting the senses with its waking, dream-like lucidity.

This was a process I hadn’t explored in my earlier works. I began sampling brief moments from these records, altering them with studio effects and playing them at slower speeds. In many cases, I wasn’t entirely sure how the original music sounded. These fragments, once further processed, became a source of inspiration for my new compositions. Over time, I realised that the old pieces from the archive and the new material derived from the samples naturally complemented each other.”

The resulting pieces hover over a threshold, a liminal space that harmonises the old and older material. Voluminous waves of quiet and loud undulate between consonance and dissonance, conjuring imagery of a decaying grandeur that humanity’s decadence has surrendered to the elements. Abul Mogard’s seemingly abandoned yet vast landscapes are nevertheless intimate with timbral frissons of red-lined distortion. Elusive, yet as tangible as sea spray or smog, they affect the olfactory senses with a rarified, synesthetic quality that modestly engages one’s emotional register – a hypnotic, distinguishing feature long hailed as one of the hallmarks of his work. A fidelity to memory and dream recall is sensitively probed in the journey from the stately symphonic stasis of 'Following a dream' to the almost industrial, untethered brutality evoked by a looming silhouette that’s never fully visible in 'Constantly slipping away', culminating in the foreboding coda of 'Like a bird'. Those pieces appear to shield the album’s sentimental core, where the tempestuous play of light and shadow of 'In a studded procession' escalates to breathtaking, panoramic climax, while 'Through whispers' evokes an out-of-body-like experience encountered with visceral poignancy.

Looking back, Mogard notes an unexpected influence: “I realise being inspired by Phill Niblock, whose work I had barely known at the time but explored after his passing in 2024. His album 'Boston Tenor Index' changed the way I approached dissonance. It encouraged me to push my sound further, to the edge of a space where I began to feel uncomfortable.”

The album artwork, created by longtime collaborator Marja de Sanctis, features a photograph taken at the Temple of Jupiter Anxur, an archaeological site overlooking the Mediterranean Sea. Captured with an iPhone, the image traces the residual presence of construction techniques and architectural forms of the Romans, where material history is transcribed through contemporary tools. The convergence of ancient and modern technology aims to reverberate the site’s lasting spiritual presence – an echo persisting in what is now perceived as a quiet, emptied space. The spiral gestures towards infinity and light. Past and present dissolve into one another, reflecting 'Quiet Pieces' meditation on sound, memory, and time.

RIYL Alessandro Cortini, William Basinski, The Caretaker

The most pivotal moment yet in the journey of one of dance music's most in-demand duos, Shogun Audio are proud to present 'Overgrown', the highly-anticipated fourth studio album from Pola & Bryson.
Having always strived to encapsulate the experience of euphoria they felt in their early raving days, ‘Overgrown’ is Pola & Bryson’s way of paying homage to music that’s shaped their lives. Across all fifteen tracks, the UK-based duo showcase their stunning approach to electronic music production like never before. Innovative, unique, and just as addictive on the hundredth listen as the first, the UK-based duo continue to cement their position as some of the best in the business.
Featuring one of drum and bass' most notable recent singles, the scene-shattering 'Phoneline w/ Emily Makis', an incredible slice of euphoric drum and bass in the form of 'The One I Need w/ Kelli-Leigh', the massive crossover hit 'Want It w/ IYAMAH', and the sound-system destroying sounds of ‘This Chance w/ Break & Cimone’, the singles released before the full album drop have already accumulated over 75M streams, mass DSP editorial support, consistent UK specialist and playlist radio support, and 100s of millions of views online.
Fresh cuts, including ‘Listen w/ goddard.’, ‘How It Was w/ Monroe & Charli Brix’, ‘Falling 4 U w/ MPH’, as well as superb solo offerings like ‘Insomnia’, ‘Temple Stomp’, and ‘Aurora’, all flawlessly gel together under the umbrella of big synths and pure euphoria to create what is sure to be one of the most talked about and repeatedly listened to moments in electronic dance music this year.
“This album is the evolution of us branching off to a more euphoric and club-orientated sound, which heavily influenced the album title. ‘Overgrown’ as a title also represents the relationship between the digital and organic sounds in our music, which in turn, also represents the contrasting factors of nature and urban environments that we both grew up in, both of which have influenced our sound massively.” - Pola & Bryson
A coming-of-age moment for some of the most talented artists the scene has to offer, the act that Sub Focus once claimed was "leading the new wave of liquid drum and bass" has now taken centre stage.

