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Valby Vokalgruppe was initiated in 2008 by Anja Jacobsen, the Danish collective’s current line-cup is completed by Lil Lacy, Sonja LaBianca, Cæcilie Trier and Laura Marie Madsen. The group has written and performed a large number of cross-aesthetic pieces over the years, including an album Bah New Era released in 2012 on Eget Værelse.

Sharpened to its core, the group dives deep into rhythmical architectures built almost solely from the voice - think Platonic solids reimagined as sound objects. Think trance without electronics. These new compositions are compressed, sparkling forms — vocal geometries that spin, collide, and dissolve through repetition. From inside the circle: radical precision, soft dissonance, and playful intuition guide the way. The group explores the voice not as melody alone, but as material — vibrating, modulating, refracting.

Solids For Voices transcends into deep concentration calling for a clear state of mind, in recognition of an increasingly fragmented and incoherent reality. Valby Vokalgruppe endeavours a total absorption into the voice, the rhythm and the trance.

Osaka-based producer and beat-maker Altz reinterprets and remixes Roland P. Young's spiritual jazz classic, Isophonic Boogie Woogie for the EM label!Intergenerational gene-splicing from EM. Roland Young's Isophonic Boogie Woogie, tripped-out minimalist spiritual free jazz from 1980 (previously reissued by EM as EM1045CD/LP), is here mutated, masticated and machined by Altz, renowned "organic electronicist" from Osaka. Maintaining and magnifying the cosmic bliss-vibe of the original release, Altz lovingly massages Young's sounds into the year 2009. Sounds are layered and treated, atmospheres extended, and propulsive elements from Young's original recordings are bolstered (there is some fine drumming here from former Boredoms drummer Muneomi Senju). Altz also respects Young's more absract side, following the elder master into atmospheres of freedom, unrestrained by the gravity of the beat and the conventions of the dance floor.

Guilherme Granado & Bruno Abdala reunite for a second volume of beats, jazz ghosts and synth-funk dust.
Following their first outing earlier this year (Vol. 1 on Sucata Tapes / SUC66), the duo returns with a bigger, deeper, and smoother bang on Vol. 2 – Filhos.
The grooves remain intact, expanding on the raw funk blueprint of Vol. 1 — now infused with Tropicália-rooted freedom, Sun Ra-style celestial chaos, and a tighter, more confident feel. The sonic palette is rich and eclectic: samplers, bells, analog synths, drums, marimba, vibraphone, bass, violas, and more are layered into a warm, rhythmic tapestry that honours the past while forging new sonic terrain.
At its core, Filhos (Portuguese for "Sons") is a tribute to lineage and tradition. It reflects the idea that we are all shaped by what came before — and through music, Guilherme & Bruno honor that legacy while pushing it into the future.

Born in Buenos Aires in 1934, Hector 'Costita' Bisignani is one of the leading figures in Latin American jazz. Settling in São Paulo in the late 1950s,
he quickly established himself as one of Brazil's most renowned flutists and saxophonists, collaborating with major artists such as Sérgio Mendes, Elis Regina,
Hermeto Pascoal, João Donato, and Gato Barbieri. His career also led him to play alongside Michel Legrand, Lalo Schifrin, Burt Bacharach, and Ray Conniff,

demonstrating his international influence. A founding member of Sérgio Mendes' Sexteto Bossa Rio, he contributed to the rise of Brazilian jazz by incorporating
local rhythms and bold compositions. He is also renowned as a teacher, making him a respected figure for several generations of musicians. With a career
spanning more than 70 years, he remains a pioneering figure in the history of Latin American jazz. 1981, now reissued, perfectly illustrates this creative freedom.

Recorded in the exuberant spirit of the 1970s and 1980s, it blendsbaião, jazz-funk, and Braziliansoul. Ledbyhissaxophone, flute,and clarone,andbackedbyhisGalleryClubband,

thisrarerecordingembodies the vibrant energy of a scene where experimentation and virtuosity went hand in hand.

