quête:the hu

This Joe Meek release taken from his legendary Tea Chest Tapes contains instrumental tracks with a Cult TV or Movie Soundtrack feel.

Soul Jazz Records present two hardcore bomb dancefloor fillers from Jerry Jones, originally released on Studio One in 1970.

‘There’s A Chance For Me’ gives Aretha Franklin's ‘Rocksteady’ a serious run for its money, while ‘Trying Times’ is Jerry Jones’s skanking version of Roberta Flack’s classic tune written by the mighty Donny Hathaway and Leroy Hutso

Vega Tables marks a bold shift from Soda Coda (2023), trading folk for raw, electric energy—DIY synth-pop meets gritty lo-fi punk. Entirely self-produced, the EP’s creative spirit shines through its music and mixtape-inspired artwork.

With her sophomore album JAWBREAKER, Sam Quealy cements her status as one of pop’s most daring new voices. Like the cult candy it’s named after, JAWBREAKER is bold, addictive, and dangerously fun — a sugar-coated explosion of chaos, glamour, and emotion.

Produced alongside longtime collaborator Marlon Magnée (La Femme) between their Paris home studio and the legendary Studio Ferber, the album marks a striking evolution from Blonde Venus (2023). Here, Quealy trades the sharp edges of techno-pop for a lush, disco-infused sound, blending live instrumentation and cinematic sheen with her trademark anarchic energy. The result is a record that feels liberating, hedonistic, and deeply human — a vibrant antidote to modern gloom.

From the euphoric escape of “LONDONTOWN” to the dark romance of “LOVE LASSO”, and the shimmering pop fantasy of “GIRLS NIGHT”, Quealy channels a thousand versions of herself — club queen, rock diva, dreamer, and provocateur. The ethereal duet “BY MY SIDE” with Magnée closes the album in a haze of tenderness and light.

A multidisciplinary artist — singer, dancer, performer, and visual visionary — Quealy extends her universe through spectacular music videos and high-energy live shows that merge fashion, choreography, and raw emotion. On stage, she’s magnetic: a whirlwind of hyper-femininity and power, commanding every room with unfiltered authenticity.

With JAWBREAKER, Sam Quealy delivers a fearless pop statement — an exhilarating fusion of sensitivity, chaos, and self-expression that confirms her as a genre-defying visionary ready to take over the world.

Dubcore 27 features DJ Badshape from Leipzig’s vibrant breaks and bass scene with her full vinyl debut. She already made her solo debut with Hurrican Kick on Defrostatica Records and dropped some tunes on some compilations like Bassmæssage Second Drop as well as on cassette on human togetherness. While producing tunes she dj and regularly uploads her Temper mixes on SoundCloud.

The first two tracks, “Facebreaker” and “Entitled,” were produced shortly after Bangface. Hours of waiting at Humberside Airport turned into long talks about music — the festival's energy and conversations inspired this creation. The tune “Spring Bird Symphony” is the first track I produced with the KO2 media sampler from Teenage Engineering. It was the best birthday present my boyfriend could have given me! You hear the spring fever in it? ;) Finally, “Der Fallende Bach” is an ode to the flora and fauna of the Austrian Alps, imagining the joy a drop of water must feel as it rushes down a waterfall, riding nature’s own rollercoaster.

Get ready for the new school year with our latest compilation,



Back to school. Featuring 31 old-school lofi hip-hop tracks with warm vinyl textures and smooth, head-nodding rhythms, this mix is perfect for studying for exams, sketching in your notebook, enjoying a coffee break, or simply watching the leaves turn.



Sometimes, all it takes is the right soundtrack to make even the busiest school days feel a little easier, and a little more yours.












l B4. eli filosov p h i l o - doinfine

Originally issued in 2002, from the band formed by UFO vocalist Phil Mogg with guitarist Jeff Kollman (Cosmosquad/Mogg/Way), drummer Shane Gaalaas (Glenn Hughes/Uli Jon Roth) and bass player Jimmy Curtain, soon after the release of UFO studio album Sharks. Sparkling with melody, this album combines guitar-based rock and soulful blues perfectly.

For two decades, Hudd Traxx has stood as a pillar of underground house music – a label defined by longevity, taste, and its ability to bridge the old school with the new. To mark its twentieth anniversary, the revered UK imprint presents ‘20 Traxx From The Hudd’, a specially curated, all-new twenty-track compilation handpicked by label founder Eddie Leader.

