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In the ever-evolving landscape of the underground music scene, few bands have made an impact quite like Selofan, an immensely talented duo of Joanna Pavlidou and Dimitris Pavlidis, has carved a niche for themselves within the international pantheon of darkwave, post-punk, and '80s synthpop, blending these influences to create a sound uniquely their own. Their journey, marked by a commitment to artistic integrity and evolution, has taken them from the cozy confines of local venues to the grand stages of international festivals, earning them a dedicated following and critical acclaim along the way. Their sixth album, Partners in Hell, released in October 2020, navigated the band through unprecedented times, testing their adaptability and resilience. Despite the hurdles to performing live and the global pandemic's challenges, Selofan emerged stronger, embarking on international tours with a newfound appreciation and connection with their global audience, during this period of introspection and isolation, Joanna Pavlidou embarked on a new venture, GIOVANNA, released under Selofan’s house label, Fabrika Records. GIOVANNA, which places Pavlidou at the helm of vocal and lyrical composition, represents a full on foray into synth-pop. showcasing a different facet of her artistic identity, with lyrics entirely in Greek. In 2023, Selofan hit the circuit hard, lighting up revered festivals with their presence. They stood shoulder to shoulder with heavy hitters like Molchat Doma and Lebanon Hanover at Grey Scale and performed with with the likes of The Sisters of Mercy, VNV Nation, and She Past Away at the Death Disco fest in their hometown of Athens. With each album they have released Selofan made significant strides in their evolution, deepening their engagement with their art. And their forthcoming seventh full length studio release, Animal Mentality, is poised to be their most compelling work yet. Animal Mentality unfolds as a labyrinthine journey through the elemental aspects of human emotion and experience, set against the backdrop of Selofan's signature darkwave sound. Each track on the album delves into different facets of the human condition, from the depths of desire to the pangs of isolation, encapsulating the duo's profound understanding of the intricate spectrum of human emotion and subjective experiences. The album kicks off with "Sticky Fingers," a track that melds cinematic scope with a haunting storyline, reminiscent of Jean-Michel Jarre's icy synths and a lyrical nod to Joy Division. This opening salvo revisits the tragic allure of classic car accident songs, weaving a tale of joy turned to sorrow amidst the snowy Alps. "Love's Secret Game" delves into the depths of forbidden desire, with vocals that echo the melancholy timbre of Xmal Deutschland, Lebanon Hanover, and Nico. It's a tale of passion and ephemeral connection, promising an enduring presence despite the inevitable fracture of time and distance. In "Lucille," sung by Dimitris Pavlidis, the plot is ensnared in the machinations of a tempestuous affair, with gothic undertones evoking the dramatic soundscapes of Ultravox and Clan of Xymox. The lyrics are steeped in danger and desire - a dance with the shadows. "Sacrifice Me" plunges into the abyss of despair, driven by a Bauhaus-esque bassline. It's a plea for release from the chains of alienation, a yearning for a final gesture of solace in the face of overwhelming darkness. "Bluebirds" offers a poignant reflection on solitude, with the fleeting imagery of bluebirds symbolizing the elusive quest for happiness. The song serves as a meditation on the internal struggle to maintain hope in a world shaded by sorrow. The narrative shifts with "Glassplitter," where German lyrics paint a portrait of deceptive allure and toxic entanglement. We are confronted with irresistible danger, masked by a veneer of beauty. "Ignoranz" continues the exploration in German, pondering the universality of misunderstanding. It's a reflection on the subjective nature of truth and the shared human experience of ignorance. "Behind My Eyelids" closes the odyssey, a contemplation on melancholy and metamorphosis. The phoenix rises from the ashes of betrayal to the brighter realm of renewal - a beautiful homage to the resilience of the human spirit amidst the often harrowing cycles of life. More than just an album, Animal Mentality is a milestone in Selofan's career, marking a decade of musical innovation and growth. It's a testament to their enduring spirit and a bold step into new realms of artistic expression. As Selofan continues to evolve, they remain at the forefront of their genre, pushing boundaries and exploring the depths of the human psyche through their haunting melodies and poignant lyrics.

Geoff Kirkwood (Man Power)

I’dgained some notoriety as a music producer and DJ but I hit a horrible case of writers block around 2018.

The problem I was finding was that I was trying to shoe horn every smart arsed clever dick musical reference I had into the music I was making, but the function of dance music is to make people dance, not to show people who broad your musical references are, so I was making pretty shitty music that landed in the middle and didn’t achieve either aim.

To tackle this I ended up committing to just trying to make the most expressive and wanky experimental stuff I could. I was immersed in club culture at the time so the whole enterprise started as a joke, hence the name “Bed Wetter”. However when I fully submitted to just naked exploration the really unexpected thing that happened was that I found myself unavoidably having to deal with a lot of my own bullshit. That bullshit turned into the “Billy Mill is Dead” album, which was essentially the sound of me excavating my own life and looking at how I felt about where I was from, where I was headed, my family, my history, my region and all of the things i have conflicting feelings about.

It was partially catharsis and also a bit of deprogramming around being able to call myself an artist after being raised to believe that wasn’t an option for me.

I self released Billy Mill is Dead in the months before the pandemic and it found it’s fair share of love in the places I hoped would connect with it, and just the right amount of being ignored by people who I’m pleased didn’t feel it. This all lead to me being emboldened enough to apply for an artist in residence position at a big regional opera house months later in the middle of lockdown.

My feeling was that if my DJ career was potentially over for the remainder of my lifetime then there was no harm in exploring this alternative method of expression to see where it could take me.

I submitted a ridiculously ambitious plan for what I would like to do as a project, and to my absolute shock I was selected for the position.

I was 40 years old and from a scarcity background so I had a potentially unique response to that kind of validation for the first time and what followed next was a process of me just coming back with bigger and more ridiculous ideas just to find out at whatstage they’d tell me to stop.

The thing is, nobody did. I got as far as suggesting writing a full symphony to be performed by an orchestra before my own nerve gave out and I decided that was probably as far as I should push things.

The problem with people giving you permission to do things is that you then need to go out and figure out how to do those things.

The biggest issue for me, beyond raising the money to pay for everything, was how does a person actually write a symphony?

I was introduced to Fiona Brice, a multi instrumentalist and orchestral arranger. She’s also a recording artist who releases on Bella Union. On top of that she’s a violinist who used to be part of the band Placebo and who used to appear regularly playing for other bands on things like Top of the Pops.

Not only was Fiona uniquely placed to not look down on the strange provenance of someone from an Acid House background wanting to write a symphony, but more to the point we really hit it off from day one.

Fiona coached me in the essentials of writing for an Orchestra, and then I went off and wrote the 8 movements.

I’d love to say I laboured for years over this bit, but it took about 2 weeks in total. I’d also love to say what I wrote was a complete symphony, but the version of this which is solely me feels like looking at something without your glasses on. The shape,feel and borders were all there, but the definition was absent. Fiona taught me the broad language of a symphony, but without her it would have lacked all intonation, nuance and detail. Where I had shaped ideas with a hammer, she brought out my meaning with precision using a scalpel.

I think the prodigiously quick turnaround for the music is as much proof of how conceptually and musically aligned Fiona and I are. I know we’re both incredibly proud of what we’ve created.

It took nearly 2 more years to stage the debut performance in what was potentially the most traumatic period of my life which saw me embroiled in an international crisis with my own family and the death of my father, all with the backdrop of COVID.

The work itself is inspired by the working class experience, but it’s also a comment on how we get to decide what we are and how we’re defined, and we get to choose what we do to prove these things.

The original recording was contractually impossible to ever share again, so we re-recorded it in a working men’s club with jobbing (albeit world class) players. In many ways it’s a record that feels like it shouldn’t exist, which is why we’re all so happy that it does.

“I like to work with a variety of instruments and set ups,” says Mark Van Hoen, sometimes known as Locust or Autocreation but here working under his own name on the excellent Plan For A Miracle, his first physical release of solo music since 2018’s Invisible Threads. ”Sometimes it’s literally in my studio, with all the hardware electronics available. Sometimes the laptop, using software instruments. Some of the tracks on this record were recorded in the desert (Joshua Tree) using a 4-track tape machine and small modular synthesiser set up. Each track was recorded in different location using different instruments, which accounts for the distinction between each piece. It’s also about my own reaction to my environment, and what’s going on in my life at the time.”