Today, visionary Amsterdam-based ensemble Stargazers announce the release of their self titled debut album via Night Dreamer. Drawing on the spiritual, freedom-driven sound of 60s/70s Black jazz, Stargazers breathes new life into the introspective, quietly crafted and previously hidden musical diary of the ensemble"s orchestrator, saxophonist, flautist and composer, Finn Peters.

Gönnen Sie sich eine dringend benötigte Auszeit für Ihren Geist, ganz bequem von zu Hause aus. Die erste Zusammenstellung der Secondhand-Laden- und YouTube-Lieblinge Paradise Is A Frequency, The Style of Life, umfasst 70 Minuten mit Wein-Cooler-Core, Smooth-Jazz-CDRs für den Massenmarkt, Aerobic-Proto-Vape-VHS und Aufzug-tauglichen Library-Music-Tape-Loops von Künstlern wie Metamorphosis, Lorad Group, Ski Johnson, Mensah und anderen. Verteilt auf zwei Mainframes und mit einem Booklet mit Reflexionen, Ausgrabungsstätten und Tapetengruppen für weitere Lifestyle-Upgrades. Das fiktive Software-Update für die nächste Version von Ihnen.

Gönnen Sie sich eine dringend benötigte Auszeit für Ihren Geist, ganz bequem von zu Hause aus. Die erste Zusammenstellung der Secondhand-Laden- und YouTube-Lieblinge Paradise Is A Frequency, The Style of Life, umfasst 70 Minuten mit Wein-Cooler-Core, Smooth-Jazz-CDRs für den Massenmarkt, Aerobic-Proto-Vape-VHS und Aufzug-tauglichen Library-Music-Tape-Loops von Künstlern wie Metamorphosis, Lorad Group, Ski Johnson, Mensah und anderen. Verteilt auf zwei Mainframes und mit einem Booklet mit Reflexionen, Ausgrabungsstätten und Tapetengruppen für weitere Lifestyle-Upgrades. Das fiktive Software-Update für die nächste Version von Ihnen.

When Straight Ahead hit the shelves in 1974, it marked another bold chapter for Brian Auger’s Oblivion Express. The band—Steve Ferrone on drums, Barry Dean on bass, Jack Mills on guitar, and Lennox Langton on congas— was firing on all cylinders, pushing jazz fusion into fresh, uncharted territory.

Critics took notice, with Billboard praising the album as “excellent in development and inventiveness, ” and it found its way onto multiple charts at once.

The journey begins with “Beginning Again, ” a lively opener built on Langton’s congas and Ferrone’s muscular groove. Auger’s electric piano sparkles here, immediately setting the album’s adventurous tone. Then comes their take on Wes Montgomery’s “Bumpin’ On Sunset. ” Darker in mood and drenched in atmosphere, Auger stretches out into improvisation while still honoring Montgomery’s spirit. The interpretation struck such a chord that, years later, Wes’s widow wrote to Auger to tell him it was her husband’s favorite version of his much-loved tune.

The title track, “Straight Ahead, ” shifts gears into funk, showcasing the group’s ability to slide effortlessly between genres. “Change” pushes further, blending rock’s raw energy with jazz’s improvisational freedom, driven by Auger’s command of the Hammond organ. To close, “You’ll Stay in My Heart” brings the tempo down with a tender, soulful ballad—an intimate ending to an album full of bold explorations.

At the time, reviewers hailed the record as a gem. One called it “a minor masterpiece of incredibly engaging and melodic keyboard-centric jazz-rock fusion. ” Another singled out “Bumpin’ On Sunset” as “the best reason to own this recording.”

Half a century later, Straight Ahead still resonates. It captures that fertile moment in the 1970s when jazz, rock, and funk were colliding, and artists like Auger were busy redrawing the map. To this day, it stands as proof of Auger’s fearless curiosity and his knack for breaking boundaries—music that looked forward then, and still feels ahead of its time now.