The compilation brings together a global, star-studded lineup of artists who embody the Hudd Traxx ethos: soulful, inventive, and uncompromisingly underground. Contributions come from Groove Armada, Seven Davis Jr., Chez Damier, Cinthie, Jovonn, Oliver Dollar and others, offering a snapshot of the label’s wide-ranging influence. From the silky deep house depths of Black Loops’ opener ‘Soul to Soul Communication’, to the unmistakable analog warmth across Cinthie’s ‘Hudd House’, to the raw, stripped-back energy of Seven Davis Jr.’s ‘Infrasound’, the collection captures the many deeper shades of house Hudd Traxx has championed for twenty years.

Founded in 2005, Hudd Traxx has served as a trusted home for pioneering artists such as Nightmares On Wax and Matthew Herbert, guided by Eddie Leader’s consistent curatorial vision and unwavering commitment to craft. As a producer, his releases on Classic, Robsoul, and Balance Alliance have been supported by Laurent Garnier, Josh Wink, Disclosure, and many more. ‘20 Traxx From The Hudd’ isn’t just a celebration of the past; it’s a fervent reminder that Hudd Traxx remains as relevant and vital as ever.

Prolific powers in rave and counterculture, Luca Lozano and Mr. Ho debut on Phantasy with the deliciously gnarly ‘WREKONS’ EP. Already locked in close collaboration at their own Klasse Wrecks label, this temporary migration to Erol Alkan's peerless London imprint with four outsider-electro variations that sit comfortably amongst the more bombastic moments in Phantasy's history.

‘Reach Out and Touch’ sets the tone, bursting sound systems wide open with an introduction that takes Lozano and Ho out of the basement and into the widest festival fields, overdriven with sheer energy and a flawless arrangement that sets up all manner of musical twists until the final chord. ‘Psycho Rasp’ expands from a simple cowbell beat to a circuit-frying melody, a machine rush that isn’t afraid to strip back to bare essentials for a devilishly simple, extremely effective breakdown.

On the flip, ‘WREKONS' pushes things further still, particularly on the lubricious ‘Grease Beat’, an unrelenting symphony of rubber-faced bass, crashing cymbals and demented drums, ideally composed to pair daring DJs with submissive dancers. ‘Tin Can Hustler’ closes off the EP with the duo’s leftfield take on jackin’ house, its dense groove bubbling up from underneath the strangest analogue signals.

The title and sleeve artwork for 'WREKONS' makes reference to the PERKONS HD01, a drum machine made by Latvian wizards Erica Synths, and one that was used heavily throughout the two-day session in which these tracks were recorded

There’s a rare tenderness to the way Byron The Aquarius makes house music. Across every release, the Alabama-born producer brings a deep sense of humanity - chords that breathe, basslines that sway, and melodies that seem to remember. On 'One of a Kind (Love Affair)', his debut for Hard Times, that emotional clarity shines through once again.

A master of the keys with a discography that spans Eglo, Signature, Apron, Axis, and more recently Skylax and Star Creature, Byron has long blurred the boundaries between jazz, soul, and machine groove. Here, he builds four tracks that each glow with feeling and finesse.

‘A New Life' opens with uplift and propulsion - crisp kicks and fluid sax lines circling around tender vocal refrains. 'The Last Mile of the Way' drifts inward, its spoken-word cadence and pulsing rhythm turning reflection into hypnosis. On the flip, 'I Be Like Dat' pushes forward with a tougher, more percussive edge. A laser-guided club moment that still hums with soul. Finally, '4 Mike Huckaby' closes the record as both elegy and celebration: shakers, muted horns, and shimmering keys floating in quiet reverence for a lost friend and inspiration.

As its title suggests, One of a Kind (Love Affair) is less about romance and more about devotion.

The strongest Japanese covers of Grover Washington Jr. and Kool & the Gang's representative songs are now available on 7-inch vinyl for the first time!

Side A, "Ja Ashita Ni Sureba?" is a cover of Grover Washington Jr.'s famous soul/R&B song "Just the Two of Us," released in 1980. The song depicts the human weakness of putting off troublesome tasks, with lyrics that play on the ears, and an arrangement that retains the atmosphere of the original song while still being danceable, making it a superb track. Side B features a cover of the legendary funk band Kool & the Gang's 1981 hit "Get Down On It," titled "Netanone." This powerful double-sided single will have you intoxicated by the gap between the cool, danceable sound and the humorous lyrics!

