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Nach ihrem Debütalbum ,I" im Jahr 2023, das ihnen nationale Radiopräsenz, Auftritte bei großen Festivals und Europatourneen einbrachte, erweitert das Montrealer Art-Pop-Trio Bye Parula mit seinem zweiten Album ,Something Out of Nothing" seinen ästhetischen Horizont und widmet sich einem eher introspektiven Songwriting. Wie sein Vorgänger wurde ,Something Out of Nothing" von Robbie Kuster von Patrick Watson produziert und von Warren Spicer von Plants and Animals gemischt, aber das neue Album präsentiert auch ein Team von Mitwirkenden - darunter die Inuk-Sängerin und Songwriterin Elisapie, Adèle Trottier-Rivard von Bibi Club, Morgan Moore und Karkwa-Keyboarder François Lafontaine -, das von der wachsenden Bedeutung von Bye Parula in der kanadischen Indie-Szene zeugt. Das Ergebnis ist eine vielseitige Mischung, die sich aus dem orchestralen Funk von Serge Gainsbourg, den melancholischen Melodien von Elliott Smith, den weltlichen Rhythmen von Talking Heads und dem bodenständigen R&B von Dijon speist, allesamt durchdrungen von einer cineastischen Sensibilität der 70er Jahre, die die Grenze zwischen sonnendurchfluteter, weichgezeichneter Fantasie und urbaner Raffinesse verwischt. Doch die vergnügungssüchtigen Klänge von ,Something Out of Nothing" können die unter der Oberfläche lauernde Not nicht verdecken - dies ist ein Album, das Ihre Schultern musikalisch massiert, während es Ihnen textlich in die Magengrube schlägt.

Magic Tuber Stringband act in communion with the natural world around them. Highly skilled players and writers, the trio are leaders within the burgeoning Avant-Folk world. Growing up in Appalachia studying the folk traditions of the region in tandem scientific and observational work in nature, their music appears to weave in and out of the fabric of the landscape. The ensemble continues to stretch the parameters of acoustic instrumental expression with masterful flourishes of dense, textural arrangements, subtle minimalist gestures and deft improvisation. Heavy Water addresses the impact of nuclear production on the environment and the communities within, a musical evocation of destruction and resilience, an embrace of dissonance and tension within moments of transcendence.

Jazzbois is a jazz-hiphop fusion trio from Budapest, Hungary. Their studio albums and live shows are all equally heavily rooted in improvisation and momentary self expression, each performance is absolutely unique and daring.
In the past 3 years Jazzbois has played SOLD OUT headline shows in: Melkweg Amsterdam NL, Jazz Café London UK, Village Underground London UK, Duc des Lombards Paris FR, La Hasard Ludique Paris FR, Gretchen Berlin DE, Knust Hamburg DE, Ekko Utrecht NL, Simplon Groningen NL x 2, Jassmine Warsaw PL x 2, AKvarium Budapest x 3
Played on festivals like: Montreal Jazz Festival CAN, Montreux Jazz Festival CH, SZIGET HU, X the Tracks London UK, Brick Lane Jazz festival UK, Jazz á Vienne FR, Istanbul Jazz Festival TR, Jazz Open Stuttgart DE, Blue Summer Festival PL, Jazz Around PL, Jazz in the Park RO, JAZZx RO…

In June 2025 Jazzbois performed at the Montreal Jazz Festival in Canada. The boys were approached by Rémi Hermoso to record a live session video in front of a small audience in Studio Fast Forward. The session was planned for 4 hours to have time to record with a small live audience, but Jazzbois went in and played 5 songs in only one take without any pause and were done with the material. They handled this recording session like all of them, do one take and be done with it. This way they can get the essence of the moment and not have to worry about making a mistake and starting over. All of these are part of the song, it's honest and raw as it was born right in the moment.

“We did all this for the passion of it, for the music and for the culture, thank you to old and new friends who took part in this intimate gettogether” - said Viktor Sági ‘Vanis’ bass player of Jazzbois.

Red Vinyl. Remastered by Bob Weston at Chicago Mastering Studio from the original analog master tapes. "Slint formed in 1986 as an outlet and pastime for four friends from Louisville, Kentucky. Their music was strange, wholly their own, sparse and tight. What immediately set them apart was their economy and precision. Slint were that rare band willing to play just one or two notes at a time and sometimes nothing at all. 1989's "Tweez" LP hints at their genius." - Steve Albini (Melody Maker, 1991). From the original bio: It's almost always muddy in the lousy little shanty town by the river. All the children's toys are old and rusty, even the plastic ones. Jimmy and Mel fashioned their own toy out of a live chicken that they stole. A knot was tied around the bird's feet with a shoe lace. The two boys painted their plaything yellow and silver and swung it around like a lasso, screaming gibberish and laughing the whole time. Mel got so excited that he wet himself. So, Jimmy slugged him square in the eye. About five or eight miles south east of the shanty town all the fellows in SLINT were suffering from headaches, except the drummer, who only got them when the others didn't. SLINT is a band from Louisville, Kentucky. tweez was its first recording.

Given the Balearic life that Leeds ex-pat Nightmares on Wax now leads in Ibiza, we have to admit we did not see this coming: the downtempo Warp legend returning to his early 90s electronic roots. He does so with a new series of collaborations with young talents on 20/20 Vision, starting with Marlon Lopez. 'Patang' is slow, snaking dub with glitchy synth patches and melodic bass. 'Cancel Dat!' has a crunchy feel next to the bleepy synths with a leggy, loopy low end and tech house snap. Wulf's Jam 4 Jamie is a deeper, more twisted version and label head RL's Get It Together remix cuts up the groove and brings a spoken word that reframes the cut as soulful I:Cube style jam.

Straight from the Stay Up Forever Headquarters ! Low quantity available. 4 trax of classic Acid Techno from one of the masters of the Genre Trip Hazard (aka DDR) on Triple A (Acid Artists In Action).