LOST SONGS – 10 unveröffentlichte Lieder von Mikis Theodorakis, arrangiert und gespielt von Henning Schmiedt

Zum 100. Geburtstag von Mikis Theodorakis (29. Juli 2025) erscheint bei Intuition Records ein besonderes Album: LOST SONGS – vierzehn bislang unveröffentlichte Kompositionen des weltbekannten griechischen Komponisten, erstmals präsentiert in einer außergewöhnlichen Klavier-Version von Henning Schmiedt. Der Berliner Pianist und Komponist beschreibt die bislang unbekannten Lieder wie folgt: „Diese Melodien sind so großartig, dass man sich wundert, dass sie noch nicht existierten. Jetzt wissen wir, dass es sie doch gab.“ 2008 kam es im Athener Studio von Mikis Theodorakis zu einem besonderen Moment: Henning Schmiedt spielte dem Komponisten persönlich seine Klavier-Versionen der LOST SONGS vor. Theodorakis, der sich an einige der Lieder erinnern konnte, an andere nicht, hörte aufmerksam zu, machte Anmerkungen und gab Hinweise, die direkt in die abschließende Gestaltung der Stücke einflossen, so dass LOST SONGS als posthum veröffentlichtes Album gelten kann. Diese Lieder dokumentieren die musikalische Reife und Ausdruckskraft von Mikis Theodorakis bereits in jungen Jahren: Die meisten der LOST SONGS entstanden Anfang der 1940er-Jahre – ein eindrucksvoller Einblick in die frühen Kompositionen eines der bedeutendsten Komponisten des 20. Jahrhunderts. Die Lost Songs werden nun zu seinem 100. Geburtstag veröffentlicht.
Rezensionen
»Schmiedt überzeugt nicht nur durch sein sensibles und nuanciertes Klavierspiel, sondern auch als einfühlsamer Interpret, der das Werk und die geistige Welt Theodorakis’ genau zu verstehen scheint.​« (jazz-fun.​de, Juli 2025)

There’s a freedom in knowing we are all doomed, a sense of liberation from society’s morals and the considerations of commerce. That’s the territory trod by Sorrow on its lone album, 1992’s Hatred and Disgust. This album doesn’t bring you down, it takes you down. Down-tuned guitars, slowed- down tempos. Lyrics with a deservedly dim view of mankind. And fat as f*** riffs that will annihilate you. Finally released in the U.S. on vinyl and with the full support of the band, Hatred and Disgust comes in a blue smoke pressing limited to 1000 copies, complete with a lyric insert. If you like your doom metal with a side of thrash and death metal, this lost classic (remastered for vinyl by Mike Milchner) will satisfy like few others. Fans of Slayer, Obituary, My Dying Bride…take note.

"The soundtrack of “La Matriarca” is one of the finest examples of 1960s Italian musical comedy — ironic, sensual, and perfectly tailored to Catherine Spaak’s character. Trovajoli succeeds, like few others, in giving voice to the contradictions of an era through music — an Italy discovering freedom, yet with an ironic smile on its lips.
Now available in transparent magenta 180g vinyl + CD, limited and numbered edition of 500 copies. Includes an insert with liner notes by Massimo Privitera of

"Love it! Electronic wonkiness at its finest" - Richard Norris (The Grid)

TEA, CAKES AND THE (WO)MAN MACHINE

Curtain Twitcher could only have emerged from Sheffield.
A female electronic duo whose corrupted downtempo post Balearic chug pulses and wobbles, throbs and twitches - full of fat noises and bolshy Moogery.
It's human and appealingly analogue. More Delia Derbyshire's Radiophonic Workshop than DAF, More Tangerine Dream than Depeche Mode. Not your average bloketronica.

Frankly this music doesn't behave itself in any way you might expect. Plugged in post rave pop can be far too orderly. Music should be messy. Even on occasion revealing a tune your mum could hum.

"Leap The Dips" emerged from machine jamming with a creative freedom that only comes from friendship. That friendship is a musical one but it's also real and genuine: "We’ll talk about pretty much owt if you provide the tea and cakes".

funcionário delights in the freedom of creating freeform music for the first time in his career. On “horizonte”, he loosens the reins, his sound follows a wavy, organic structure rather than a rigid, formal one. If it feels freer and more colourful, that’s because it truly is.

Eight years ago, when we first encountered his work, he was composing soundtracks for imaginary video games and crafting sonic landscapes that felt like destinations for sci-fi anime characters. With “Cavalcante” (2022), he broke away from that past. It marked a turning point, he was ready to explore a “fourth world” in both sound and concept. The feedback was overwhelming.