The Croydon-born Van Hoen started musical life in the early 1990s, signing for R&S records in 1993 but developing his own, myriad and distinctive style across a range of releases on Touch, Editions Mego and other labels, using a battery of instruments, including analogue synthesizers and taking a number of different approaches to recording, rather than ploughing a single sonic furrow. He has worked on a number of collaborations, including with Nick Holton and Neil Halstead of Slowdive, under the moniker of Black Hearted Brother - their Stars Are Our Home was released in 2013. “I have known Neil Halstead since 1992,” says Van Hoen. “He shared a house with me for a couple of years, and the music I was making and listening to along with clubs I was attending had an influence particularly on Pygmalion, the final Slowdive album on Creation.”

Each track on Plan For A Miracle does indeed sound like a world unto itself, a mini-environment, a weather condition, an ecosystem created for the moment. It’s a collection of tracks recorded over the past few years, released on Bandcamp - despite his apparent absence, Van Hoen works constantly. Opener “Climates”, in its exquisite limpidity, feels like a homage to Brian Eno, one of his most formative influences in his teen years, commencing with Music For Films, which he bought in 1979. “This Is For Them”, feels like a ghostlike throwback to early drum & bass or electronica, reminiscent of his own, earliest outings. “There have been a number of requests from labels to make some more music like my very early releases on R&S,” says Van Hoen. “This is part of ‘letting go’ and realising that there’s nothing less creative about going back to those styles again.”

“Pencil Of Spheres” is something else again, a magnificent, imaginary glass structure, shimmering, refracting, without visible means of suspension, a thing of impossible beauty. “Electric Lights” evokes an abandoned fairground, its lights still pulsating, its music lingering. “The Underpass”, meanwhile, insofar as it reminds of anything at all, is faintly reminiscent of Cluster or Neu’s! West German ambience, the urban mundane rendered magical, the sodium lights, the whitewashed walls. The reverberant, faintly oriental chimes of “Insight” transport us yet again, burgeoning and intensifying.

The landscapes, the skyscapes rendered on Plan For A Miracle feel unpopulated as a rule - but when he does introduce vocal elements, Van Hoen has a history of doing so to spectacular effect - think of “Real Love” from 1998’s Playing With Time, the seductive intonation of its title recurring throughout like a series of massive holograms, echoing, stuttering, breaking up, surging. Here, there are just the faintest of vocals, barely distinct, disquieting. “There’s been a bit of a game changer in recent times,” explains Van Hoen. “AI software that enables you to extract vocals and instrument parts from virtually any recording. That means sampling individual parts from existing sources is no longer limited to the original mix exposing certain parts soloed. The vocal parts I use are from multiple sources and often pitch shifted altered rhythmically and melodically.“ There’s further vocal chatter on “I Really Do”, proceeding at a faster pace as if giving chase, or being pursued - distant, enigmatic. “The Music”, meanwhile, its beat tolling, lost in its own fog of static, features a curious intonation, like the ghost of a lost Walker Brother.

Sadly, the album’s title is in reference to a personal tragedy on Van Hoen’s part - the loss of his wife. Titles such as “I Won’t Give Up”, which faintly reminds of another Eno masterpiece, Another Green World, in its nautical hurly-bury, or the pastoral strains of “Mrs Who”, heavily clouded with sadness, seem to allude to this. “In fact the record was recorded entirely before she passed away,” says Van Hoen, “most of it before she even became very ill. The title was given to the album when it started to look like she wasn’t going to make it beyond a few months. It was something Osho said - “plan for a miracle” - so it was a statement of hope. Unfortunately it was not to be.” Although the album is non-thematic, non-specific in its atmospheres, sound paintings, elegant structures it most certainly stands as a magnificent monument to Osho’s memory.

-David Stubbs.

Fold producer Rob Glassett dropped some cheeky garage, dub and tech inspired by his love of pirate radio last time out on this label, and now looks to a deep house sound for the quick follow-up. 'My Phantasy' (Yh Yh edit) is a sensitive sound with a gently tumbling bassline and dusty drums swagger that is infused with a beautiful r&b vocal that has a filtered future sheen that recalls The Weeknd. 'UK $lizzy' is another fresh sound that this time borrows a trap aesthetic for the vocal and works it into a kinetic garage groove that's rich in percussion and doused in late-night love.

Manonmars’ 3rd album sees him at his most amorphous and psychedelic, at points sharper and laser focused, and at others more blurred and impressionistic than his previous records. Many of the core players remain the same, all of the production is once again handled by O$VMV$M (the duo of Neek and Amos Childs of Jabu) while Paulina Korobkiewicz (also of Young Echo) makes a return handling both the album’s cover artwork and contributing a series of diaristic field recordings and voice notes.

‘The project references movies, cartoons, fictional characters and video games, among other things. The album title is open to interpretation but all of these elements are forms of visual entertainment which have their own unique ability to transcend things like language barriers and cultural divides. The visual element is key because those details bridge the gap on a communicative level.’ - Manonmars

The album blends abstract, blurred braggadocio with more immediate personal details such as on ‘Volcanic Shield’ a posse cut of sorts featuring Bristol improv luminary Dali de Saint Paul and Franco Franco (½ of cyborg rap duo Kinlaw & Franco Franco) - where Mars recalls;

‘Memories of brighter days, happy meal hit the spot
Mum was spinning vinyl playing Super Ape or Pressure Drop
I would spend the weekend with the Turkish mandem on the block
single parent household, mum was studying or on the job
money came and went always was an on and off
made it back from school time to see what’s on the box’


The beat fades away to leave one of Korobkiewicz’s recordings of Mars’ mum talking about her life in London in the 80s, spending her money on reggae records as an ambient chord fades in like an echo of a jungle intro – stretching out as a link between generations of UK music.

The production by and large is brighter and more kinetic than earlier Manonmars records – with O$VMV$M drawing on everything from modern underground rap and drill through to jazz and acid ambient passages.

London is also a central character here, bustling and constantly shifting, either when bleeding in through field recordings, or as an ever-present backdrop in the lyrics;

‘I’m a fusion of Tippa Irie and Topper Harley
Hit the target like the black Atari
I dropped a tab now shit’s A Scanner Darkly
Got the munchies, Imma yam a sarnie
Pour the Wray and Ting like man at Carni
Exit Peckham Rye and turn left, walk past Hannah Barry
Get your (w)raps up like its January’

‘I've always considered London my home, despite spending some time in the South West of England too. My mum had been living in London for 25 years (...) That was a pretty big deal in some ways because it removed us from multicultural society during the period which overlapped with my teenage years. (...) I never got used to how quiet it was in the countryside (...) Bristol was the closest city to where we lived and it was through travelling there and making connections that I became involved in making music and playing gigs.’ - Manonmars

Mars’ practice as a painter (under his given name Jack Martyn Richardson) and photographer also loom heavy over the album, he cites Paul Verhoeven, Abdul Mati Klariwein and H.R Giger as influences – as well as Miles Davis, Drakeo the Ruler and DJ Rashad.

As with much of Richardson’s work the raps at times feel blurred to a point of almost inscrutability, creating a distance between the audience and himself. A process that ties into his visual work and the way he experiences the world as mainly abstract colour without his glasses. He explores this further in an ongoing visual collaboration with Korobkiewicz, ‘Fun and Games’ which serves as a visual archive of one of London's largest and oldest travelling fairgrounds.

‘I was diagnosed with very severe short-sightedness at the age of seven. I remember my early formative years as visually blurred. Some of my photography reflects this experience of partial vision and uncertainty, referencing memory and perception rather than fixed representation.’

Manonmars’ first public outing as a rapper was at a Young Echo radio event, broadcast shambolically from a practice room just off Jamaica street, Bristol in 2011, as much as things have moved on both stylistically and in terms of focus - strong links back to the city remain a key foundation throughout the collaborations and guest appearances.

‘I have no problem with being an outsider looking in. One of the things I enjoy about London is the anonymity (...) it's easy to be a stranger here when so much is happening. I feel like thats more valuable than people may realise.’

Based out of Brighton, UK, Murmurations have been steadily carving their path as an essential label for distinctive dancefloor moods. The fourth record on the imprint is the launch of a new series titled 'Flock', focusing on bringing different artists together who share similar visions and tastes. Volume one features Evasive frontman Rob Pearson with Paul Donton and label founder Leo Christopher on the A-side. On the flip, you have rising Manchester talent Huw Shipps and Bubble resident The Adventures Of Dogman. This amalgamation of producers has materialised into a record that focuses on nostalgic tech house textures, infused with modern elements and deep, dub tones.