**Vinyl Only**

For their first step into the wax game, Genau Experience land with a strictly vinyl statement straight out of Udine. (Italy)Active since 2018, Genau Exp. have been quietly cultivating parties and pushing underground culture in their corner of the map. Now it translates into grooves. No rush, no noise: just the right moment to press this record.

Leading the charge is resident and long-time digger Stefano Conte. A vinyl collector with a deep-rooted connection to house, techno and electro, Stefano’s sound carries echoes of the ‘80s, ‘90s and early 2000s | raw drum work, hypnotic sequences, stripped tension and subtlemachine funk. These four original cuts, written between 2025 and 2026, feel focused and functional. Club-minded but not obvious. Built for heads who listen.

On remix duties, taking the reins on The Landing, we find Shkedul – selector and producer who hardly needs an introduction. He draws us deeper into his signature style: decisive basslines, dark rhythms, and evolving sound design that flows and morphs across the full length of the track.

A versatile weapon with enough character to work across different floors and moods.

Sometimes the title of an album tells you everything you need to know. Laurence Pike’s Possible Utopias for Jazz Quintet is like that: The music within represents a search for freedom, potentiality—liberatory strategies that transcend the ego and the solitary, atomized figure.

But in this case, the album title is also a red herring, because there is no jazz quintet here—just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits.

And the results, strictly speaking, aren’t really jazz, though they incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. They are some other thing, cognizant of genre but never beholden to it. Again, we’re talking about a search for freedom here.

The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings—including four albums for the Leaf label between 2018 and 2024—but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community’s Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003; and even post-punk titans Liars, whom he joined in late 2018.

Of his first album for Balmat, Pike says, “My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealised culture of the future, or even another world, utilise musical language when the conventions of style and marketing are no longer a factor in music making?”

That inquiry, he says, connects to his “guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously.”

Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces—in the ruminative piano of opener “Guardians of Memory,” for example—but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads.

Pike’s imaginary quintet is hardly without precedent; it’s a continuation of concepts floated across Jan Jelinek’s Loop-Finding-Jazz-Records, Burnt Friedman’s many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM’s catalog in the late 1970s and 1980s, which Pike says have been integral to his development since he was a teenager. Possible Utopias for Jazz Quintet is a point in a continuum, a voice in a conversation, a question with no obvious answer: How can the search for otherness in music manifest something true about ourselves?

Seit der Veröffentlichung seines von Kritikern hochgelobten Debütalbums 'Come Around and Love Me' im Jahr 2023 hat Jalen Ngonda eine kometenhafte Karriere hingelegt. Der Song 'If You Don’t Want My Love' wurde zum viralen Hit und wurde bis heute 253 Millionen Mal gestreamt. Jalen war in einer Reihe von großen Fernsehsendungen zu Gast, darunter 'The Graham Norton Show', 'The Late Show with Stephen Colbert' und 'Later with Jools Holland'. Er war Support-Act für Thee Sacred Souls auf ihrer US-Tournee und hat als Headliner unzählige Clubkonzerte auf der ganzen Welt ausverkauft. Jetzt, im Jahr 2026, während die Glut seines Debüts noch hell lodert, bereitet sich Jalen Ngonda auf die Veröffentlichung seines mit Spannung erwarteten zweiten Albums 'Doctrine Of Love' vor.
Die harte Arbeit und die unermüdlichen Tourneen nach seinem Debüt haben sein Handwerk gestärkt. Seine Botschaft: 'Die Lehre der Liebe besagt, dass jeder Gedanke und jede Handlung in erster Linie von Mitgefühl für andere geleitet sein sollte, denn Liebe ist der höchste Maßstab für den Wert eines Menschen.' Die Titel des neuen Albums sind aus diesem Credo entstanden. Mit seinem tiefen Wissen und seiner Liebe zum klassischen Soul vermittelt Jalen Ngonda Authentizität in Hülle und Fülle. 'Doctrine Of Love' verbindet Pop-Sensibilität und soulige Melodien mit roher Kraft und Groove und erweitert die orchestralen Arrangements von 'Come Around And Love Me' um bläserreiche und gospelartige Backing Vocals, wodurch ein äußerst stilvolles Beispiel für moderne Soul-Kunst entsteht. Tipp!

The wonderfully unrelenting Instinct label from Burnski welcomes Gabriel Munoz for a brilliant five-tracker. Munoz is an 18-year-old from the Netherlands who is fast turning heads with his well-informed and fresh style and the garage prodigy opens up here with 'Arisen', a fast-paced and silky deep garage house cruiser with starry-eyed synth work. 'Pulse Sector' is another deft cut with neat 90s stabs buried deep in dusty drum rotations and balmy pads. There is more sleaze to 'Tell Me Something', 'Ghost' is all about the throbbing bassline and 'Movement' brings some more playful early UKG motifs and fat drums and bass. Fresh tackle from a fresh talent.

2026 Repress

Magic Carpet ring in the new year with a standout debut EP from English-born, Berlin-baked artist Jack D. With senses honed by days spent front left at clubs like Hoppetosse, Closer and Fold, Jack delivers four superb tracks bursting with energy and quirk. Somehow fusing wonk with groove, his style feels both strangely familiar and highly original at the same time. One for the heads!

2026 Repress

Malmo-based producer Martinou returns to his roots with a debut on hometown label Kontra-Musik. Since crafting his first album for Nous'Klaer Records (NL) at Inkonst's studio, Martinou has steadily built an international presence through acclaimed releases on Mule Musiq (JP) and Turbo Recordings (CA). This three-track EP is the result of a long-running dialogue with label head Ulf Eriksson--blending Detroit-inspired techno, hypnotic depths and broken lush, all produced with subtle precision and emotional weight. A homecoming of sorts, but also a new departure.