The strongest Japanese cover of Jackson Sisters and Dan Hartman's signature song is now available on 7" for the first time!

Side A, "Milk Suki" is a soul number that boldly covers the Jackson Sisters' very famous song, "I Believe In Miracles," and explains the importance of milk. The B-side is a cover of Dan Hartman's "Relight My Fire," a dance classic. The gap between the humorous lyrics and the tasteful arrangement is sure to get you hooked!

M-Plant's 2026 schedule starts as it means to go on with a blistering, adrenaline-charged Techno EP from the minimal master, Robert Hood.

Robert Hood's minimalist approach helped define Techno's evolution in the early 1990s, as he's continued to push a stripped-down, hypnotic sound. His solo work, marked by precise drum programming and deep grooves, has become hugely influential across modern Techno. While he continues to innovate through projects like Floorplan (with daughter, Lyric) here he returns to his roots on the "Soul Sonic Force EP".

From A-side opener "Insurrection" that blends a tough peak-time Techno sound with sweeping strings, to the reverberating tonal "Black Ops". Then flip to the AA-side for the relentless pared down groove of "Soul Protector", before "Warfare" with its layered precision. This is classic Hood in action; unparalleled.

ANiML comprises accomplished and storied electronic artists. Their Stratasonic label has become a respected home for their freeform musical explorations, with no genre restrictions. They often call on friends and influential pioneers to collaborate on releases, and the originals they produce are defined by improvisation, creative songwriting, and intentional collisions of different moods and grooves.

'Unioness' is a tender but crisp late-night sound. Soft, jazzy melodies drift over orchestral swells with drum breaks cascading below. Abstracted vocals and serene strings further enrich this sophisticated sound, which draws on soundtracks and instrumental soul groups.

Stoned Autopilot is an alias of long-time studio magician Martin Buttrich, who is also part of Better Lost Than Stupid and has a fulsome catalogue on many of the scene's most recognisable labels. His dub rides smooth waves with aching vocals melting into the mix, and the melodies looped, smudged, and smeared in hypnotic fashion.

The second rework comes from DJ Sneak, the hugely prolific and consistent Chicago house innovator whose famously raw, tracky sound keeps him in a class of one. His fantastic Big Bawse Re-Rub brings a rolling four-four groove, a delicate sprinkling of percussion, and a loopy rhythm that locks you in and zones you out as curious melodies unfurl up top.

Marie Davidson Returns with Club-Ready 12” ‘City Of Clowns (MDJ Tools)’ — Featuring Soulwax Dubs on DEEWEE

Utilising their inimitable remixing style, Soulwax pump up and strip back Davidson’s ‘Push Me Fuckhead’ and ‘Sexy Clown’ for maximum dancefloor effect. The release also includes an electrifying contemporary version of 'Sexy Clown,' co-produced in the studio with Pierre Guerineau and tailored for Davidson’s acclaimed 2025 live performances.

This latest release follows Davidson’s 2025 album, a record that saw her expand her artistic language through a fusion of 90s Detroit techno grit, fired-up circuitboard breakbeats and skewed club minimalism. As with much of her work, the album used music as a means to navigate her place in the world — as an artist, as a woman, and as an entertainer. Conceptual yet emotionally raw, Davidson continues to push the boundaries of electronic music, creating work that is both deeply cerebral and disarmingly human.

With both Soulwax and Marie, sharing a commitment to bold, physical sound and restless reinvention, ‘City Of Clowns (MDJ Tools)’ stands as a natural meeting point — a late-night dialogue between two of modern electronic music’s most distinctive voices.

‘City Of Clowns (MDJ Tools)’ will be released digitally on October 31, with vinyl following early December.

With an ever-growing horde of rappers clamoring for attention, manifesting a successful long-term career in hip-hop has become an almost supernatural achievement, reserved for artists with near-mystical talents. Atlanta emcee Tha God Fahim embraces this role, positioning himself as a divine warrior with lyrical powers transcending this earthly realm, battling dark forces with tactical ingenuity and relentless dedication. This artistic vision has become even more vivid in recent years, culminating in the wildly creative series Hyperbolic Time Chamber Rap with acclaimed producer Nicholas Craven. Inspired by the anime phenomenon Dragon Ball and its conception of a dimension unconstrained by the rules of time, Fahim and Craven just concluded the ambitious endeavor with a staggering fifteen volumes released in only eight months. Taken collectively, Hyperbolic Time Chamber Rap forms a vital entry in Tha God Fahim's catalog, blending gritty narratives of hustle and hardship with intergalactic rhyme wizardry. Fahim's stratospheric ambitions are elevated by exquisite production from Nicholas Craven, known for his work with Roc Marciano, Mach-Hommy, Westside Gunn, Conway, Boldy James, Pink Siifu, and more. This first ever vinyl pressing of volume 3 contains

