Cerca:the gathering

Australian talent DJ Swella making his debut on the Clone Royal Oak series! Known for his warm, chord-driven house sound (highlighted on his Pleasure Trax releases). He continues the trajectory here: classic-leaning, groove-focused club music with that late-night energy.

Viktoria Tolstoy, celebrated for her expressive voice, emotional storytelling and cross-genre artistry, seamlessly blends jazz, pop and original songs.
Her standout tracks ‘Autumn Breeze’ (4.6M streams) and ‘Calling You’ (6.5M streams) have reached millions of listeners worldwide.
Collaborations with top Scandinavian and European jazz artists, including Nils Landgren and Esbjörn Svensson, have positioned Viktoria as one of the leading female voices in European jazz.
Jacob Karlzon, renowned Swedish pianist and composer, is recognized for his virtuosic technique, cinematic soundscapes and inventive harmonic language.
Their collaboration began in the mid-1990s, forming one of the most enduring and successful partnerships in Scandinavian jazz.
Their music bridges Nordic lyricism and modern jazz sophistication, appealing to both jazz and a wider crossover audience. A trusted name on the European scene, they continue to tour internationally and attract strong streaming and media presence.
Their new duo album reflects and renews that bond - an intimate conversation shaped by time, friendship, and change. The world has shifted since their last recording and so have they. Yet their shared musical language endures - evolving, deepening, and gathering new shades of emotion. There is a rare ease between them: two Artists who no longer need to explain, only to listen and respond.
The result is music that feels unforced, sincere and alive - born of trust and the courage to explore the unknown. In the end, it’s the simple beauty of reunion: two musicians meeting again, with everything they’ve lived and everything still to discover

The label ORED Recordings was founded in 2013 by Circassian friends and fellow musicians Bulat Khalilov and Timur Kodzoko, in order to start an activity which is dedicated to documenting and preserving the traditional and post-traditional music of the North Caucasus. Khalilov and Kodzoko, were just as excited about this music as it sounded like a force that transcends borders and in which time dissolves and community becomes the only compass.

Through hundreds of field recordings, which have been made at communal gatherings, local festivities or family meetings, the label has captured a wide range of individual voices and their unique acoustic manifestations. All recordings on this album capture the raw expressiveness of the mountainside villages. Music performances being played by people who dedicate their love to music and an additional willingness to share intimate emotions.

Whereas most academic ethnomusicologists travel around the world in order to study foreign cultures, Bulat Khalilov and Timur Kodzoko were fascinated by what they just heard in the familiar regions of their then home town Nalchik. In resolute contrast to Russian academic circles, they soon developed a DIY Punk ethos for their far reaching work, beginning to formulate their own language in the field of ethnomusicology and to push the traditions forward.

However, the label’s work goes far beyond mere preservation. »We started traveling around the North Caucasus and did recordings with people from many different ethnic groups. In the North Caucasus, our work had a political dimension because there used to be (and still are) a lot of conflicts between different ethnic groups. We quickly understood that our work is not just about music and art,« states Bulat Khalilov.

The work of the label aims to reflect not only the great music of the Caucasus and its various communities but also to tell the stories behind it. They are stories of struggle, of independence, of working with historical memory in the present times of the 21st century.

Since Bulat Khalilov and Timur Kodzoko are now based at the University of Göttingen, we were able to meet each other many times and to eventually exchange ideas which resulted in the release of this collection of recordings. The compilation »Music from the Caucasus« provides a first introduction to the comprehensive work of ORED Recordings. For this collaborative release on TAL the recordings are being made accessible for the first time ever on vinyl, CD and various digital formats, all coming with extensive liner notes and yet unpublished photographs.

Bulat Khalilov and Stefan Schneider, November 2025

The musical legacy of a night that will live on for years - Fermin Muguruza's 40th anniversary roar! Under the title "Akelarre Antifascista" (which literal translation would be "Anti-Fascist Witches' Coven", but loosely translated as Anti-Fascist Celebration), in a reference to the legendary Akelarre, a wild gathering of Basque witches, this album distils all the intensity, sweat and collective excitement of a night when thousands of voices joined together to celebrate not just a career, but a way of seeing art as resistance. On 15th February 2025, Madrid saw more than just a concert: it was a collective ritual, an anti-fascist demonstration in which thousands of voices came together as one to emphasize the tenacity of a voice that never surrendered. Four decades after lighting the fuse of combative rock in Euskal Herria, the Basque Country, Fermin Muguruza chose the capital of Spain, a city that closed its doors to him so many times and that he has described as "the heart of the beast", to make the definitive record of his 40th anniversary tour. The result is "Akelarre Antifascista", a live album that distils the history of a musical and political resistance that has spanned generations, languages and frontiers. The concert, sold out with 15,000 people, was an explosion of energy, memory and future. Right from the first chord, the Sports Palace of Madrid became an open setting, a free territory where bodies, rhythms, languages and flags mixed freely. Triple 180gr vinyl LP in trifold sleeve.