CQ Wrestling are today announcing their sophomore album Resistance for release on 29th May.
There’s a saying that simmers beneath the sonic assault of Resistance, the new album from CQ Wrestling. “Nothing changes if nothing changes,” recites Jake Mac, who knew of this idiom before 2024; before the loss that turned his and bandmate Charlie Woods’ worlds upside down; before the “year of complete mayhem, mess and chaos” that followed. From the outside looking in, the Brighton-based duo may have seemed on the top of the world. Then known as Chappaqua Wrestling, the exhilarating energy of their debut album Plus Ultra had seen the band lauded as future British music scene conquerors. The pair had a major label record deal to their name. Sweat dripped from the walls at headline show after headline show, in front of rapturous fans – and yet something felt amiss.
“We were selling out tours and people were loving the music, but honestly, we just felt f****** lost,” says Woods. Then tragedy struck. “It completely derailed us,” says Mac, recalling how the sudden death of his father – “a big part of the project” since its inception – sank them both into a period of grief and introspection. Amid the mourning emerged a desire to transform.
RESISTANCE is an album forged in the embers of personal tragedy and hammered into shape by desire, resilience and resolve. Detailing a metamorphosis, new single ‘Pacifico’ draws a line in the sand for the band as they recover from a time of tremendous upheaval to find themselves following their own creative compass, with renewed vitality.
"This album is a collection of songs above all about trying to find joy and hope in dark times”.

Record Kicks freut sich, die Vinyl-Neuauflage zum 10-jährigen Jubiläum von ,Late Nights & Heartbreak" zu präsentieren, dem Durchbruchsalbum von Hannah Williams & The Affirmations, auf dem der Song zu finden ist, der zum emotionalen Rückgrat von Jay-Zs wegweisendem Album ,4:44" wurde. ,Late Nights & Heartbreak" kam 2016 raus und wurde von Kritikern gelobt. Seitdem ist es ein moderner Soul-Klassiker. Sein Vermächtnis wurde besiegelt, als Jay-Z den Titelsong von ,4:44" komplett um Hannah Williams' Originalaufnahme herum aufgebaut hat. Der Song, der als unverfälschtes Geständnis der Untreue genutzt wurde, war Jay-Zs Antwort auf ,Lemonade" von seiner Frau Beyoncé und machte Hannahs unverwechselbare Stimme einem weltweiten Publikum bekannt. Aufgenommen im Quatermass Studio in London - der Heimat der Kulthelden The Heliocentrics - zeigt ,Late Nights & Heartbreak" Hannah, begleitet von ihrer neu gegründeten Band The Affirmations. Produziert wurde das Album von Malcolm Catto, der für seine Arbeit mit Künstlern wie Mulatu Astatke, Orlando Julius, Floating Points, Quantic, DJ Shadow und Madlib. Das Album wurde komplett analog gemischt und auf Band gemastert und bietet einen rohen, druckvollen und zutiefst eindringlichen Sound. Auf 13 Tracks erkundet ,Late Nights & Heartbreak" viszeralen, kraftvollen Soul mit einem subtilen psychedelischen Touch. Von der eindringlichen ersten Single ,Tame in the Water" bis zum unerbittlichen achtminütigen Groove von ,Still in My Head" zeigt das Album die schiere Kraft und Kontrolle von Hannahs Stimme in ihrer elektrisierendsten Form. ,Woman Got Soul" liefert fünf Minuten mitreißenden, kraftvollen Funk, während tiefgründigere Stücke wie ,Another Sunrise" und ,Your Luck Can Change" einen üppigen, emotionalen Hintergrund für Themen wie Liebe, Lust, Sehnsucht, Wut und Verletzlichkeit bieten. Alle Songs sind Originalkompositionen, die von dem in Bristol ansässigen Kollektiv um The Affirmations unter der Leitung von Musikdirektor James Graham geschrieben wurden - mit Ausnahme einer atemberaubenden, psychedelisch-souligen Neuinterpretation von ,Dazed and Confused", die stark von der Originalversion von Jake Holmes inspiriert ist. Hannah Williams, die schon früh von der verstorbenen Sharon Jones gesegnet wurde, eroberte 2012 mit ihrem Debütalbum ,A Hill of Feathers" die Soul-Szene. Die Single ,Work It Out" wurde ein Indie-Radiohit und ebnete den Weg für eine Karriere, die von moderner Soul-Mythologie geprägt ist. Aufgewachsen in einem musikalischen Haushalt, sang Hannah ab dem Alter von sechs Jahren im Kirchenchor und konnte Noten lesen, bevor sie richtig lesen konnte. Heute ist sie eine unaufhaltsame Kraft - eine Künstlerin mit einem seltenen Talent, wie es nur einmal in einer Generation vorkommt. Zehn Jahre später kehrt ,Late Nights & Heartbreak" in dieser speziellen Jubiläumsausgabe auf Vinyl zurück und bestätigt erneut, warum Hannah Williams & The Affirmations nach wie vor zu den kraftvollsten Stimmen des zeitgenössischen Soul gehören.

Strange Cargo kicks off its inaugural release with label founders Guy Contact and Solar Suite uniting under their new moniker, Headhunters. Fusing expansive, dub-soaked synth work with pumping house grooves reminiscent of the turn of the century, the duo carve out a sound that bridges early-millennium inspiration and a modern dancefloor sensibility with a considered and tactful approach. The Mojo Rhythm EP presents four tracks, shaped during their recent live sets and reworked for wax, setting the tone for what’s to come. Distributed by Inch by Inch Artwork by Liam Richards Photography by Christopher Hendriks Mastering by Corey Kikos Pressings R.A.N.D.