Girl group greatness, courtesy of the Chicago-based Hutchinson Sisters (with Theresa Davis on this record) and co-producers Isaac Hayes, David Porter and Ronnie Williams! Recording at Muscle Shoals and Stax studios seems to have added a little grit to The Emotions' sound, too; this 1971 classic on the Volt label offers the perfect blend of sweet and sassy. ''Show Me How'' was the hit, but it's ''Blind Alley'' that made Untouched one of the most collectible albums of its kind: that track's one of the most sampled in all of pop and hip hop, most notably by Big Daddy Kane (''Ain't No Half-Steppin''') and Mariah Carey (''Dreamlover''). Pressed in black and clearwater blue vinyl editions, and cut ALL-ANALOG from the original two-track master!
A1. Take Me Back A2. Nothing Seems Impossible A3. Boss Love Maker A4. It's Been Fun A5. Love Ain't Easy Onesided B1. Blind Alley B2. Show Me How B3. If You Think It (You May as Well Do It) B4. Love Is the Hardest Thing to Find B5. Tricks Are Made for Kids B6. Boy. I Need You

180 Gramm schweres, schwarzes 3-fach-Vinyl im Klappcover mit 20-seitigem Booklet und Download-Karte

2026 Repress

Dam Swindle's new 'Backyard Galaxy' EP is an ode to house music and the classic Swindle sound.

It's only been a few months since Dam Swindle released their highly acclaimed album "Open" and already the boys are back on Heist with a new release that takes you right back to the dancefloor. Where they've spent the better part of the last 3 years writing their album with all its sonic explorations and collabs, this new EP sees the duo return to their roots of club-ready house music. The 'Backyard Galaxy' EP comes with 4 high-energy house tracks made in their Amsterdam studio that have been road-tested all summer.

EP opener "Feel it much?" has all the ingredients of a classic Swindle heater, with warm pads, rich organic percussion and tons of soul. There's a simple and effective vocal running throughout the track that blends nicely with the classic house elements and electronic textures that are layered throughout the track. There's an effortless flow to this track and it comes as no surprise that it has been a highlight in their sets this summer.

The EP title track 'Backyard Galaxy' is an up-tempo Latin-themed jam with a hint of old school techno. The synth stabs hit you just right and the modulated vocal chops are a lovely boost for the build ups and add a touch of swing to a track that already has a tight groove. Add to that a huge breakdown and drum roll and you've got yourself a track that'll light up any dancefloor.

On the flip, we're moving into garage territory with the shuffling vibes of 'Rhythm Baby'. The current popularity of the genre is not missed on Dam Swindle, but when you look closely, you'll see this track is full of elements that the duo have built their legacy on. The vocal chops, transposed key samples and swing are all on point and work just as well below, as above 130 bpm if speed is your thing.

The EP closes with the NY-style house cut 'What you give', which reminds us of Dam Swindle's remix of Cinthie's Heist hit 'Won't U take me' with its lush organs and moody keys. It's perhaps the most classic house track they've made in a long time and you can hear they had a great time recording this. It's playful, vibey and catchy. Just the way we like it.

Dam Swindle might have delivered one of the standout cross-over albums of 2025, but on this EP the message is clear: Once a househead, always a househead.

As always, enjoy the music and play it loud!