First up is Rob Pearson & Paul Donton's excursion, 'Ideas Abstract'. Slinky drums pave the way, as pensive vocals circulate around the distinct and perky drive of the track. The aptly named 'Underground' from Murmurations boss Leo Christopher teases a more mysterious energy, with pulsating bass in combination with tight drum arrangements. The emerging producer Huw Shipps kicks off the B-side with a playful outing; quirky elements splash in and out throughout the track. Finishing off the release is dancefloor heater 'Cruising Around On A Pair Of Naughty Pennies', chunky and driven as it moves, ready to do the damage, keeping the club locked in.

The Murmurations curation thus far has seen each release shine bright, with timeless music for the club, no-nonsense, heads-down action, and long may that continue.

2026 Repress

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

A journey made of shared glances and chance encounters, born over glasses of passito wine and memories of a summer that tasted like the sea.
“You Only You” is Alex Farolfi’s latest sonic vision—a musical story dedicated to whoever lives in our "happy place", that safe haven we always return to when we need to find ourselves.
A true pillar of Italy’s “Radio Deejay” Alex Farolfi is a household name in the Italian radio and dance music scene. His career is packed with international hits and major collaborations: The Tamperer feat. Maya: Hit No. 1 in the UK and across Europe with the global smash "Feel It", followed by the Top 10 hits "If You Buy This Record" and "Hammer To The Heart", following his recent singles "Time Won’t Wait" and "Loving This New Feeling,"
Alex Farolfi is back with his unmistakable signature sound in "You Only You."

Steve Bug and Pornbugs team up on Behind The Glass / On The Swing with remixes from Mihai Popoviciu and Markus Homm.

Unsung House hero, Steve Bug has been there and done it all. Arguably Germany’s most important pioneer, his label Poker Flat has been an epoch-defining imprint. Celebrating 20 years of Bondage Pornbugs are mixing in different circles with recent releases for Selador and Acker Dub, showcasing their crossover appeal with a new generation of DJs.

Opening with ‘On The Swing’ we are delighted by classic deep vibes with a modern twist. Grooevsome and warm, this will get the floor going anywhere in the world. On remix duties, Mihai Popoviciu drops his trademark style, smoothing out the bumps for a deeper ride.

Next up, ‘Behind The Glass’ takes a similar path. Soulful warmth exudes from the speakers as the bumpy bass and echoing keys mark time. Reaching a crescendo with muted acid undertones in the second half keeps attention high and the dancefloor full and happy. For his remix, Markus Homm takes it deeper with shades of Detroit. Liquid cool for the later floors.

Immerse yourself once again in the worlds of Princess Mononoke and Spirited Away, the two Studio Ghibli masterpieces created by Hayao Miyazaki and set to music by Joe Hisaishi, in this new original production for solo piano!



Based on the official piano scores by the original composer of the Studio Ghibli films, Joe Hisaishi, this album is a new journey of discovery into the two beloved worlds of Hayao Miyazaki, performed by pianist Nicolas Horvath, a Steinway & Sons artist renowned as a first-rate interpretor of composers such as Philip Glass, Franz Liszt, Claude Debussy, and Eric Satie.

The album features a total of 26 tracks from the two cult films Princess Mononoke (Mononoke Hime) and Spirited Away (Sen to Chihiro no Kamikakushi), composed by Joe Hisaishi.

Radhika Meera Dade: “Ever since I entered this realm, music has surrounded me in every way possible. The sounds of magic have been nourishing my soul since birth, the first memories I have as a young child are listening to my dad’s eclectic vinyl collection. I feel so lucky to have been exposed to such a range of music at a really young age: artists from Alice Coltrane to The Go-Betweens, all of these musicians have subconsciously and consciously inspired me musically in many different ways”.

Glass Modern is very proud to present the debut album by Radhika Meera Dade. Cine-Pop is a collection of songs that flow gently and easily in and out of each other - a suite, a short film, everything an album should be. Coming in at 33.3 minutes, it’s the perfect length for an album, it doesn’t short change you, it doesn’t stay too long - it’s designed to be played in one sitting. It’s like being in a friend’s house and noticing the things that are most important in their life - objects, family portraits, records, musical equipment, their curated accumulation. It reflects so many things - culture, community, fandom and the incredible bond between Radhika and her father, Sushil, the Future Pilot AKA. The record spans generations and continents but its home is always Radhika and the family jams she made with Sushil in various garages, bedrooms and garden dens - her soaring voice and love of all kinds of music from Bollywood to Goth Pop to The Glasgow School. The songs are collected from memory and the immediacy of time - one goes all the way back to her 10 year old self penning Future Me, an eco anthem. In different moments other musicians appear - most notably key collaborator, Eric MacDonald, on hazy synth and keys, and Radhika’s mother Vinita, who has a gorgeous voice too. The Glasgow School is very present - Mitch Mitchell (The Pastels) , Gerard Love (Lightships/ ex-Teenage Fanclub) and Tracyanne Campbell (Camera Obscura) all bring their casual magic to the table. Cine-Pop, mostly made in Glasgow at La Chunky Studio with the excellent Colin McGeogh (who also contributes flute, keys and electronics) is a one-off. It’s unrepeatable - there, gone. It’s the world through the eyes of a dazzling young Indo-Scottish woman. Everything she is has gone into it, is part of it and is there for a reason. Following on from the first single, Starry Eyes, which was played multiple times on BBC 6Music and other stations, other singles to be released from the album include Feline Bandits plus a version of the Strawberry Switchblade classic Since Yesterday. Radhika will also be collaborating with Glasgow-based film maker, Laura Meek, on promos and the plan is to play live throughout the year.

British alt-rock favourites A return with PRANG, their first studio album in over 20 years, released via Cooking Vinyl. Sparked by the effervescent lead single "Hello Sunshine," the album finds the band rediscovering their identity with the carefree spirit and stylish sloppiness that defined their early days. Written and recorded free from expectation or pressure, PRANG is a vibrant, hook-laden reaffirmation of A"s enduring appeal - balancing punchy, riff-driven anthems with heartfelt, soul-baring moments. Frontman Jason Perry, now a Grammy Award-winning producer known for his work with Don Broco, McFly and Kids In Glass Houses, helms production to preserve the band"s DIY ethos and singular personality. Lyrically, PRANG is A"s most open and reflective work to date. Drawing on two decades of life experience, Perry explores gratitude, resilience, mental health and friendship with warmth and disarming honesty. The result is an album that feels both nostalgic and strikingly modern - each track its own colourful island, yet unmistakably A. Twenty years in the making, PRANG is more than a comeback; it"s a rebirth. Cathartic, melodic and life-affirming, it marks a bold new chapter for one of Britain"s most beloved rock bands.

Fog On Mirror Glass introduces a new aesthetic amongst Donald Beaman albums. After four albums of varied full-band arrangements, this album emerged as an idea to present solo performances in conversation with full-band work. The bulk of the songs were recorded in the same place they were written: Beaman’s living room. Long time bandmate and producer Kirt Lind set up a makeshift studio at Beaman’s house to record the guitar parts in the same room where they were written, using the same guitars on which they were first played.

Unfurling with a measured pace, the resulting album combines elegiac lyrics with elemental arrangements played with an almost jazz-like reverential expressiveness, calling to mind the works of Cass McCombs, Will Oldham, and Jake Xerxes Fussell. Album opener “Glass Bottom Boat” sets the tone for the album with just Beaman and his guitar – written during the final months of a decade-long stay in New York City, the song was finished upon his arrival back in California. Meanwhile the title track, long a staple in live sets, lands near the middle of the album to recalibrate the mood, featuring the ghostly guitar work of longtime collaborator Ken Lovgren. “Old Universe” lifts things up a bit, propelled by the brushwork of drummer Michael Nalin and the jaunty bass playing of Kirt Lind. Finally, the album ends much the way it began, with Beaman and his guitar on album closer “Bamboo”.

“The dictionary definition of less is more.” - ---- Mojo
“His ability to carve universal empathy from mundane domesticity is remarkable.” - ---- RNR Magazine
“...a collection of evocative scenes and vivid emotions sung to sparse musical arrangements in Beaman’s distinctive sonorous tones” - Americana UK
“...pure and simmering, like a tattoo dedicated to a long lost friend, slightly fading from years in the sun, a memory that will always bring a tear in those quiet reflective moments.” - Psychedelic Baby Magazine

DOODSESKADER clearly haven’t had enough of redefining boundaries – they’ve only just gotten started. Tim De Gieter and Sigfried Burroughs return on April 3rd, 2026 with their third full-length album, The Change Is Me, a rollercoaster that can only be described as the unstable lovechild between witch house, hip-hop, industrial dream pop, and stadium rock that can’t decide if it wants to watch the world burn or shout from the rooftops that we need to save it. Their combination of grungy 90s melodies with distorted synths, sludgy bass, hard tuned vocals, rapping, singing, and explosions of undiluted rage at the current state of the world leave you wondering just exactly what it was you smoked last night, and if it was too much or not enough. The Change Is Me is an album that grabs you by the arm and asks if you’re ready to go on a grand adventure, then pulls you into its chaos before you can say “yes” or “no.”