BLUE & WHITE COLOUR IN COLOUR VINYL

In the culinary arts, it’s easy to overcomplicate the final product. Theme, presentation, texture…they’re important but should work to complement the raison d'etre of any food. At the end of cooking a dish, it should taste good and feed people. Some dishes, like barbeque or provoleta, resist the tendency towards hollow showmanship. One of their expressions can be more or less aesthetic, but the first purpose is to be simple and tasteful. Argentinian provoleta goes so far as to blur the line between ingredient and dish. It relies on the inherent flavor of provolone being heated at the right speed for the perfect amount of time. You can add garlic or chives or red pepper to the slice, but ultimately they serve to bring out an essence that’s already there.

Los Angeles’ Cousin Feo has developed his rapping acumen in the five years since releasing Provoleta, but returning to the project today shows that he always had the penmanship, grit and delivery that christens an emcee worthy of remembrance. Like the bubbles rising up in the appetizer that is the album’s namesake, Feo showed that true profundity is found in the simple gestures.

Since dropping the project in 2019, Cousin Feo has expanded his vision of a world where hip-hop and football, two proletarian art forms, mingle in creative and compelling ways. He has collaborated across multiple continents, chronicled football histories, aided in canonizing legends, kept the flames high in age-old rivalries and constantly forced his audience to search for the last time they heard bars this hard. In anyone else’s hands it would be too great a task.

The maturity he showed on Provoleta wasn’t nascent, it was an inherent quality forcing itself to the surface. The songs refract his experience as a working class Angeleno through the archetypes of Argentinian football legends. The kernel that unites the two worlds is hustle. When Feo was coming up, missteps had greater consequences than crashing out in the group stage and street deals had the weight of a Boca-River Plate match.

Each track uses slightly different ingredients to let Feo’s underlying talent shine. “Maradona” feels salvific, fitting for a football legend canonized from the Andes to the Alps and a Los Angeles rapper looking to inspire similar hope in the neighborhoods that raised him. On “Di Stefano” Feo massages the instrumental with the same composure of the late forward, until he pierces through the headphones like one of Di Stefano’s arrows. It’s also refreshing to hear a song celebrating Messi before his meme-ification, focusing on the universal truths contained in his footballing talent instead of using number 10 as a stand-in to make a point in a fruitless argument. And he still finds space to show deference to Batistuta, Kempes and other members of the Argentinian pantheon who’ve been erased from the popular imagination by the national team's contemporary success.

Real ones know that true players, true rappers, and true artists will always stand the attacks of time and consensus. In Provoleta’s first verse, Cousin Feo says he moves with the hand of God. Maybe one day he’ll tell the whole truth and let us know how he was able to wrestle the pen away too. Limited edition of 300 hand-numbered copies.

The epitome of a modern artist, Jana Bahrich does most things herself, no matter how painstaking - writing, producing, directing, often hand painting t-shirts the day of shows when the band have run out of merch. This has helped give her band Francis of Delirium a unique identity, with her rock confessionals breathing a new life in to the genre and her paintings creating a striking design aesthetic. Released as she was finishing high school, 2020’s single 'Quit Fucking Around’ was a great introduction and it remains one of her most enduring songs.

Shortly after it’s release, she signed to artist-first indie Dalliance Recordings (Gia Margaret, HighSchool, lilo) and three EPs - All Change (2020), Wading (2021), The Funhouse (2022) and a striking debut album - Lighthouse (2024) - on and Jana has Francis of Delirium flying. While the EP’s fizzed with promise, her debut album Lighthouse landed its punches. Seeking a more vulnerable and open sonic palette, she wove in pop elements to create anthems that celebrated heartbreak and love. Lead singles ‘Real Love’ and ‘First Touch’ were the first tracks she made with an outsider - working with GRAMMY winning producer Catherine Marks (boygenius, The Killers, Wolf Alice) - while the rest of the album was produced by Jana herself and day one collaborator Chris Hewett. The critics were impressed too - “Bahrich’s choruses, almost every one, are lumpin-your-throat gorgeous.” NME; “Jana Bahrich seems too young for this tremendous debut’s ambitious anthems.” Uncut; “A rewarding experience that captures a talented, young artist at the crossroads between adolescence and adulthood." Paste. Live, Francis of Delirium are Jana (guitar and vocals), Jeff Hennico (bass) and Denis Schumacher (drums). Together, their brilliant quiet-loud dynamic and tight interplay only elevate her songs and over the last 5 years, they’ve toured across Europe and North America, playing headline shows, festivals and tours with the likes of Blondshell, Briston Maroney, The Districts, Horsegirl and Soccer Mommy. They’ve also supported The 1975, Alanis Morissette, DIIV and Wolf Alice.

Last summer saw a memorable UK tour with Bôa, the 90s band resurrected by a huge TikTok moment for their track ‘Duvet’. There was a real sense of excitement for these shows with young crowds snaking outside every venue hours before doors and bringing the sort of energy Jana thrives on, she road tested new material to an overwhelmingly positive response, giving her the impetus to go and finish album two. An artist who seeks to connect with her listener on a deeper level, it’s no surprise then that she’s made hope and inner strength central themes on her new album, Run, Run Pure Beauty. Jana says the title track is “an imagining of the world after it has been destroyed by humans and technology. Thrashing against what humans have left behind, ultimately the pure beauty of nature wins out.”

Wanting to bring different perspectives into her songwriting with this record - informed by both her travels and the tumultuous times we find ourselves in - she’s also brought about a progression in her sound with these new songs somehow sounding larger, with undeniable harmonies and more orchestration. Featuring the singles ‘Little Black Dress’ and ‘It’s a Beautiful Life’, Run, Run Pure Beauty serves as an excavation of hope in bleak times. Produced by Jana and Chris, and mixed by Nicolas Vernhes (Deerhunter, Dirty Projectors, Silver Jews, Wild Nothing), its eleven songs of discovery, despair and perseverance ultimately serve as a mirror on its creator and is a brilliant next installment in the Francis of Delirium arc.