Much love,
Heist HQ

Junun is the debut collaborative album by composer Shye Ben Tzur, Radiohead guitarist Jonny Greenwood, and the Indian ensemble the Rajasthan Express. Originally released in November 2015, the album was recorded in a makeshift studio within the 15th-century Mehrangarh Fort in Jodhpur, India. Radiohead's longtime producer Nigel Godrich worked on the album, creating a 2LP/CD release. World Circuit is set to reissue Junun on 16th January 2026, marking the album's 10th anniversary. This special edition will be available as a 2LP Gatefold Yellow & Orange Marble vinyl and a CD digisleeve. The album features Ben Tzur's compositions, which incorporate devotional Sufi qawwal musicians singing in Urdu and Hebrew. Greenwood contributed guitar, bass, keyboards, ondes Martenot, and programming, aiming to use chords sparingly and instead focusing on North Indian ragas. The recording process sought to capture the ""roughness"" of Indian music, avoiding the high fidelity often found in world music recordings. The making of Junun was also documented by acclaimed filmmaker Paul Thomas Anderson, offering an intimate look at the creative process and vibrant daily life during the album’s production. His film, also titled Junun, debuted at the New York Film Festival in October 2015. Junun (an alternate spelling of ""junoon,"" meaning ""mania"" or ""the madness of love"") received widespread critical acclaim—including Album of the Year honors from The Sunday Times, who called it “one of the most inspired releases of the year” and “intriguing, sinuous, and essential listening”. The group also supported Radiohead's 2018 Moon Shaped Pool tour, performing under the name Junun.

Synaptic Cliffs is thrilled to welcome the synthetic humanoid Fleck E.S.C. to its neural family.
He is planet-wide known as a master of Electro Space Cookie productions and a legendary figure among 4D wanderers since his voluntary transmigration to the Tokyo Null Zone. This release is not merely a collection of tracks but a detailed, musically decrypted analysis of post-human consciousness. The pieces were extracted directly from the non-Euclidean circuits of his own, self-constructed Franck Collin Android body. Prepare your brainstems for a complete recalibration and enjoy this perfect fusion of French precision and the wild, uncontrollable energy of Neo-Shinjuku.

"It's like hearing the entire evolutionary history of humanity played backward in a single millisecond while a synthesizer scores the birth of a new star," says
pdqb.

Hot Creations latest Vinyl Sampler featuring four of the Hottest recent release on Hot Creations.

Fresh off his Paradise debut with ‘Way U Move’ alongside Jamie G, Manchester’s Goosey steps up solo on Jamie Jones’ Hot Creations with ‘Funky Shit’ featuring Dope Earth Alien, with wobbly subbass
pulses and Dope Earth Alien’s catchy vocals, sweeping you into a full-body groove!

Murphy’s Law return to Jamie Jones’ Hot Creations, joined by label debutant Sam Curran and Harry Unsworth,on the collaborative banger, ‘Proper Whopper’. ‘Proper Whopper’ brings booming low-end that demand attention while soaring sirens and charismatic vocals build the track’s energy and pave the way for a thundering bassline to command dancefloors.

London-based DJ/producer Sidney Charles is back on Hot Creations with ‘Disco Bumping,’ a slick House cut that blends Aleya Mae’s lush vocals with Sidney’s warping sonic textures and immersive synth work.

Brazilian nocapz delivers the huge anthem ‘Getting Heard’, driving forward with quick, bouncy
beats and heavy synths that build a wave of intensity to the dancefloor.

Soul Jazz Records new Junglist! is a heavyweight new selection of classic and rare original jungle and features Krome & Time, Cutty Ranks, M-Beat, Bizzy B, Lemon D, Top Cat and more. 
Junglist! tells the story of how jungle and reggae came together to produce some of the heaviest tunes ever made. Get ready for more pounding basslines, fierce Amen breaks and heavyweight ragga vocals — strictly original jungle style from the earliest days of drum and bass. 
All these tracks date from 1993-95, at the height of jungle.

Mudline presents BRAINS (MUDL003) — the label’s first mixtape, curated by Leo Gibbon and Joshua Brinksman. A hazy transmission built from Sufferers Rock, Yard Lovers, and tough dancehall rhythms — music for vacant rooms and slow hearts.

Please note there are 5 different covers for the tape.

Mudline presents BRAINS - MUDL003.

First mixtape for the label, selected and assembled by Leo Gibbon and Joshua Brinksman.

A transmission dragged from dust and static - built from Sufferers Rock, Yard Lovers, and Tuff Dancehall.

Rhythms for vacant rooms and slow hearts.

All proceeds from the tape will be donated to support communities in Jamaica affected by the recent devastation of Hurricane Melissa.