Tashi"s latest punk anthems: electric guitar improvisations to brutally impact us with... gentle lyricism and introspective depth! In a time of extraordinary institutional inhumanity, seeing the faces of the many deprived, what is there to feel but exhaustion? What to want but silence? Tashi seeks it all out actively, with intention. Hard truths absorbed, he enjoins power to reconstitute as spirit, to disseminate to everyone outside the walls.

Dive into the raw and uncompromising world of Davodka with "Boîte Noire", a mixtape gathering some of his most striking non-album tracks.



From the urban melancholy of "Cocktail Monotone" to the sharp reflections of "Misanthrope", through the explosive energy of "Aux Commandes" and the heartfelt sincerity of "Des Joies, des Peines", each song forms a piece of the puzzle that reveals the true portrait of a rapper with a dark yet lucid soul.



"Boîte Noire" is more than just a collection of tracks, it’s a journey through Davodka’s thoughts and raw truths, an introspective dive into the balance between shadow and light.

**2010 Grammy Award Winner: Best Traditional Folk Album **

‘Marvelous…exuberant’ - Rolling Stone

Nonesuch Records releases a fifteenth anniversary edition of Carolina Chocolate Drop’s 2010 Grammy Award-winning album Genuine Negro Jig, featuring founding band members Dom Flemons, Rhiannon Giddens, and Justin Robinson. The reissue includes the original album and nine bonus tracks: seven previously unreleased tracks plus a 2025 remaster of ‘City of Refuge’ and a 2025 mix of ‘Memphis Shakedown’. This release marks the album’s first time on vinyl since its original pressing in 2010.

Genuine Negro Jig was released on February 16, 2010, reaching the top ten on the Billboard Folk chart and the top of the Bluegrass chart. It won the 2011 Grammy Award for Best Traditional Folk Album. Produced by Joe Henry, it was the first of three releases on Nonesuch followed by The Carolina Chocolate Drops/ Luminescent Orchestrii EP (2011) and the Grammy nominated album Leaving Eden (2012), produced by Buddy Miller. Widely acclaimed as one of 2010’s best, Genuine Negro Jig appeared in year-end lists of NPR, Paste, and more, and was featured in Rolling Stone’s 25 Best Country-Soul Albums in 2024.

“Genuine Negro Jig remains fresh fifteen years later not only because of the Carolina Chocolate Drops’ influence on American popular culture but also because it’s an excellent record in itself,” says Dr. Dwandalyn Reece and Dr. Steven Lewis of the Smithsonian National Museum of African American History and Culture in the album’s liner notes.

Carolina Chocolate Drops formed after band members Dom Flemons, Rhiannon Giddens, and Justin Robinson met at the Black Banjo Gathering in Boone, NC in 2005. All three trained in the Piedmont banjo and fiddle musical tradition under the tutelage of Joe Thompson, who was one of the last musicians of his era and his community to carry on the southern Black string band tradition. While old-time Southern string music is often associated with Caucasian musicians from Appalachia, Giddens pointed out in an NPR interview that “it seems that two things get left out of the history books. One, that there was string band music in the Piedmont, period. And that Black folk was such a huge part of string tradition.” Carolina Chocolate Drops sought to not only correct this misunderstanding but also to keep the centuries-old string music tradition alive and developing.

The members of Carolina Chocolate Drops, who came from diverse musical backgrounds, shared singing duties and swapped instruments throughout their sets. The band recently reunited for a single show at Rhiannon Giddens’ Biscuits and Banjos festival in Durham, North Carolina in April 2025. In celebration of the 20th Anniversary of the Black Banjo Gathering, the documentary Don’t Get Trouble In Your Mind: The Carolina Chocolate Drops’ Story by Filmmaker John Whitehead was released on Amazon Prime, Apple TV, and YouTube Free4all streaming platforms.

Limited Plum Colored, Full colored Vinyl 12” Jacket 12 Inch Release

Hot on the heels of the recently released Divine Harmonics – From Then Until Now (Part One of Two) the limited orange vinyl edition that sold out within weeks, we are thrilled to announce the arrival of the highly anticipated Part Two of Kuniyuki and Joaquin “Joe” Claussell’s Divine Harmonics imprint.