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

'Honesty Flowers' is the fourth studio album from Italian multi-instrumentalist Alessio Ferarri under the Upupayāma moniker. An epic double album set due for release May 29th 2026 on Fuzz Club, 'Honesty Flowers' finds Upupayāma's ever mind-blowing brew of organic psychedelic rock meets global grooves at its most percussive, lively and distorted. Equally hedonistic and heady, it courses through rhythmic funk grooves, doubled-down scorched fuzz riffing, winding motorik jams, tranquil drones and pastoral acid-folk across its seventy minute run time. A six-piece band live, where things take a more ever-evolving improvisation-based approach (see their recent 'Live At Fuzz Club Festival '25' LP), on the recordings Ferarri writes, plays and records everything himself – guitars, keys, flute, sitar, and an arsenal of percussion all feature. Never not working on new music, Ferarri started laying down these new tracks in his home barn studio in a small mountain village overlooking the city of Parma before its 2024 predecessor 'Mount Elephant' even hit the racks. The result was mixed by Chris Smith at Kluster Sounds (Kikagaku Moyo, Wax Machine) and mastered by Joseph Carra (King Gizzard, Babe Rainbow, ORB) On the new record, Ferarri says: "Honesty Flowers was born from listening to lots of funk music from all over the world, lots and lots of African music, and from listening to myself as I spent whole nights playing all kinds of percussion instruments. I would fall into a sort of trance and play the same rhythm for hours on congas or on a djembe. It's an album that was born above all from the beauty of being able to narrate the unknown and recognise yourself in it, which could translate into telling stories and bringing them to life.

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

Set in Tasmania and offering a fresh take on the zombie genre. Clark reveals the films emotional heart with tender strings and choral recordings, whilst underpinning with glorious bass sounds that could be taken straight from recent studio album Steep Stims. Plus the occasional requisite jump scare, pin drop tension and vocal eeriness.

For Love of Grace & the Hereafter is the sixth studio album from beloved Danish quintet Iceage. Across the sprawling, twelve song arc of the album, love variously retaliates and retreats in an eternal tango, Elias Rønnenfelt's lyrics burn with apocalyptic intimacy while the band manically maneuvers around their shape-shifting brand of feral post-punk. Produced by Iceage and longtime collaborator Nis Bysted, the album threatens to bite back if bitten, thriving in the haunted shadows with streetwise, saintly splendor.

LEATHERWITCH is a new Heavy Metal band formed by vocalist and multiinstrumentalist Marta GabrielThe witch is dead, long live the witch! After disbanding CRYSTAL VIPER, Marta Gabriel - who also is a respected session musician, and toured and recorded with acts such as VADER, MANILLA ROAD or METALUCIFER - strikes back with her new band LEATHERWITCH presents new approach, new attitude, new quality and new energy. Debut single "Beast Inside", where fast headbanging rhythm, classic Speed Metal riffing, pounding rhythm section, shredding guitar solos and super catchy vocal lines, meet a classic gothic horror Werewolf tale, already reveal what to expect from the debut album, "First Spell

Synaptic Cliffs proudly announces the birth of a new signal from the deep: THE LONE AQUANAUT.

Behind this project stands Lamont Norwood, a name that has delivered uncompromising Detroit quality for decades. With underground instinct and dedication to sharp drum programming, ocean-floor bass pressure and true Motor City futurism, he dives headfirst into classic, razor-edged Detroit electro DNA.

This four-track EP is engineered to move buildings. Every beat shifts the club inch by inch, until by the time the last track fades, Berghain may be standing on the Oberbaumbrücke.

Born 2 Be Free rolls out a third call to the dance floor here and it comes from Azaad. He kicks off with the low-slung 'Automatic' which has a cool-as-you-like swinging groove, dusty hi-hats and aloof vocals piercing the mix. Wispy pads and warped bass bring touches of old school garage but the palette is distinctly contemporary. 'Swagged Out' ups the ante with some sleazy garage shufflers and a steamy vocal sound that draws in between the edgy synth stabs. Last of all is maybe the best. 'Doin' It Again' is a heady and clean sound with swirling cosmic pads and a slick, minimal rhythm that makes you throw down your best moves.

Recycled purple cassette tape The monster-collecting open-world RPG "Cassette Beasts" is delivering a furious 80's synth rock meets British indie soundtrack composed by Joel Baylis and featuring shooting star Shelby Harvey on vocals. This soundtrack is taking you on a journey across the mysterious island of New Wirral - from lo-fi acoustic ballads to all-out headbangers! By the way, welcome to New Wirral, a remote island inhabited by strange creatures you've only dreamed of, nightmares you hopefully haven't, and a cast of brave folks who use cassette tapes to transform for battle. To find a way home you'll need to explore every inch of the island, and record monsters to your trusty cassette tapes to gain their abilities!

Having already toured the UK/EU supporting the likes of Gregory Porter, Jools Holland and The Teskey Brothers, alongside selling out multiple headline shows in the UK and EU (Ronnie Scotts in London, Unterfhart Jazz Club in Munich and Jassmine in Warsaw among others), she's also co-written with the likes of Caro Emerald, Ruby Turner and Roberta Campos, and broken through to new territories via national radio play-listing in The Netherlands, Germany, Belgium, France and Italy, as well as having strong radio support from BBC Radio 2, 6 and Jazz FM. Kat's third album 'What Happens Now' is a collection of timeless yet contemporary beautifully crafted songs with lyrics that cut to the core. Inspired by artists such as Emily King, Lake Street Dive and Raye, alongside legends Stevie Wonder, Aretha Franklin and Carole King that Kat grew up listening to, 'What Happens Now' is an amalgamation of her influences underpinned by her inimitable tone.