SPIRIT!, the third LP from HUNNY, is about embracing the weird-an album born from uncertainty and built on instinct. It"s a testament to breaking free, starting over, and tuning out the noise. Now the sole project of longtime frontman Jason Yarger, HUNNY has shed its past shape to become something more fully itself. SPIRIT! doesn"t reinvent the wheel so much as keep it spinning forward. Across 15 tracks, the album-co-produced by Yarger and former bassist Kevin Grimmett with drums by former drummer Joey Anderson-leans into the sounds that have always lit HUNNY"s fuse: hooky post-punk, gleaming synths, and shout-along choruses praised by Alternative Press, Kerrang!, and Rock Sound. But it also pushes further-into abstraction, playfulness, and freedom. It"s the latest turn for HUNNY, a band long celebrated for shapeshifting through genres and decades with style on fan-favorite releases like Yes. Yes. Yes. Yes. Yes. (2019) and new planet heaven (2023)-always evolving, yet unmistakably themselves. That dynamic energy carries into their high-voltage live show, sharpened on tours with Joywave, Mom Jeans, Waterparks, and State Champs.

The journey through French-speaking pop archives continues with this fifth volume, packed with fuzz, gimmicks, and dissent. Far from the charts, the selected tracks display a great creative freedom, often backed by corrosive humor. Welcome to the surprising, kaleidoscopic, and colorful world of the late sixties and early seventies, Wizzz!
Born in Montauban, Robert Pico stumbled into music by chance when he met René Vaneste, then artistic director at Pathé-Marconi. René brought him to Paris to record his first 45 RPM EP in 1964. A year later, Pierre Perret introduced him to Vogue, where he recorded his second album with Claude Nougaro’s orchestra. Sylvie Vartan then introduced him to RCA, where he recorded four singles, including the astonishing "Chien Fidèle," a track backed by a hair-rising fuzz guitar. Alongside his solo career, he also composed for other artists like Alain Delon (the song was recorded but remains unreleased), Magali Noël, Bourvil, and Georges Guétary. In the Paris of the sixties, he mingled with Mireille Darc, Elsa Martinelli, Marie Laforêt, France Gall, Françoise Hardy, Petula Clark, Régine, Dani, Serge Gainsbourg, Joe Dassin, Franck Fernandel, Charles Level, and Roland Vincent. Despite his efforts and winning a Grand Prix Sacem for his final record, Robert Pico didn’t achieve the expected success in show business and decided to leave Paris and return to the Southwest, where he devoted himself to writing. He is the author of 23 books (including Delon et Compagnie, Jean-Marc Savary Editions 2025, a memoir about his youth and his many encounters). Today, he is relieved to never have become a celebrity and devotes himself to his work with passion.
In 1969, the Franco-Italian movie Erotissimo was released, directed by Gérard Pirès (who later directed Taxi in 1998, written and produced by Luc Besson). This pop comedy features Annie Girardot, Jean Yanne, Francis Blanche, Serge Gainsbourg, Nicole Croisille, Jacques Martin, and Patrick Topaloff. The soundtrack was written by Michel Polnareff and William Sheller, with lyrics by Jean-Lou Dabadie. "La Femme Faux-cils," performed by Annie Girardot. It recounts the feelings of a rich CEO's wife who seeks to develop her sex appeal under the influence of advertisement and magazines. Groovy, sparkling and light, this track, with ITS lush arrangements humorously critiques consumer society and feminine beauty standards.
“Je suis l’Etat” (1967) is the flagship track of the first EP by singer-songwriter Spauv Georges, aka Georges Larriaga, better known as Jim Larriaga (1941-2022). Born into a family of bakers, the young man was initially planning to become a hairdresser when he discovered English-speaking music through Elvis Presley and the Beatles. After this revelation, he decided he would become a songwriter and gave himself five years to succeed. He recorded his first two EP’s independently for RCA under the pseudonym Spauv Georges; meaning “that poor George”, a nickname given to him by the mother of her friend Jean-Pierre Prévotat (future drummer of the Players, Triangle, or Johnny Hallyday). Portraying a depressed and eccentric young man, Spauv Georges created corrosive and amusing songs that didn’t reach a wide audience, despite a TV appearance with Jean-Christophe Averty.
Supported by his loyal friend and fellow songwriter Jean-Max Rivière, Georges Larriaga met the future singer Carlos in the early '70s, then Sylvie Vartan’s assistant. He wrote songs for Carlos, including the popular "La vie est belle," "Y’a des indiens partout," and "La cantine", which went onto become a huge hit in 1972. He also composed for Claude François (“Anne-Marie”, 1971), Charlotte Julian (“Fleur de province”, 1972), helped launch child singer Roméo (who sold 4 million records), and later wrote the hit "Pas besoin d’éducation sexuelle" (1975) for the young Julie Bataille. In 1971, Jim recorded an album for Disc'Az: “L’univers étrange et fou de Jim Larriaga”, which featured pop gems like “La maison de mon père”.