This next installment is expected to surpass the excitement of both earlier releases, especially as it comes as a plum colored vinyl packaged in a stunning full-color jacket designed by the incomparable Akemi Shimada. As with all Divine Harmonics editions, this is a strictly limited full 12-inch package, created with collectors in mind.

About the Record

Recorded in a fully equipped studio in Brooklyn, New York, this project was born from the idea of gathering musicians who deeply admire Kuniyuki’s work and inviting them to contribute to the composition.

The combination of Todd Terry and Hard Times is synonymous in the world of House Music. The legendary DJ/Producer, a true pioneer of the genre, was among the first US artists to play at the intimate, vibrant gatherings in the North of the UK in the early ‘90s. Forever linked by "A Night In The Life," the live mix released in 1995 that set a new benchmark for mix-tapes, it is a collaboration that has continually blossomed, forging a bond that remains strong over 30 years later.

1995 also saw Todd Terry make his first impact on the label with the seminal club smash "Bounce To The Beat." Following his chart breakthrough with 'Can You Party’ in ‘88, the legendary 'The Unreleased Project’ series, which spawned club hits such as “Jumpin’”, and just a few months ahead of topping the charts with his remix of Everything But The Girl’s ‘Missing’, label boss Steve Raine seized the perfect moment to bring his friend on
board at Hard Times Records with the signing of Bounce To The Beat. "I can still remember pressing play, hearing those beats for the very first time and thinking we had big track on our hands" says Raine. "It was our second release on the label, but it would be the track that firmly placed us at the forefront of the scene, both here in the UK and globally."

Hard Times & Todd Terry now revive 'Bounce To The Beat' with a 2024 reimagining, featuring two of house music’s most exciting young stars, delivering two powerful remixes that promise to dominate dancefloors this summer and beyond.

Dutch producer and Up The Stuss label head, Chris Stussy, takes the track on a '90s- inspired journey, blending progressive strings, high-energy bassline and original vocal, for an exhilarating ride. "I remember discovering Todd’s productions back in the days when I started to dig for that 90’s sound. He’s one of the artists that inspired me massively. He has proven that he owns the art of making timeless music as his productions are still being played till this day all across the globe. To be remixing ‘Bounce To The Beat’ is something special for me personally and I tried to give it a 90’s touch with a modern twist." says Chris.

London’s own Dan Shake offers a fresh twist with a 2Step-inspired remix, featuring an Armand-esque bassline that pulsates and evolves, building to an epic crescendo that is set to ignite mass hysteria on the dancefloor.

"Bounce To The Beat was actually one of the first records I bought when I started collecting house music. So to come back 15 years later and remix this iconic track for the legendary label Hard Times was both surreal and very, very fun," shares Dan.

Two exemplary reworks of Todd Terry presents Sound Design’s 'Bounce To The Beat'. For Vinyl and Digital release on Hard Times alongside the Original and ‘Tee’s Freeze Mix.’

Rich musical history of Yugoslavia reveals a long-lasting love for the music of Latin America.
Entwined in Afro-Cuban rhythms, ballrooms were shakin', swayin' and swingin', gathering musicians who were heavily into jazz bands and orchestras, most notably in Ljubljana, Zagreb, and Belgrade. Jazz could be heard on the streets of Split way back in 1919 when dancing became a symbol of freedom. Radio was the most loved household item, newest sheet music was in demand and collecting records was hip like today. In the aftermath of Second World War, jazz went underground but little by little, things changed and Ella, Satchmo, Dizzy and Miles came to visit, among others. Music festivals shaped the music for entertainment and variety of popular styles showed influences from all over the world. In the early sixties, one particular rhythm crashed on the coast of the Adriatic Sea: the rhythm of bossa nova!

In the whirlwind of various musical styles, Latin American music still played important part of the scene in the early sixties Yugoslavia. Beguine, tango, rhumba, samba, calypso, mambo and cha-cha-cha all found their place on the festivals inspired by famous Sanremo, festival of Italian popular song that largely shaped the musical taste of Europe. It was the era of instrumental rock, R & B and rock'n'roll - sounds of "imperialist America" now played freely on imported and hand-made electric guitars. While dancing halls had been turning into concert venues, bossa nova has come! Eydie Gorme with Blame It on the Bossa Nova and Paul Anka with Eso Besso (That Kiss!) tried to make us learn some new dance moves but it was Joao Gilberto's gentle singing and his new way of playing samba songs, along with Tom Jobim's modern dissonant harmonies and poetry of Vinicius de Moraes that created the magic. When American alto saxophonist and flautist Bud Shank visited Zagreb and Ljubljana in 1963 (with Boško Petrović in his quintet) "it was the first time we heard bossa nova!" remembers Stjepan Braco Fučkar. Jugoton, the biggest record company in Yugoslavia, released 4-track EP Bossa Nova by Bogdan Dimitrijević and his ensemble that same year! While not being fully accepted or understood completely, the archives of Jugoton reveal to us various interpretations of this new trend from their vast catalogue.