,now i imagine a place not the same" ist eine Doppel-LP und ein neues Solo-Statement des Gitarristen und Komponisten David Torn, veröffentlicht bei Kou Records. Es kehrt zur rohen Energie seiner frühen Klangsprache zurück und treibt diese gleichzeitig mit der Klarheit jahrzehntelanger Erkundungen voran. Das Album ist gleichermaßen viszeral und schwerelos und konzentriert sich auf Torns langjährigen Dialog zwischen alternativen Stimmungen, Loop-Architekturen und berührungsempfindlicher Elektronik - eine Klangwelt, in der Melodie, Noise und Atmosphäre sich ständig ineinander verschmelzen. Als Pionier der E-Gitarren-Bearbeitung ist Torn weithin bekannt für seine Arbeit in Musik und Film, darunter langjährige Kooperationen mit dem Komponisten Howard Shore, Beiträge zu Filmen von David Cronenberg und einflussreiche Veröffentlichungen bei ECM Records, die dazu beitrugen, eine atmosphärische, filmische Sprache für die E-Gitarre zu definieren. Torn nähert sich jedem Stück als einer Form kompositionsorientierter Improvisation und behandelt alles in seiner Reichweite als musikalisches Material: Saiten, Tonabnehmer, Verstärker, externe Elektronik, Stimme, resonante Oberflächen und den physischen Raum selbst. Aufgenommen, gemischt und produziert von Randall Dunn und mit einem Schwerpunkt auf Unmittelbarkeit und physischer Präsenz eingefangen, wird die Gitarre Teil eines größeren Systems - Schaltkreise atmen, Delays wiederholen unvollkommene Erinnerungen, Töne regenerieren sich durch Berührung. Klänge entstehen durch Zufall, Geste und Intuition und werden dann durch aufmerksames Zuhören geformt, während sie sich entwickeln. Anstatt auf festgelegte Ergebnisse hin zu komponieren, lässt Torn die Form durch Feedback und Wiederholung entstehen und nimmt jeden Klang - ob beabsichtigt oder nicht - in einen sich ständig weiterentwickelnden musikalischen Körper auf. Indem er grundlegende Werkzeuge aus seinen prägenden Verarbeitungsjahren wieder aufgreift - alternative Stimmungen, Looping-Logik, Röhrensättigung - lehnt Torn Nostalgie ab und gewinnt stattdessen ihre Unmittelbarkeit als lebendiges Material zurück. Gleichzeitig intim und gewaltig fängt ,now i imagine a place not the same" einen Künstler ein, der seine einzigartige Sprache voll und ganz beherrscht: zutiefst melodisch, rigoros experimentell und verwurzelt in Vertrauen, Berührung und Elektrizität. Nicht als rückblickende Geste, sondern als gegenwärtige Erklärung bietet das Album eine kraftvolle Meditation über Vergänglichkeit, Erneuerung und das fortwährende Leben des Klangs.

Between Bodies als Geheimtipp der europäischen Punk/Indie-Szene zu bezeichnen, ist mittlerweile ein großes Understatement. Nach ihrem Debütalbum, "Electric Sleep" von 2022, war die Band in aller Munde derer, die ein Herz für melodischen, treibenden, emotionalen Punkrock mit DIY Spirit haben. Spätestens über das Jahr 2025, als die Band aus Köln, Toronto und Paderborn, etablierte Acts wie Touché Amore, The Get Up Kids, The Hotelier oder Captain Planet in ausverkauften Clubs supportet hat, auf zahlreichen Szene-Festivals zu sehen war und seine Hörer*innenschaft noch einmal deutlich erweitern konnte, sind Between Bodies zu einer der spannendsten up-and-coming Punk-Bands hierzulande geworden. Die Songs und Texte der Ende 2019 gegründeten Band haben - wird oft behauptet, hier stimmt es einmal - internationales Format und erinnern an Lieblinge wie Joyce Manor, The Menzingers oder Tigers Jaw. Ihr Sound lässt ebenso an 90er Jahre Emo-Punk Klassiker denken, zeigt sich beeinflusst von 00er Jahre Post-Punk/Indie und verfügt dabei über reichlich Charakter und ein Ideenreichtum, der Between Bodies schlicht zu einer außergewöhnlichen Band macht.

...Three years ago, we had our first contact with this mysterious being from another galaxy, and since then it has been spreading its AURA and relentless sound to everyone it has encountered. We don't really know where this is all heading, but a strange force pushes us to keep moving forward, spreading the sonic message of ALIEN RAVE in plastic format until it decides otherwise. We have no choice; the expansion continues...

Unearthed from the original DAT at Strange Weather Studios in South London, Get Fucked's Unearthed Stash traces a chronological journey through the legendary group's earliest recording sessions, from the raw chaos of their 1999 debut album to the more refined dub house explorations that led into their second LP.

Sourced from the best surviving master DATs this collection brings together remastered classics, lost versions and previously unreleased edits, offering unfiltered look into one of the UK underground's most fearless creative period.

Each track has been carefully remastered to preserve the saturated punch, tape grit and raw energy of the original sessions, while expanding definition for modern sound systems.

Pressed on 180g heavyweight black vinyl, Unearthed Stash is strictly for collectors and true heads preserving the energy and attitude that made Get Fucked pioneers of the London underground sound. A raw document of a lost era, revived.

Archival Gold. From The Source. Unearthed at Last.

When Hot Mulligan took to social media to declare themselves #1 Hot New Band, it would have been easy to write off the terminally online emo quartet’s proclamation as yet another irreverent entry into their bag of tricks.

But it turns out Hot Mulligan have a way of manifesting things into existence, whether it’s name-dropping Michelle Branch and Mark Hoppus in song titles and netting responses from both (only one got the joke) or, true to their word, becoming synonymous with the newest waves of pop-punk and emo – err, post-emo, the genre Hot Mully have claimed responsibility for inventing. (Go ahead and fact-check it; they’ll wait.)