Tim and Sigfried aren’t just breaking the boundaries between genres; they’re breaking out of their own Year cycle, a path they had laid out for themselves at the band’s inception in 2020. Up until now, the duo had set out to document their “journey to getting better” through writing one album each year: Year Zero (2020), Year One (2022), and most recently Year Two (2024). After spending eight months throughout 2024 and 2025 writing, recording, producing and mixing Year Three, the band scrapped the finished record entirely. Playing shows while simultaneously navigating the process of mixing Year Three created a sort of disconnect – the people that they were when they wrote that record and the people that playing shows made them become were no longer one and the same. “We’re people with faults and strengths, and we realized we needed to accept it. That’s equal parts bleak and liberating. If you’re so focused on self-improvement, you can’t even applaud yourself for how far you’ve come,” the band explains. “This project is meant to be a document of us and of the human condition, not a self-improvement handbook designed to keep us all stuck on what may or may not have happened to us or because of us in the past.”

DOODSESKADER chose instead to embark anew on a week-long creative journey in Tim’s own Much Luv Studio with one goal in mind: to make an album that captures who they are right now. Finally writing everything together in the same room for the first time in years, the process of bringing "The Change Is Me" to life was captured by Diana Lungu in their latest documentary, "Now I Know You See Me", out December 2nd, 2025.

"The Change Is Me" marks the beginning of DOODSESKADER’s shift into a more positive era, both musically and conceptually. Over the course of the 40-minute record we hear the two friends unite in a fight against a world that grows more and more disappointing, a concept made crystal clear in tracks like “Celebrity Culture Simp Farm,” “It Keeps On Stinging,” and of course the album’s epic closer “Suffering In Technicolor.” While their previous albums saw them trying to outrun their pasts and arrive at a better version of themselves, here the search for some external or internal revelation that will “make them better” is no more. It’s been replaced by the realization that change isn’t something we force: it’s gradual, and more importantly, it’s something that’s already there – we just need to reach out and accept it.

The band’s live appearances over the last several years have been instrumental in shaping their ideology. On stage is where the duo find connection; not only with the audience, but also with each other. Their sold-out release shows at Ancienne Belgique (2022) and VierNulVier (2024) have proven that they are one of Belgium’s must-see acts. Abroad, their energy has translated into a month-long EU/UK tour with French band Alcest in 2024, as well as appearances at festivals such as Roadburn Festival (NL), Eurosonic (NL), Hellfest (FR), Mystic Fest (PL), Jera On Air (NL), ArcTanGent (UK), Fluff Fest (CZ) and more.

"The Change Is Me" is out April 3rd, 2026 on DOODSESKADER’s own label, 45 Records.

Kezia Gill hat sich schnell zu einer der renommiertesten Country-Künstlerinnen Großbritanniens entwickelt und wird für ihre kraftvolle Stimme sowie die Qualität und Ehrlichkeit ihrer Songtexte gefeiert. Sie ist bereits ausgiebig in ganz Großbritannien aufgetreten und hat bei Festivals in Europa, den USA und Australien gespielt. Dabei setzt sie weiterhin neue Maßstäbe und vertritt stolz die britische Country- und Roots-Musik auf der internationalen Bühne.

Allein im Jahr 2025 trat sie beim renommierten Country 2 Country Festival in London und Glasgow auf, gefolgt von weiteren großen Festivals (Splendour, The Long Road). Außerdem besuchte sie Frankreich, Dänemark und die Niederlande und war zuletzt Co-Headliner einer Tournee mit Imogen Clark in Australien. Die vorherige Single „Dublin's Outta Whiskey“ wurde von Bob Harris in der Country Show auf BBC Radio 2 vorgestellt und sofort bei Planet Rock und Absolute Radio Country in die A-Liste aufgenommen. Sie markierte auch den Beginn einer neuen Zusammenarbeit mit Snakefarm, der weltweiten Heimat von Marty Stuart, Mark Morton und Austin Meade und dem britischen Label für einige der größten Namen der Country-Musik in den USA und Kanada (Eric Church, Brothers Osborne, Darius Rucker, Josh Ross usw.). Die Single „If Heaven Has A Honkytonk”, eine von Kezia’s Lieblingskompositionen wurde von der US-Künstlerin Alyssa Bonagura mitgeschrieben, produziert und gemischt und ist eine von Herzen kommende Hommage an das reiche Erbe der Country-Musik. Kezia wird im Februar 2026 auch eine Headliner-Tournee durch Großbritannien starten, unterstützt von Bonagura.

„All On Red“ ist ein mutiger Neuanfang in der Karriere einer Künstlerin, die bereits Auszeichnungen und Nominierungen der British Country Music Association („Entertainer of the Year“ / „UK Female Artist of the Year“) erhalten hat und sich für ein Musikgenre einsetzt, das vor allem in Großbritannien stark im Kommen ist.

In 2016, a year after the 50th entry in the long-running series, none other but the iconic Detroit artist, DJ and producer Moodymann stepped up to helm the next landmark edition of DJ-Kicks, his first ever multi-artist DJ mix compilation. Following !K7's 40 th anniversary, this classic DJ-Kicks mix is now being repressed on coke bottle clear vinyl.
Born Kenny Dixon Jr., Moodymann is a one-of-a-kind electronic music icon, hailing from, and wholly synonymous with the Motor City. He is an outspoken, impossibly charismatic artist who has been putting a distinctive and soulful stamp on house and techno since the early 90s. Melting together jazz, funk, soul, blues and rock in captivating ways, he is responsible for some of electronic music’s most definitive tracks, EPs and LPs on labels like Planet E, Peacefrog and his own KDJ and Mahogani Music imprints. As able to serve up the sweetest and most sensual sounds as he is the darkest and most depraved grooves, his own unique voice and stream of conscious musings infuse expertly sought-out samples for music that is decisively alive and authentic.

Across 75 minutes and 30 tracks, Moodymann does not disappoint: despite being a notorious vinyl fetishist, Dixon’s aim is to present music of quality, not to one-up fellow collectors. Rather than serving up ridiculously rare or hard- to-find records, he instead focuses on creating a libidinous, blues-drenched mood that takes in heart-breaking soul, gorgeous hip-hop and love-fuelled house.

In addition to cuts from his own creative circle, the mix features 11 exclusive Moodymann edits. Like everything Kenny Dixon Jr. touches, his DJ-Kicks showcases the taste, skill, and soul of a dance music original.

Tragic Tiger's Sad Meltdown is Heavenly aka Tiger Hutchence-Geldof's debut album of sorts, cut from cassette tapes of rehearsals mixed with snippets of field recordings. Recorded with contributions from Nicholas Allbrook (Pond), Scarlett Stevens (San Cisco), India Rose & Jacob Diamond.