Three years later, “horizonte” marks another evolution. He sends us music regularly, but this album stood out immediately. It felt right: more synth-driven, more open to improvisation. As he put it: “It’s like using oil pastels for the first time and discovering new possibilities. In a way, I’ve found new ways of creating using the same colours.”

Listening to horizonte is like waking up from a dream. Again and again. The opening track, “nascer”, suggests a new dawn, but it’s in “pássaros” that the vision fully takes flight: less processed, more raw, yet still detailed and expansive.

Finding new ways with the same colours has been his quiet mission all along. What’s new here aren't the tools, but the feeling. The movement. The invitation to travel with him. You can hear - and feel - his sense of wonder. Every sound radiates joy. Every moment sparks a new thought. The music moves quickly, but breathes slowly.

Tracks like “renascer” and “o caminho do regresso” echo the spirit of late-70s/early-80s Vangelis, in deep reverence. And just as you approach the end, “fantasma” arrives - a stunning closer, reminiscent of Eno’s “An Ending”. By then, it’s clear: the “fourth world” is behind him. funcionário has moved on. To where? We’re about to discover.

For more than thirty years, Arnaud Fournier has been shaping the landscape of the French expe-rimental scene. First within the duo HINT, a singular fusion of experimental, noise and indie music, he released three studio albums in the late 1990s and has continued to perform regularly ever since, including a live album with EZ3kiel in 2009. With La Phaze (1999), Dead Hippies (2013) and later Atonalist (2017), he has always instinctively sought to cross genres and stage dialogues bet-ween extremes. In 2025, with 100% Black Puzzle, he delivers his very first album under his own name, a work where saturated guitars, saxophones, trumpet, hypnotic loops and vast layers of drone meet. Mixed and mastered by Olivier "Cali" Fournier at Studioscope in Angers, 100% Black Puzzle gathers familiar faces around it. Its title resonates as an intentional echo, directly referencing 100% White Puzzle, HINT's debut album. Thirty years on, Arnaud Fournier rediscovers the same spirit of absolute freedom across these five tracks: no format constraints, no compromise on length. The title track, an eight-minute instrumental, sets the tone - a raw, urgent gesture, cap-tured in the moment. In his own words, it was about "finding myself once more in that first-song state of mind, without any confinement." With 100% Black Puzzle, Arnaud Fournier fully embraces signing the work under his own name. No pseudonym, no mask, but an unveiling: a profoundly intimate record, steeped in family and friendship, where noise and beauty constantly collide and entwine. Thirty years after shaking up the French indie scene with HINT, he delivers a body of work that is at once retrospective and forward-looking - a black puzzle that resounds like a rebirth. And what better way to "close the circle" than by heading back on tour?

èMeL, the maestro of trance induced Tekno returns to Violent Cases delivering three long trips pumping like hell or high water.

Against The Grain riding the warp of space into the womb of night freedom at the speed of light from gravity’s planetary chain.

Symphony of Construction orchestrates a swarm of ant-like nanobots in space assembling the mothership of the raving tribe at warp pace.
Reverse termites moving in unison creaking and clanking away at the metal shell to escape this man made hell.

Darkness seduction is the siren’s hum pulling the mentalnaut to the fluffy bottom it feels good to let go, further than you can fathom, to the sound of a giant tardigrade nibbling at atoms.

This publication is illustrated by Darkam, designed by TDSiGNZ, and mastered by Stefan ZMK.

Each EP comes with 2 posters, a digital download code, and 2 artwork stickers.

Fusing hypnotic rhythms with cutting-edge sound design, the French producer carves out a space where melancholy meets euphoria, and violence dances with beauty.



This record is not just a collection of tracks; it’s a cohesive narrative, each piece unraveling like a thread from the same ribbon—twisting, pulling, and ultimately tying together a story of tension and release. Known for his ability to merge hard-hitting club energy with emotional depth, Hadone pushes his sonic identity further than ever before.



Ribbon is a testament to Hadone’s evolution as an artist—a finely tuned balance between chaos and control, structure and freedom. A soundtrack for the dancefloor and the introspective mind alike.