When Hot Mulligan took to social media to declare themselves #1 Hot New Band, it would have been easy to write off the terminally online emo quartet’s proclamation as yet another irreverent entry into their bag of tricks.

But it turns out Hot Mulligan have a way of manifesting things into existence, whether it’s name-dropping Michelle Branch and Mark Hoppus in song titles and netting responses from both (only one got the joke) or, true to their word, becoming synonymous with the newest waves of pop-punk and emo – err, post-emo, the genre Hot Mully have claimed responsibility for inventing. (Go ahead and fact-check it; they’ll wait.)

The new EP from the UK's fastest rising Death Metal band (who are here to Party). Formed in 2010, Party Cannon quickly gained attention for pairing uncompromising brutality with an irreverent, high-energy aesthetic. What began as a no-rules take on extreme metal evolved into one of the genre's most recognizable and entertaining acts. Armed with the upcoming Subjected To A Partying, Party Cannon are ready to unload their most refined and aggressive material to-date this March: an EP chock-full of crushing slam riffs and their signature sense of fun. Shortly after release, Party Cannon will also co-headline the 2026 "UK/IE VOMITOUR" with Internal Bleeding, which will feature headline-length sets and rotating slots each night

Irish drone-doom-folk act One Leg One Eye, the project of founding Lankum member Ian Lynch and veteran noise monger George Brennan, announce their new album, CRONE, out on 1 May on AD 93.

Today the group share the first track on the album, ‘Many are my Names Besides’, on which they are joined by the elemental force that is legendary actor, performer, writer and director Olwen Fouéré (Operating Theatre) contributing vocals.

Olwen Fouéré comments:

“When Ian and George first approached me to work with them, they were already creating the Crone album as a sonic invocation of the ‘sovereignty goddess’, who personifies the land and the legitimacy to rule it, in her darkest and most terrifying form. As we spoke, the triple goddess figure of the Morrigan entered my mind, reinforced by a marked presence of crows every time we met. The Morrigan is essentially a war goddess, frequently appearing as a crow in a battlefield, a death prophet, a guardian of sovereignty, and a very powerful figure in Irish Mythology.

So I invoked her energy as a starting point, using text extracts that Ian sent me from the Ulster Cycle and other sources. The voice recording was done in one day, improvising the source material while the already composed music occupied my psyche through headphones.

Listening back, at this time in our world, I can only wonder at how much blood and war the Crone/ Crow of sovereignty is preparing to unleash now. Watch out.”

CRONE is the second album from Lynch and Brennan, following on from 2022’s slowburn slab of ambient grit, …And Take The Black Worm With Me. Bewildering, psychedelic and ultimately transcendental, the four tracks of One Leg One Eye’s CRONE shapeshift and morph endlessly in a coarse miasma. Traditional song structures and vocal melody are eschewed, instead the trio directly channel energies from the rich seams of mythological significance submerged below the Irish psyche. The anger, rage and beauty of the sovereignty goddess burn a consistent and deliberate line through the album in the form of obscure incantations and dire pronouncements, the gnarled sinews that bind it all together.

Just as the subject matter of the tracks delve deeper into Irish myth and the remote past, the temporal reality of the album reaches back into the bands prehistory, with the majority of it the material being recorded by Lynch and Brennan in 2021 before One Leg One Eye was conceived of as an entity with Brennan working on the CRONE project while Lynch worked on …And Take The Black Worm With Me.

When they were there they saw a lone woman coming to the door of the Hostel, after sunset, and seeking to be let in. As long as a weaver’s beam was each of her two shins, and they were as dark as the back of a stag-beetle. A greyish, wooly mantle she wore. Her lower hair used to reach as far as her knee. Her lips were on one side of her head.

She came and put one of her shoulders against the door-post of the house, casting the evil eye on the king and the youths who surrounded him in the Hostel. He himself addressed her from within.

"Well, O woman," says Conaire, "if thou art a wizard, what seest thou for us?"

"Truly I see for thee," she answers, "that neither fell nor flesh of thine shall escape from the place into which thou hast come, save what birds will bear away in their claws."

"It was not an evil omen we foreboded, O woman," saith he: "it is not thou that always augurs for us. What is thy name, O woman?"

"Calib," she answers.

"That is not much of a name," says Conaire.

"Lo, many are my names besides."

"Which be they?" asks Conaire.

"Easy to say," quoth she. "Samon, Sinand, Seisclend, Sodb, Caill, Coll, Díchóem, Dichiúil, Díthím, Díchuimne, Dichruidne, Dairne, Dáríne, Déruaine, Egem, Agam, Ethamne, Gním, Cluiche, Cethardam, Níth, Némain, Nóennen, Badb, Blosc, Bloár, Huae, óe Aife la Sruth, Mache, Médé, Mod."

On one foot, and holding up one hand, and breathing one breath she sang all that to them from the door of the house.

Time To Get On Board A New Black Universal Express.

With each new recording Anthony Joseph presents an imaginative, personal vision of contemporary black culture, and The Ark is yet another compelling album by the award-winning Trinidadian poet and musician. This second part of a sequence of two albums launched with last year’s Rowing Up River To Get Our Names Back, finds Joseph giving full vent to his desire to explore many thought-provoking themes. However, there is a specific thread running through the glorious offering of sounds.

”I was especially interested in the idea of using Afrofuturism as a means of using the future in order to correct the wrongs of the past,” explains Joseph. “And so a lot of lyrics reimage or imagine an alternate black history. At the same time there are elements of autobiography.” The aforesaid cultural phenomenon, a view of the black experience through the prism of science fiction and ancient Egypt and Africa, as mapped out by visionaries from music and literature such as Sun Ra, Parliament-Funkadelic and Octavia E. Butler, has previously inspired Joseph. His 2006 novel The African Origins Of UFOs was a multi-hued work, and the new music shows how Joseph

has, much like all significant artists, gone on to broaden his conceptual palette, creating beguiling new stories and images set to startling rhythms and tones. Tracks such as ‘James’, with its taut, crisp bass and dubbed-up brass, and ‘Transposition Of Space (Glissant)’, a potent evocation of the influential Martiniquan theorist set in a haze of jazz guitar and ambient synthesizers, are marvels of text-sound painting.