"I made this cassette in the living room of our house in Fremantle, a seaside town in Western Australia. I had always been shy to sing with others but moving across the world and my ex-boyfriend Nick had given me some bravery. Something about living closer to nature meant I felt creative and open hearted. It was as if the wide open landscape of Australia had finally given my heart enough space to open properly. The recordings are actually just recordings of our rehearsals, I never feel set in how song is meant to be so they usually just come out of me in the moment. My friends playing along with me are luckily all very empathic players and we found a way to play with one another without any structure or plan. It was really moving to create with so much freedom and understanding. Most of the songs are about my sister Peaches who I lost as a teenager so singing them aloud felt very potent but my band always made me feel held"

Jeder, der sich ein wenig mit aktueller elektronischer Musik auskennt, hat den Namen Mechatok, alias Emir Timur Tokdemir, schon einmal gehört. Er machte sich einen Namen durch weltweite Tourneen und eine Reihe von Veröffentlichungen und Kooperationen mit einigen der innovativsten Künstler*innen des letzten Jahrzehnts - darunter Drain Gang (Bladee, Ecco2k, Whitearmor, Thaiboy Digital), Charli XCX und Lorenzo Senni. Oft zurückhaltend im Ausdruck, verbreiteten sich diese Arbeiten sowohl in der Underground-Szene als auch im angrenzenden Mainstream und prägten dabei subtil die Entwicklung von experimentellem Pop und Clubmusik. Tokdemir versteht Mechatok als eine Art Avatar, der es ihm ermöglicht, neue Facetten seiner selbst zu erforschen und dem kreativen Prozess Offenheit und Freiheit zu verleihen. Als Inspirationsquellen nennt er Künstler wie Daft Punk und Gorillaz: zeitlose Figuren, die das Konzept des künstlerischen Projekts selbst zu einem Kunstwerk erhoben. Nach Jahren der Klangforschung als Mechatok präsentiert er nun "Wide Awake" - sein fast schon kaleidoskopisches Debüt-Soloalbum. Die Platte kristallisiert eine sehr persönliche Reise heraus und etabliert Mechatok nicht nur als herausragenden Kollaborateur, sondern als unbestreitbaren Solo-Künstler, der seine Vision voll im Griff hat. Durch die Mechatok-Persona findet er Ausdrucksformen, die paradoxerweise intimer - und zeitloser - wirken. Alles auf "Wide Awake" wird durch eine verspielte, aber zutiefst intuitive Klangwelt und eine Reihe haikuartiger, zentraler lyrischer Themen zusammengehalten. Das Album stellt Fragen nach der Möglichkeit von Authentizität und dem Status von Selbstausdruck im Zeitalter algorithmischer Vereinheitlichung. Mechatok vermeidet utopische Lösungen und entscheidet sich stattdessen dafür, mit seltsamen Mehrdeutigkeiten zu leben und deren schöpferisches Potenzial zu nutzen. Mit Features von Bladee, Ecco2k, Isabella Lovestory, Tohji und anderen deckt "Wide Awake" ein breites emotionales und stilistisches Spektrum ab, bleibt dabei aber stets durch Tokdemirs präzise Vision gefiltert. Das Ergebnis ist ein sorgfältig komponiertes elektronisches Pop-Opus - eine Sammlung süchtig machender, persönlicher Mantras; Fragmente, die gleichzeitig flüchtig und dauerhaft erscheinen.

Following a string of acclaimed collaborations, including Agua Dulce with percussionist Laura Robles and Mapambazuko alongside Congolese guitarist Titi Bakorta, Peruvian artist Alejandra Cárdenas (aka Ale Hop) returns with her most personal work to date yet, A Body Like a Home. Marking her first album under her birth name, the project is a sonic memoir exploring the tangled realms of trauma, recovery, and love through autobiographical soundscapes.
A Body Like a Home is the artist at her most exposed. Comprising 13 songs and 15 poems, the album sees her set aside collaborative fusions for solo catharsis, channeling years of turbulence - intergenerational scars left by colonialism, racism, domestic violence, and alcoholism - into a work that oscillates between brutality and tenderness. Cárdenas states: “I grew up under Alberto Fujimori’s dictatorship, when a veil of hopelessness seemed to settle over everything. This is the backdrop of the album. The songs and poems trace the inevitable loop between private wounds - addiction, domestic violence, fractured intimacy - and Peru’s national scars, carved by colonialism. It’s not a straight story or a resolution. Writing and composing became a ritual of digging for meaning, into what’s buried, disguised, or renamed, until the body itself became a living archive.
” At the heart of the album is Cárdenas’s own voice - part witness, part confessor - reciting over layers of electric guitars, electronic textures, the haunting violin of Mexican musician Gibrana Cervantes, and a collage of field recordings, from rainfall, muffled whispers, broken glass, to archival protest footage from Peru. The result is a work that resonates like a diary written in sound.
The first single, "Motherland", is a searing testimony where Cárdenas voice cracks under the weight of history and personal loss. Amid a storm of distorted guitars, she traces the cyclical legacies of colonialism, from state massacres branding Indigenous bodies as “terrorists” to the spiral of addiction as an unavoidable future. The lyrics draw parallels between political and domestic violence: a mother’s drunken knife pressed to her chest, and a motherland where racism is currency. She utters: “sacrifice demands a body.” Yet, amid the wreckage, a willful grip on love and faith persists. Ultimately, A Body Like a Home is a document of transformation. Tracks like "Evangelina" and the title piece "A Body Like a Home" hold space for resilience, spirituality, and love, while "Early Road" and "Going South" thread subtle nods to Peruvian folklore, opening up bright vignettes into a sense of belonging.
The poetry chapbook accompanying A Body Like a Home (five of its pieces are also recited on the album) extends the work, building a parallel architecture. Oscillating between the documentary and the mythic, the intimate and the forensic, the profane and the oniric, these poems practice a theology of the ordinary, where everyday objects - cameras, knives, moth-eaten cotton - are charged withspiritual and historical weight. Here, the body is land, house, battlefield, collective pain, geological territory; and trauma is, in contrast, archival, cellular, ritualistic, inherited. Read alongside the music, the stories refract across two mediums: songs give them breath and poems give them bone.

Lukah’s unprecedented trajectory shatters new heights with A Lost Language Found, his most thoughtful, sonically-diverse record yet. With the multiplatinum OG Statik Selektah on production duties, Lukah’s by now iconic, razor-sharp pen-game goes toe-to-toe with some of the best. Trading verses with Houston innovator Bun B, Memphis legend 8 Ball, and the larger than life Killer Mike, all parties involved operate at the peak of their skill. The first of what will be multiple collaborations with heavyweight hip-hop producers, this new LP establishes what we already knew in our hearts: Lukah is here to take over.

The stage set to deliver this latest opus is intensely personal: in the heart of his community, Lukah holds court with his trusted fellows at his great grandmother’s house in French Fort, Memphis, a historically black neighborhood long rec-ognized as a stately, proud vision of Black suburbia in a city still healing from deep racial trauma. Recently laid to rest in Elmwood Cemetery, the pain and strength of mourning her influence is present in the deep lyrics of A Lost Lan-guage Found, where Lukah traces not just his own legacy, but that of the linguistically rich and diverse dialects of his people. The cover image depicts the game room of the house, a place that once hosted civil rights leaders and revolu-tionaries, now a monument both to a history of leadership and to its future. For the first time, Lukah himself appears on the album art to mark this significant occasion, flanked by his partners, the symbolic source of knowledge in his hand. Listening to Lukah spit has always been a privilege and a revelation. His artistic power lies in uncovering secrets thru torrents of lucid, poetic rhymes. The listener is invited to share in this bountiful feast. Witness the real god expansion.

The album is available as a limited edition vinyl release of 500 copies in gatefold jacket.

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

Perfect Location Records in partnership with the one and only Ear Candy Music is proud to announce 00-04, a compilation of early works by Bevan Smith aka Signer, New Zealand’s most prominent name in ambient electronica and dub techno.

Smith has been producing emotive chords, pop ambience, and thick dub-ospheres since before the turn of the century. His output is prolific, ranging from various solo monikers (Aspen, Introverted Dancefloor) and collaborations (Skallander, Feeling Flying) to unique projects (Touching the Void soundtrack, Isolated Dreams’ 24 EPs and counting). A rare artist with indie crossover appeal thanks to the 2004 Signer album The New Face of Smiling released on Carpark Records (Toro Y Moi, Beach House, Dan Deacon, Montag), Smith has played as a member of bands such as The Ruby Suns (Sub Pop), Over the Atlantic (Involve), and Glass Vaults (JUKBOXR).

Encompassing field recordings and evoking a cloudy coastal sky, 00-04 is a collection of mostly unheard material written in the early 2000s as Smith navigated the chaos and stress of living in London just after 9/11. A portion of this release may be recognisable to those familiar with the Involve catalog––“Drone Early,” for example, is an alternative version to the dub giant “1201A”––and to those acquainted with Signer’s 2002 Low Light Dreams (Carpark/Involve), an iconic album composed of processed guitar, dub-influenced bass, and synth drones; as if that doesn’t sound appealing enough, Low Light Dreams is home to “Building Memories Without You,” an unforgettably engulfing track featured on Fact Magazine’s 25 Best Dub Techno Tracks of All Time.

00-04 is a (re)issue both nostalgic and new, familiar yet unknown, fresh out of the archive. It possesses the Low Light Dreams aural palette while offering a carefully curated array of never before heard icy-cold moods, soothing minimalism, and shyly optimistic melodies, all glazed with recently finalized additions.

The Complete Piano Etudes of Philip Glass available for the first time on vinyl, housed in a 4LP Box set (also available as a 2CD format).