Zum ersten Mal überhaupt ist eine anzügliche Auswahl von EDGE OF SANITYs obskuren, frühesten Aufnahmen offiziell auf 2LP (23 Tracks) Unter dem Titel "Elegy - Chapter I" wurden die frühen (Promo-, Pro-be- oder Studio-) Demos "Euthanasia" (1989), "The Immortal Rehearsals" (1990), "kur-nu-gi-a" (1990), "The Dead" (1990) und "Dead But Dreaming" (1991) von Songwriter/Frontmann/Produzent Dan Swanö (Opeth, Dissection, Bloodbath) vom Friedhof in die Leichenhalle zur Wiederbelebung gebracht. Alle fünf Demos wurden von Swanö neu gemastert, wobei die 13 Tracks von "Euthanasia", "kur-nu-gi-a" und "The Dead" für die Bonus-Disc auch nekromantische Remixe erhalten haben. Ausgestattet mit einem brandneuen, handgezeichneten Cover des Künstlers Mark Rudolph (Carcass, Undeath), ist "Elegy - Chapter I" von der alten Garde für alle Wachen zum Wiedererleben oder Neuentdecken. EDGE OF SANITY waren nicht immer an der Spitze des Death Metal. Nein, auf "Elegy - Chapter I" haben die Schweden tatsächlich Death Metal geblutet. Dies ist eine Sammlung von schwedischem Underground-Death Metal der alten Schule in seiner besten Form!

Recorded amidst the Vietnam War's turmoil and the tragic Kent State shootings of 1970, Alarm Clock was Havens' urgent wake- up call to a generation - a powerful warning against an overreaching government. This reissue includes two never- before- released tracks: ' Nobody Knows', recorded during the same sessions, and a deeply moving rendition of Graham Nash's 'Military Madness'. A testament to Havens' artistic integrity and commitment to social justice, Alarm Clock remains a timeless masterpiece. "Alarm Clock was just as the title suggested: a warning. It was also one of the few times I have used a song's title to name one of my albums.

Alarm Clock was being made in the context of the Vietnam War that was still raging. Four students protesting the war had been shot dead in May 1970 on the Kent State University campus in Ohio. Large crowds were gathering in many cities, pleading for the end to America's involvement, but the administration did not care about anything the public seemed to feel. The war would go on, regardless of public sentiment. We were seeing our government step way over bounds. Alarm Clock felt like a warning to awaken." - Richie Havens

Musician and visual artist by day, bat researcher by night: Mathilde Nobel brings both worlds together on her new album Guadirikiri on Nous'klaer Audio. Unlike the first album, Guadirikiri features (almost) no vocals. Instead, its compositions took shape through Mathilde's deep fascination for bats. Creatures that, much like her, navigate and make sense of the world through sound. By night, Mathilde travels across the Netherlands to study their calls, movements, and patterns. Using ultrasonic detectors and thermal cameras, she's been gathering and archiving recordings and visuals, gradually building what she calls an orchestra of bats - shaping and inspiring what became Guadirikiri.

Straight out of the local mud of the city of Antwerp comes dancing this next Souvenirs from Imaginary Cities slab of free-flowing bits of electronic wonder : Schönen Abend by Simon B. Just in time to ease you out of this endless winter and right into springtime. Like the previous hit by Purple Uncle, this flower takes some time to bloom and fill up your head and body with it's ear wormy fragrance.

It's hazy and cinematic, makes you think of Italian electronic pioneers and their library magic, Patrick Cowley's School Daze and Haruomi Hosono in some kind of gothic manner. It's quite stripped and lush at the same time, rhythms like minimal mechanics make you fly above the river and land just outside reality. It's a nice place where soft jazz tingles right around the dark corner, and that particular mix of exotica and melancholia — the trademark of this port city's best electronic auteurs is definitely in the air. The river still shines, but she’s deeply poisoned. The old town has lost every bit of fresh air but keeps on digging for old gold. This bitter pill is served with delicacy and lightness, the wound is dressed up seductively — feet in the mud, head in the air. Stuff is sensuous, with quiet places reminding of the good side of those times when the big wheel stopped turning ever so madly. A strange quietness whistles through the leaves. Some things take time to unfold. In or out of C.