As for ‘Baron Samedi’, shaped by a languid, almost wounded guitar line and slow rise of horns that frame Joseph’s journey to the ‘mountain of fire, almost touching the sky’ it is an epic blend of commanding vocal delivery and dramatic sonic tapestry.

Joseph led the Spasm band in the early 2000s and recorded well-received albums such as Bird Head Son and Time, in which songs were largely based on spirituals or chants enhanced by improvisation. But his musical curiosity has naturally led to collaborations, and the new work is produced by Dave Okumu, the prodigiously talented guitarist-vocalist-composer known as the leader of Mercury Music Prize-nominated The Invisible, and who was also a member of the seminal band Jade Fox.

Having first performed together at a show curated by influential saxophonist-flautist Shabaka Hutchings at the storied Total Refreshment Centre In London during lockdown, Joseph and Okumu struck up a rapport that further developed when the former guested on he latter’s album. With the connection made Joseph knew Okumu was the ideal producer for this latest project, which has a freewheeling, almost black psychedelic thing. After sifting through demos and loops the guitarist made on pro-tools the poet started to live with the music. Many months later words began to take shape. Joseph then went into the studio with Okumu’s band and set about creating a magnum opus. Boasting a stellar cast such as vocalist Eska Mtungwazi, trumpeter Byron Wallen and keyboardist Nick Ramm, The Ark is a highly intricate musical mosaic framed by simmering funk grooves, wily jazz improvisation and haunting dub effects. Through the use of many genres the music has simply become its own genre.

The Ark can be perceived as a vessel or means of transport to new worlds, along the lines of Sun Ra’s Ark or Funkadelic’s Mothership, and the material it contains is a unique blend of who Anthony Joseph is and how he sees the world and society in these stimulating, challenging times. “It balances the personal with the universal in a much more vulnerable, accessible way than on previous albums,” Joseph explains.

“It has become less about a personal experience and more about a collective, communal experience in which the artist is conduit, messenger, urban griot.”

Two Piers proudly announces the upcoming release of Bridges Towards Open Spaces: Circadian Rhythms 1967–2025.

This new collection brings together a wide range of artists and styles, weaving immersive sonic landscapes that explore a connection between natural cycles and the rhythms within.

Featuring artists such as Brian Eno, Moebius, Roedelius, Meat Beat Manifesto, Fun Boy Three, Daniel Avery, and Spectrum, the compilation moves fluidly between shimmering ambient textures and raw, straight-ahead garage rock.

Bridges Towards Open Spaces: Circadian Rhythms 1967–2025 follows in the footsteps of Two Piers acclaimed previous releases, Night Train: Transcontinental Landscapes 1968–2019 and Music for the Stars: Celestial Music 1960–1979, continuing the label’s exploration of expansive, time-spanning musical journeys.

“I wanted once again to shape a compilation around a time period, this collection is a nod to my days behind the counter of a record shop, the people I met and the styles of music that was played and I was introduced to. Some are from that time, some are of the style/feeling, that I can associate & with the friends I met there; from the early shift to the late shifts as the tempo rose throughout the day and the neons of London started to buzz”

The album will be available on Limited Vinyl and CD in May, arriving just in time for the longer, warmer days and the shifting light of the Seasons Sun.

2025 Repress

“We created a holiday inside our heads.”

A Deeper Life, Chaos In The CBD’s debut album over 10 years in the making, is nostalgic for the duo’s nature-filled youth, exploring the magical coastline and lush rainforest of New Zealand. “The title refers to our childhood, which was idyllic,” says Ben. “It was just the sun, the sand, the sea, waterfalls, birds and fish…” The album’s blissful setting is also depicted on the album cover: a painting, by a childhood friend, of the beach where they grew up in Devonport.

A Deeper Life whirls that profound love of house music and wide-ranging influences – from Brazilian to R&B, ambient to Italo to deep house and downtempo pop – into a serene, cohesive whole with their signature finesse. The result is an international dance sound that feels unmistakably like Chaos and ebbs and flows from the beach party to the club to the afterhours.

On the album they’ve teamed up with a number of US legends and married their vocals with the UK underground: Josh Milan of house pioneers Blaze brings his soulful vocals to the bossa nova beats of ‘I Wanna Tell Somebody,’ a future jazz-dance anthem. Unheralded Chicago house hero and Larry Heard collaborator Lee Pearson Jr. goes deep over ‘More Time’s broken beat flex. And on ‘Maintaining My Peace’, the brothers have matched veteran house singer-songwriter Stephanie Cooke with UK grime MC Novelist, on a slinky LDN interpretation of LA hip-hop and g-funk.

Also featured on the album are New Zealand jazz artist Nathan Haines, frequent collaborator Isaac Asaeili and more.

Rock 'n Roll With The Modern Lovers is the second album released by The Modern Lovers.

The band was formed in 1970 by singer, songwriter, and guitarist Jonathan Richman, with Jerry Harrison (keyboards - later went on to join Talking Heads), Ernie Brooks (bass), and David Robinson (drums). Richman's friend John Felice joined them occasionally. Their sound almost totally focuses on the sound from the Fifties. The lo-fi record breathes folky roots music and rock ‘n roll as it would sound ages ago. The albums features the popular tracks "Ice Cream Man", "Roller Coaster By The Sea", and "Egyptian Reggae". The latter was a cover version of Earl Zero "None Shall Escape The Judgement" and became a UK Top 5 hit.

Rock 'n Roll With The Modern Lovers is available as a limited edition of 750 individually numbered copies on silver vinyl.