After more than thirty years of working with and performing the great repertoire, the music of Philip Glass has, in a way, almost revolutionized my life as a musician,” confides Vanessa Wagner.

An emblematic artist on the French music scene, winner of a Victoire de la musique award and director of the Chambord and Giverny festivals, Vanessa Wagner is as inspired in her interpretation of Mozart, Debussy, Tchaikovsky and Dusapin as she is alongside Murcof and Rone.

With her innovative and daring approach, she has established herself as a major influence on the classical music landscape, crossing boundaries and blazing inspiring trails.

A tireless pioneer of new repertoires, she has been exploring the repertoire of minimalist composers for several years. For InFiné, she has dedicated 4 albums to the major figures of this movement, John Adams, Meredith Monk, Brian Eno, Ryūichi Sakamoto, as well as to the new generation Caroline Shaw, Bryce Dessner and Nico Muhly.

After giving numerous concerts based on these works, she felt the need to record in their entirety this essential monument in the history of music, which bridges the gap between the 20th and 21st centuries: Philip Glass's 20 Etudes for piano
by Philip Glass.
His approach helps to place these two books in the great repertoire, alongside the great cycles of studies by Ligeti, Debussy, Dusapin, and before them, Chopin and Liszt.

Philip Glass was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Dissatisfied with much of what was then considered modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland, Virgil Thomson and Quincy Jones) and worked closely with sitar virtuoso and composer Ravi Shankar.

The thread linking Philip Glass to Vanessa Wagner may be as simple as a detail: a moment, a pedagogy, a way of looking at the piano. In Words Without Music, Glass recalls his apprenticeship with Nadia Boulanger in Paris - a lesson in rigorous received just as the Nouvelle Vague was about to shatter the conventions of cinema the conventions of cinema, just as the composers of the minimalist movement had done with with the language of music. Nurtured by Ravel and Debussy, the great French pedagogue disciplined yet inquisitive minds, capable of embracing modernity without denying modernity without denying their heritage.

Swiss shapeshifter Elsa surfaces on Punctuality for the first time, marking the label’s seventh release with a debut EP that dives deep and swims sideways through an eclectic milieu of club influences.

Across the five tracks on Web Glow, there are nods to turn-of-the-century tech house, liquid D&B, broken IDM, psy-laced trance, and modern tek mutations. Subtle wubs ripple under the surface, low-end pressure coils tight, and meticulous sound design binds the tracks into a fully realized vision of Elsa’s forward-thinking sound. Enter the unfolding.

Roza Terenzi steps up to remix “Web Glow,” reanimating the track as a skeletal early-morning stepper—the mood is giving sizzling dubbed-out vocal wisps, pulsing subs, and stripped-back drums. “Groupie” notches up the BPM but keeps things fluid with aquatic atmospherix, jittering FX, and drums that skid out and under rolling basslines.

“Fortune Cookie” flashes uk-tinged tech house with shimmering shards of SFX, resplendent with stuttering kicks, glassy pads, and sultry textures. The halftime jungle-IDM stylings of “No Ads” round off the EP in a haze of fractured breaks and dubbed-out atmospherics. A murky, magnetic debut on Punctuality—Elsa sketches out a soundworld all her own. Dive in and catch it.

After turning heads with their much-loved "Monaco EP" on Roy Davis Jr.'s legendary Undaground Therapy Muzik, the duo is back with a release that bridges deep-rooted house sensibilities and forward-thinking production.
To mark their 10-year anniversary, the boys return to their label roots with a 5-track vinyl-only EP - full of dusty samples, deep grooves & nods to early French house.

Berlin-Hamburg duo Session Victim return to the ever-reliable Delusions Of Grandeur imprint with Chapter Two of their Sidequests trilogy, marking yet another high point in their almost twenty year journey through heartfelt, sample-rich music. Overflowing with analog warmth, sundrenched textures and irresistible grooves, the release also features a stellar remix from label cofounder and deep house pioneer Jimpster who kicks off the EP. Here he takes Behind The Glass into spaced out house-not-house territory. With crisp drum programming, trademark Rhodes, and subtle pads that build over time, his version delivers that late-night sophistication he's known for—steering the downtempo original in a clubbier direction without losing its blissed-out essence. Up next we have a brand new collaborative effort with long time friend, label mate and fellow sample nerd Nebraska. Make It Happen is a dusty, slo-mo house groove featuring delicate keys, euphoric strings and that unmistakable sense of journey. It’s just the kind of low-slung epic house they do best—intimate yet club-ready, nostalgic but never retro. Flipping over, Too Soft To Be Loud, another collaboration with Viken Arman, follows with a jazzy, almost samba-esque rhythm and swirling atmospherics. Loose percussion, catchy guitar riffs and Rhodes stabs collide with off-kilter dub FX and soft vocal snippets giving the track a laid-back, live-band feel that harks back to their See You When You Get There era. Hubcap Candy dives deep into funk territory. Nebraska’s on point boogie bassline drives the track forward as crunchy drums and layers of synths create a dreamlike haze. It’s loopy, moody, and finds Session Victim at their very best. Closing out the EP we have the original of Behind The Glass, a headsy, beatdown piece that slowly unfolds over an unconventional brass-like bassline and delicate guitar textures, paying homage to the golden age of Trip Hop haziness and it’s pioneer turntable spirit. Blending crate-digging sensibilities with forward-thinking production, this latest release solidifies Session Victim’s reputation as genre-blurring tastemakers, and their chemistry with Delusions Of Grandeur remains as strong as ever

2025 Repress

FINALLY! The very first commercial release of two legendary remixes of Arthur Russell's "In The Light Of The Miracle". Both are widely regarded as transcendent masterpieces and very much befitting of the title “holy grails”.

These long-beloved mixes are the types you'd wish would last for eternity. With almost 30 minutes of music here, we very nearly get our desires granted. At last, these jaw-dropping mixes are widely available to every Arthur fan in the world. This is musical perfection.

The deep Loft classic "In The Light Of The Miracle" remained unreleased during Arthur's lifetime, finally discovered when Phillip Glass included the original version on Another Thought on Point Music in 1993. As Steve Knutson told us, when Another Thought was being put together, the plan was to release a companion album of remixes that was overseen by Steve D'Aquisto but the project only got as far as these two remixes of "In The Light Of The Miracle".

Some dodgy scans of some centre label designs suggest that Point Music might’ve been planning to release these on a 12" but it didn’t happen. The story goes that Gilles Peterson heard the remixes on a visit to the Point Music offices and wanted to release them on Talkin’ Loud. We’re not sure how many white label copies made it out into the wild, but again, these remixes didn’t make it to a proper release.

These remixes both extend and undeniably enhance the original, elevating it to new heights. The 13 minute remix on the A-side is by Danny Krivit & Tony Smith with editing duties performed by Tony Morgan. As ever with Arthur, the music is almost impossible to describe: is it Disco? Garage House? Avant Garde? None of these tags do full justice to its sheer majesty. You best just listen. Stretching out the original with some unbelievably great percussive elements, until we're in a deeply spiritual, otherworldly realm, it's just too beautiful for words. As many have claimed, it's the prototype for EVERYTHING.

The "Ponytail Club Mix (Part 1 & 2)", produced by Tony Morgan in the mid-90s, is in a more up-tempo style, with vocals higher in the mix, the BPM upped to 120 and the addition of a housey 4/4 kick drum. A 14 minute epic, you could say this is a more straight ahead "club-friendly" mix (but can things ever be that straightforward with Arthur?!) It also has some really interesting vocal parts not used in the other versions, including some vocals from guest poet Allen Ginsberg.

These remixes are part of the same original project that also produced the Another Thought album so it seems only right that they have a sleeve that matches. Thanks again to Janette Beckman for letting us use another of her photos of Arthur and the rest of the design follows what Margery Greenspan, Tina Lauffer and Michael Klotz did for Another Thought back in 1994.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year.