Four years in the making, this is the solo debut LP of Simon B, a longtime contributor to Antwerp's improvised music scene (Groovecats Deluxe, Wij Blij Trio ). Primarily a double bass player, he also has a deep-felt passion for offbeat electronica and the rainbowy side of American minimalism, which takes front here. The smoky voice on the last track belongs to Nina-Joy Thielemans, Nina-Joy is part of Particals, a trio working with live electronics and field recordings, releasing an lp on Ultra Eczema later this year. Furthermore, you can hear the tenor and soprano saxophone of Adia Van Heerentals on 4 tracks, deepening out Simon's naturally flowing compositions and playing around with his melodies. You may know her from Bodem and her strong presence in the Belgian jazz scene lately.

Simon's electroacoustic experiments — using a clarinet and some outboard effects — were important tools in finding the very specific colour of this record. There's this airy character, like wind blowing through old layers of bricks and over the river, anchored with a deep sense of bass, gathering ages of dust and memories in these eight elegantly wobbling tracks, forming a perfect whole that’s really coming together in one deep listening from A to Z.

The centrepiece is perhaps Come to Me, instrumental and reprise with vocals, but no fillers on this one. Every part of the mystery is needed to come to its end and back again. It's a record that works in the morning, to open up a day and in the quiet corners of the night, with it's sleazy quirkiness, smiling towards you from the right corner of the eye. A perfect compagnon for your long-form wandering habits, light reflections on a wet surface obsessions, coffee slurping in the morning and the forgotten art of beachcombing. Quite essential these days, witnessing a world going apeshit.

DJ Marcelle's career has flourished on her own terms, with many critically acclaimed releases: in the past six years alone this Dutch woman has released five albums and numerous ep's. On stage and in the studio she transcends a feeling of freedom whilst always moving forward. Marcelle turns her DJ sets into full-on sonic adventures; she's the g.o.a.t of dancefloor eclecticism.



''Genre-defying and one-of-a-kind are two descriptions that get thrown around a lot in dance music, but DJ Marcelle fits that bill.'' (Resident Advisor)



''A Different Fridge For Cheese: '' An adventurous set that fizzes with vitality, originality and humour.'' (The Wire about her 2024 album)

"Patching", das intime Debütalbum der in Minnesota lebenden Sängerin und Songwriterin runo plum, fängt auf elegante Weise die Kontraktion, Expansion und Befreiung einer intensiven Phase emotionaler Heilung ein, und zwar in sanftem, strahlendem Indie-Rock. "Patching" ist ein üppiges Debütalbum, das aus einem gebrochenen Herzen entstanden ist und reichhaltige Klangmomente enthält, die emotionale Leere ausgleichen und aus einem Ende Expansion schaffen. Die ungezügelte Aufrichtigkeit des Albums ist nichts Neues für runo plum, die seit einem halben Jahrzehnt in ihrem Schlafzimmer ihre komplexen Folk-Songs schreibt und still und leise veröffentlicht. Während der Pandemiejahre erregte sie zunehmend die Aufmerksamkeit eines immer größer werdenden Kreises von Zuhörern und begann, unabhängig eine Reihe von Singles und EPs zu veröffentlichen, während sie sich gleichzeitig als Support für Searows, Angel Olsen und Hovvdy. Das Album dokumentiert die zweischneidige Natur von Liebe und Verlust in einem schmerzhaften freien Fall des Indie-Rock mit derselben unverblümten Offenheit wie die frühen Alben von Julia Jacklin und Big Thief. ,Patching" wurde in einer Hütte im ländlichen Vermont über einen Zeitraum von zwei Wochen aufgenommen. Zusammen mit Lutalo, dem in Minnesota geborenen, in Vermont lebenden Musiker und Produzenten und runos Kollaborateur, der Instrumentalistin und Freundin Noa Francis konzentrierte sich das Trio auf den honigsüßen, zeitgeprägten Klang einer hundertjährigen Akustikgitarre und die angenehme Wärme von runos Stimme. Auf den zwölf Tracks von ,Patching" malt runo melodische Bögen, die sich drehen und taumeln, und schafft Songs, die sowohl die dunstigen Höhen als auch die dunkelblauen Tiefen aller natürlichen Zyklen, die die Welt drehen lassen, einfangen.