Following the first two releases on Sea~rène, GiGi FM returns with “Virgo Space Acid”, a deeply personal and sonically assertive exploration of transformation and healing.

Rooted in the energies of 2025, the Year of the Snake, this four-track EP channels the mystery and intuition of the serpent, weaving together Virgo’s archetypal forces of the healer and the alchemist.



Across driven beats, hypnotic acid sequences, and vocal-infused textures, “Virgo Space Acid” reflects a journey of renewal, self-ownership, and inner power.

From Berghain to The Bunker New York, GiGi FM has long been known for her ability to channel movement into sound. With “Virgo Space Acid”, she refines her craft even further, working with fewer elements yet pushing them to their fullest expressive potential. She explores the full range of her voice, shaping it into textures, atmospheric layers, and even percussion, while separately reworking classic 909 drum machine sounds into something entirely her own. This EP is a statement of both discipline and liberation, where minimalism meets deep transformation.



Opener “Calibration” sets the tone with its mantra-like intention: an invitation to realign and tune into one’s own energy. Built around a driving bassline, nostalgic yet forward-moving synths, and GiGi’s own spoken word, “A breath holds time, calibrates space”, the track creates a moment of clarity before the journey begins.

“Mercury” follows, embodying the trickster, the messenger, the shapeshifter. Playful and urgent, its bouncing synth sequences move like conversations in motion, with rising tones driving the track forward, pushing toward a restless ascension that mirrors Mercury’s role as a bridge between realms, both celestial and internal.

The title track, “Virgo Space Acid”, is the wormhole: the brain battle, the transformation. With a heavyweight 303 bassline, spiraling bleeps reminiscent of birds, and powerful classic 909, it is pure tension and release, an acid-drenched trip through motion and evolution.

Closing the record, “Floresta” is a sensual and grounding moment of reflection. Named after the stage at Waking Life Festival where GiGi felt a pivotal shift in her healing journey, the track mirrors the scene with dub chord sequences, emotional rising pads, and percussive vocal elements. Like the purple and pink drapes floating above the dance floor at sunset, Floresta is both a farewell and a prelude, a misty horizon where one chapter closes and another awaits.

With “Virgo Space Acid”, GiGi FM continues to expand her sonic language, deepening her connection between body, rhythm, and transformation. More assertive, more urgent, yet deeply intuitive, this is a record of movement, clarity, and self-empowerment.



"We are Sea~rène, swimming in-between supernatural tides, forever following the emotional waves of the universe." GiGi FM

In the Andes of Peru, in a valley formed by the Huallaga River, lies the city of Huanuco. There, a little over fifty years ago, the emblematic cumbia band Los Darlings de Huánuco was born, and since then their compositions have gone around the world, bringing their homeland to the ears of music lovers and collectors. Adversities kept them away from music for two decades, but in spite of this, they marked a parallel path and created their own history in the maximum splendor of Peruvian cumbia. In a valley formed by the Huallaga River lies a temperate land located on the eastern slopes of the central Andes of Peru: Huánuco. A little more than seventy years ago, in that land of mountains and starry skies at almost 2,000 meters above sea level, Juan Nájera was born. A multifaceted musician by profession, he did not always have the privilege of being able to dedicate his life to music. For almost ten years he ran a family hardware store in Huánuco and then a mechanic shop on La Marina Avenue in Lima. He was also a truck driver. A decade of military dictatorships in Latin America made the artist's path very hard in the region, and Peru was no exception. Nájera was only nineteen when his first son was born. He had to make a living and the possibilities for entrepreneurship were slim. But if we go back in history, Juan Nájera was, first and foremost, a boy who dreamed of becoming a musician. Later, he was a boy who made it. Los Darlings de Huánuco managed to cross borders, not only in the capital of Peru, but also abroad. There are many collectors and music lovers around the world who seek and appreciate their songs, musical gems that have toured different latitudes and have managed to position this band from the Peruvian countryside in the most remote places on the planet. In a country characterized by its centralism, where opportunities in the countryside are much scarcer than in the capital, where the foreigner is greeted with more warmth than the local, and where getting ahead, especially in the musical field, implies an extraordinary effort, Los Darlings de Huánuco managed to take their sound to where they never thought it would be possible. From the Andes to the skyscrapers, from the heart of Huánuco to the immensity of other continents.