END[GER] Die Band Wednesday aus Asheville, North Carolina errichtet im Laufe der zehn Songs von "Rat Saw God" einen Schrein voller aufregender Details: Halb lustige, halb tragische Botschaften aus den Südstaaten, die sich klanglich irgendwo zwischen dem wimmernden Skuzz von Neunzigerjahre-Shoegaze und klassischem Country-Twang entfalten - mit verzerrter Pedal Steel und Frontfrau Karly Hartzman, die mit ihrer Stimme, den Lärm durchschneidet. Ein Song von Wednesday ist wie ein Quilt. Eine Kurzgeschichtensammlung, eine verschwommene Erinnerung, ein Flickenteppich aus Porträts des amerikanischen Südens, der disparate Momente einfängt und als Ganzes doch irgendwie einen Sinn ergibt. Karly Hartzman, die Songschreiberin, Sängerin, Gitarristin und Leiterin der Band, ist eine Geschichtensammlerin als auch eine Geschichtenerzählerin: Eine aufmerksame Beobachterin von Menschen und witzigen Bemerkungen. "Rat Saw God", das neue und beste Album des Quintetts aus Asheville, ist ekphrastisch, aber ebenso autobiografisch und vor allem sehr einfühlsam. Es wurde in den Monaten unmittelbar nach der Fertigstellung von dem zweiten Album der Band, "Twin Plagues", geschrieben und innerhalb einer Woche im Drop Of Sun Studio in Asheville aufgenommen. Die Songs auf "Rat Saw God" erzählen keine Epen, sondern das Alltägliche. Sie sind lebensnah, erzählen vom wahren Leben, sie sind verschwommen und chaotisch und seltsam zugleich - was Hartzmans eigenem Ethos entspricht: "Everyone's story is worthy. Literally every life story is worth writing down, because people are so fascinating." A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

Fred Armisen, long known as one of the most curious actor/comedian/musician/ producer/ author/all-round good guys in the business, likes unusual ways of entertaining people. Like this one: 100 Sound Effects is an album that can be used as a library, an industrial tool for your own entertainment projects, or simply for brain-stimulating deep listening. From basic sounds to more abstract scenarios, 100 Sound Effects is an album like no other!

The formative years of Hunter Thompson’s music as Akasha System were seeded and shaped by the shrouded meadows and wet woodlands of the Pacific Northwest: Sea Glass, Shadow Self, Echo Earth, Geomind. But pandemic flux flipped the script, prompting a migration to the monsoon tropics of Tampa. Heliocene ushers in a fresh chapter in the Akashic record, recasting the project’s precision synergy of cellular melody, holographic pads, spiral tribalism, and eco-futurist swing for a new solar age.

The album’s eight songs were recorded across 2023 and 2024, inspired by explorations of the many sanctuaries hidden in Florida’s ragged paradise: singing towers, ancient grottoes, emerald lagoons. From vortex house (“Purity Vector,” “Sun Particle”) to mirage electronica (“Haunted Planet,” “Soma Totem”) to hand drum divination (“Terraform Dream”), the sides flow, glow, and gleam, dialed in but dreaming out, tracing radiant waves of the eternal now.

“This album is a meditation to experience where and when you are, fully and wholly, regardless of where the path leads.”

LP comes with 24 page 8.5x11 full color booklet. In the blurred and memorial hallways of bygone time, to remember is to wander between the rooms of our own experiences, to appear and disappear, like a play of overlapping shadows. In music set drifting through the architecture of his own memories, Moses Brown weaves a story that oscillates between the past and the present, like a mason turning over stones to reconstruct his childhood home in this beautiful and disquieting soundtrack to growing up. On Stone Upon Stone, Moses' first solo LP attributed to his given name after several releases under the brilliant and despondent "Peace de Resistance" moniker, he moves sidelong into the realm of soundtracks with this score to the construction of his childhood home in a story spanning 1993-2023. Laid out in lush and provocative minimalist instrumentals, the album unfolds a story about the planning, partial construction, and dissolution of a home in constant state of becoming through the lens of its only child, coming of age under flux. Influenced by the approach of friends and collaborators Straw Man Army's OST to Charles Darwin's Voyage of the Beagle, Stone Upon Stone was originally intended as a soundtrack to a novel of the same name by Wieslaw Mysliwski, an epic set in Poland about a family's construction of a mausoleum. Struck by the story's parallels with his own family's project, he got the idea to complete the work as a personal narrative. Created from layers of different mellotron voices then separated, re-amplified, and recorded as if they were a sitting chamber orchestra, the music eerily blurs the line between human and synthetic, giving way to something akin to a memory with it's blurriness of fact and fiction. In the same spirit of association, this record is certainly influenced by other minimalists working within the confines of "soundtrack", like Philip Glass' North Star and the film work of Michael Nyman. But Brown's soundtrack works within its own peculiar depth of field, living in the listener's imagination, thriving in its own sense of loneliness, aspiration, and confusion that only childhood can evoke. Listeners will feel the entropy of aging in Stone Upon Stone, like a memoir in cascading tones, that sets it apart from so much else in DIY music, and rewards with repeated listens. For Fans of Philip Glass, Kali Malone, Julius Eastman, Mica Levi, Roedelius.

Limited 180g black vinyl (500 copies worldwide)
“Marcel Wave combine sharp-eyed Northern lyricism with DIY guitar-janglers rooted in a retro C86 aesthetic. Epic finale ‘Linoleum Floor’...is a gloriously bleak rumination on the horrors of enforced late-night hedonism worthy of prime Pulp” UNCUT
Marcel Wave write eulogies for tragic actresses, ancient riverbeds and concrete obscenity. Their inaugural sonic instalment ‘Something Looming’ is part trades club symphony, part itchy serenade, and part wistful lament. As their heady concoction of ‘Meades meets Pat-E-Smith meets Kirklees Borough Council’ gets prepped to be formally baptised on a dank stage near you, Upset the Rhythm and Feel It Records have dutifully stepped in to deliver its songbook to the masses on both sides of the pond.
Formed when Lindsay Corstorphine and Christopher Murphy of Sauna Youth and brethren Oliver and Patrick Fisher of Cold Pumas were summoned by northern ink-slinger Maike Hale-Jones, Marcel Wave’s debut offering is a walk through a smoke-filled pub with yellowing wallpaper and all eyes on you. It’s a chronicle of the death of the docklands, the decline of industry, of the high street, of civic pride, of civilisations, of hopes and dreams. As Hale-Jones delivers the bad news in her low, West Yorkshire brogue, Corstorphine adds the bells and whistles via the frantic pulsations of a wheezing Hohner organ in tandem with Fisher O’s rasping guitar. MW are completed by the throbbing basslines of Murphy and Fisher P’s fervent rhythms.
The title itself sets the tone for the listener. There’s a sense of foreboding in Hale-Jones’ lyrics which sit at the quintet’s core—elegiac, sardonic and piquant in equal measure. A mixture of narrative epilogues and inward paeans, her words weave tales across a broad thematic church. Crooked tales of urban renewal and the voices left behind are probed in ‘Barrow Boys’ and ‘Stop/Continue’ and are at the fore in ‘Where There’s Muck There’s Brass’ with its refrain lamenting ‘Concrete and slate shine in the rain, cities destroyed, nothing to gain’. In these lyrics, tower blocks loom over terraced houses with the same shadows that the Hollywood sign casts over Peg Entwistle before she takes her tragic leap. ‘Peg’ and ‘Elsie’ are both meditations on two different actresses with different fates crushed by the cut-throat trappings of showbusiness: ‘The mad hopes break, fragile as glass. She traded it all, for the cutting room floor.’ A snaking, existential dread also runs through the album, stated more obliquely in the otherwise poppier interludes of the title track ‘Something Looming’ and album opener ‘Bent Out of Shape’, and present too on the comparatively ramshackle ‘Discount Centre’, where Hale-Jones reports ‘On a mini bus on the outskirts of Enfield, I’m losing all of my spark’. On the album closing weeper ‘Linoleum Floor’, it is laid barer still—a keyboard-led reflection on the deflating nights out of our early-twenties.
Marcel Wave invites the listener to dance to society’s decline, and then to later weep into its lukewarm pint.

Repress alert! For the first time since its initial release in 2019, Voyage proudly present a repress of Huerta’s debut album Junipero. With copies changing hands on the second-hand market for £90, here’s a chance to own this cult classic!

Huerta’s debut album for Voyage is a righteous journey along the coast of California; a psychosomatic blend of melodic rhythm, natural sounds and ambient textures.

Recorded throughout 2019, Huerta combines a blissful wash of west coast inspired ambient with the more affable, rhythmic house cuts he has been previously known for. Drawing on the surrounding landscapes of his upbringing, Huerta’s ode to the Juniper tree is an immersive and introspective experience; a long player capable of taking you to an elevated state of mind.

Composed, arranged and recorded by Steve Huerta at Diesel Studios Berlin, 2019

Sleeve Design: Sam Donaldson

Transitioning from the successful 2 Years EP (O Sótão Records, 2023), Tiago Fonseca became an up and coming Producer and DJ based between Lisbon and Porto. On the back of gigs at some of the best clubs in the country, he also transitions from Tiago A.F. to TGZ (sounding Tigz) as his moniker for what’s to come ahead. Long Shape, his latest project, is O Sótão’s first vinyl release, and the first to be delivered with higher standards of professionalism. Learning the trade, the processes, the timeframes, the costs, and having just completed 10 years of existence. A good time to go a bit deeper.

In the summer, Tiago sent me a golden playlist of unfinished projects for a second opinion. The idea for a new record started there, and from the bunch we handpicked a selection that ended up making really a lot of sense for us. We were looking for wet deepness and eternal warm ups, pulling up the fader slowly. An invitation to leave our mental capsules and divert attention towards a seductive bassline cliff-hanging a dream. Progressiveness and jazz. Long shapes and melodies in the last frontier between nostalgia and hope.

To help, we invited Miguel Tenreiro (a.k.a. Gazpa) to master the tracks, with him adding a smooth-extra-delicious pump on the beautiful original elements. Miguel also picked up the title-track for a remix treatment, breaking up the tempo with a hip-hop-electronica finale, sprinkled by a guitar solo from Zé Nuno - another great musician stemming from Mr. Bean’s bar, where we held a residency for the past year.

Long Shape will drop on March 21st. Vinyls might be only available a bit later. It will be a landmark moment for us, being Tiago’s most complete work to date, and a better representation of his rich musical influences, expanding it, as we speak, to another level. It’s also been 10 years for O Sótão, so there’s that too. To sum up, I’m just very glad that Long Shape sounds exactly where we would like to be after all this time, with a quick image of a nite-lit skyscraper cutting into a couple of rocks being dropped in the coolest whiskey glass, and the people warming up to a dream.

Edition of 100 Vinyl 12’’, Cover 3mm spine

EGO IN MIAMI 2025 comes to life by showcasing current music trends through the most hyped EGO
tracks of the moment. Not only: it represents the beginning of the annual series of compilations signed
EGO, as a tradition for ten years. Again this year, at the Miami Winter Music Conference, we have
selected several tracks that will count down with you, accompanying you to the start of one of the most
anticipated EDM events of the year. The MMW brings together thousands of professionals and
enthusiasts who will participate in a series of events in Miami, concluding with the iconic “Ultra Music
Festival”.

The selection presented this year reflects current musical trends. Established names like TR3NACRIA,
Cecilia Krull and Tommy Vee with the talented emerging Defreeze, Bohemoon and just a boy, the great
returns of Sapienza, Solarys and Bacon Popper. The energy of Berin, the good vibes of Roberto Tropea
and the euphoric productions of Ema Feud and B-Rain. The ensemble takes place through the extended
version braid that creates a collection usable by both EDM fans and professionals: DJs and producers.

Das panamaische Heavy-Stoner-Alt-Rock-Duo AlphaWhores veröffentlicht sein zweites Album als limitiertes Black+Green Marbled Vinyl. Durchdrungen von ihren unverwechselbaren Gesangsharmonien und einer schneidenden Palette an schmutzigen Riffs, entwickelt die Band auf "You Can Come Out Now" ihren eklektischen Mix aus Heavy-Styles weiter. Produziert vom zweifachen Grammy-Preisträger Adrian Bushby (Foo Fighters, Muse), präsentierten AlphaWhores erste neue Albumsongs sowie ein Cover von Hot Chips Hit "Over And Over" während ihrer ersten Headliner-Tour durch Europa im Frühjahr 2025 (darunter Deutschland, Österreich). Zu den Referenzkünstlern von AlphaWhores zählen Alice In Chains, Deftones und Mastodon.

Given Massive Attack's background, it was almost inevitable that they'd release a dub overhaul of one of their albums at one point. That time came in 1995, when British sound system legend Mad Professor - responsible for some of the greatest UK-made dub records of all time - put his distinctive twist on Protection. 21 years on, the set still sounds sublime: a radical translation that frequently bares only a passing resemblance to the Bristol band's original. It's packed with highlights, from the spaced-out, dub-house rework of "Spying Glass" ("I Spy"), to the ricocheting percussion hits and twinkling pianos of "Weather Storm (Cool Monsoon)", and creepy, delay-laden string surges of "Eternal Feedback (Sly)".

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers around to curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both his own and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

Pavilions neue Compilation "Break The Glass, Burn The Cage (The Sound Of Indie Punk Rock)" feiert alles, was Indie und Punk ausmacht. Die Welt der engen, verschwitzten Grassroots-Locations mit elektrisierenden Gitarrenriffs, mitreissenden Basslines und den Stimmen der Bands, die man unbedingt gehört haben muss. Mit herausragenden Tracks von Lime Garden, SPRINTS, Lambrini Girls, Sunflower Bean, English Teacher, Dream Wife, Panic Shack oder, Big Joanie kanalisiert die Compilation die rohe Energie und den rebellischen Geist, die man nur erlangen kann, wenn man sich tief um die Ungerechtigkeiten und den Hass in dieser Welt kümmert. Es ist eine Soundreise durch die Angst, Leidenschaft, den Spass und die Freiheit, die man findet, wenn man "es dem Mann zeigt".

"Break The Glass, Burn The Cage (The Sound Of Indie Punk Rock)" wird am Internationalen Frauentag 2025 als Charity-Album angekündigt, alle Tracks wurden freundlicherweise von den Bands kostenlos gespendet. Somit geht der gesamte Gewinn aus jedem Verkauf an die beiden ausgewählten Wohltätigkeitsorganisationen, die ihr Möglichstes tun, um Frauen und Mädchen aus allen Schichten und Altersgruppen zu helfen, von häuslicher Gewalt über Trauerfälle bis hin zu Obdachlosigkeit und Krieg – Brighton Women's Centre & War Child. Das Album erscheint als recyceltes Vinyl und CD in limitierten Auflagen.

Wie in einer Szene aus einem Traum stand Thor Harris auf einer überfüllten Bühne mit 13 Musikern: Er klopfte, zupfte, verbeugte sich und blies lyriklose Liebeslieder in ein großes Auditorium von 325 leuchtend roten Sitzen - ohne dass auch nur eine Seele darauf saß. Dies war die Entstehung von "Heathen Spirituals", das fünfte aufgenommene Werk von Harris' abenteuerlichem Ambient-Ensemble Thor & Friends und das erste, das einer himmlischen Wiederholung der Live-Auftritte der Gruppe aus Austin ähnelt. Es ist ein jahrhundertealtes Konzept: eine Platte in einer leeren Musikhalle aufzunehmen. Geleitet von Craig Ross (Patty Griffin, Spoon), einem unerschrockenen Produzenten und lebenslangen Mitarbeiter von Harris, wurde Thor & Friends zwei Tage lang verkabelt, um frei fließende meditative Stücke auf unverstärkten Orchesterinstrumenten im Jessen Auditorium, einem atemberaubenden Art-Déco-Relikt aus den frühen Tagen der Butler School of Music der University of Texas, einzuspielen. Thor Harris ist ein Handwerker, künstlerisch und anderweitig: Er ist Klempner-, Tischler- und Holzarbeiter. In musikalischen Zusammenhängen taucht sein Name oft in Verbindung mit den fünf Worten ,bekannt für seine Arbeit mit" auf, er war Mitglied der Avant-Rock-Götter SWANS und den Indie-Lieblingen Shearwater, aber auch an wichtigen Aufnahmen von Bill Callahan, Amanda Palmer, Devendra Banhart und Shahzad Ismaily beteiligt. In vielen Kreisen ist Harris auch dafür bekannt, dass er ein offenherziger Verfechter der psychischen Gesundheit ist mit einem teuflischen Sinn für Humor und einer Vorliebe für unterhaltsame soziale Kommentare (sein Lehrvideo ,How to Punch a Nazi" führte dazu, dass er im Jahr 2017 von Twitter verbannt wurde). "Heathen Spirituals", das am 16. Mai 2025 auf Joyful Noise Recordings erscheint, enthält drei Originalstücke mit einer Laufzeit von 35 Minuten. Die rhythmische Wiederholung der Eröffnungsséance ,Anne Sexton's Glasses" evoziert ein kognitives Crescendo, während das bezaubernde "Christmas Eve at the Wizard's House" ein Gefühl der Schwerelosigkeit hervorruft. Das krachende, von Chören begleitete ,Heathen Spiritual" rührt derweil ein wunderschönes Requiem für einen sterbenden Planeten an. In glorreicher Treue fangen die Sessions die instinktive Reinheit der Live-Auftritte von Thor & Friends ein.