The story of the song "Zoé" began when Pierre Dorsay, artistic director at Vogue Records, asked Swiss singer and musician Pierre Alain to write a song for a new female singer. The inspiration came when he realized that Zoé (the artist's name) was also the name of France's first atomic battery, created in 1948, which consisted of uranium oxide immersed in heavy water! The lyrics reflect a bubbling energy that must be handled with caution, while the instrumentation echoes this atomic theme, notably with the use of a theremin.
Zoé’s career lasted only as long as a single 45 RPM, but it seems Christine Fontane was the vocalist behind this pseudonym, who is known for several EPs, a good "popcorn" album in 1964, and a handful of children’s singles in the '70s. Regardless, the photograph on the cover is of a different girl entirely.
Later, Pierre Alain continued his career, writing songs for himself, Marie Laforêt, Danièle Licari, Alice Dona, Arlette Zola (3rd place in Eurovision 1982), and achieving multiple gold and platinum records in Canada. Also an inventor with several patents, president of the Romande Academy, and head of the French Alliance in Geneva, he now composes atonal music, books, and poetry. Moreover, he is also the host of "Les Mardis de Pierre Alain" at "Le P'tit Music'Hohl" in Geneva.
Filled with oriental choruses and fuzz guitar, "Fou" is from Jacques Da Sylva's only EP released by Vogue in 1967. Despite the quality of this recording, all traces of this singer disappear after this first effort.
Valentin is a baroque pop singer born in Belgium. He is the songwriter and composer of most of the tracks on his three singles released in the late 60s in Canada. A legend says that he reincarnated himself as Jacky Valentin during the 1970s for a rock'n'roll revival career in Belgium, but his older brother sadly debunked this story. Valentin's first two singles were arranged by Claude Rogen, a Parisian session pianist who had come to Canada to promote the song “Mister A Gogo”, a cover of David Bowie’s “Laughing Gnome”, adapted by singer Delphine, his wife at the time. Far from his usual network, Claude Rogen arranged music for Polydor, including the arrangements for “Je suis un vagabond” in 1969, a jerk tune with string arrangements and a furious optimism.
Jacques Malia wrote, composed, and recorded his only 45 EP for Festival in 1966. “Histoire de gitan” is an incredible beat track with bohemian scat that tells the story of a gypsy musician who came to Paris to make it in the Music-Hall, to no avail. The hero of the song and its author probably shared a similar fate, as Jacques Malia faded into anonymity after this remarkable attempt.
Bernard Jamet recorded two EPs for Barclay in the late sixties and co-wrote several songs with Christine Pilzer, Pascal Danel, and prolific songwriters Michel Delancray and Mya Simile. The track “Raison Légale” (1968), his masterpiece, immerses the listener in a courtroom right when a murderer is being judged, with jerk rhythm and free arrangements. A unique, paranoid, judicial, and psychedelic oddity.
Jean-Pierre Lebrot-Millers started his career in show business in 1967 as a singer and songwriter for the Philips label. After three singles, he wrote several songs of a new kind with his friend Pierre Halioche, in the midst of the sexual liberation movement and the democratization of drugs. With provocative lyrics, “Les filles du hasard” and “Barbara au Chapeau Rose” were released on a Philips singles in 1968. The character of Barbara was inspired by a queen of Parisian nightlife during the psychedelic years: model Charlotte Martin, who dated Eric Clapton from 1965 to 1968, then Jimmy Page from 1970 to 1983. Jean-Claude Petit’s arrangements, with a table-filled intro, soul brass, and Hendrixian guitar, emphasize the flamboyance of a hedonistic and sexy character, whose dog is named Junkie because “Junkie est un nom exquis”! The track was recorded live in three takes with a full orchestra.
Upon its release, the record was censored by Europe 1 and RTL due to its references to drug use. Jean-Pierre Lebrot was then banned from the airwaves and later dismissed by his record label. He changed his artist name to Jean-Pierre Millers, while his companion Pierre Halioche became D. Dolby for a new dreamy composition, “Chilla”, which Jean-Pierre produced himself with arrangements by Jean Musy. Once again, the song was immediately censored everywhere. After this setback, he decided to stop singing and started taking on odd jobs to support his Swedish wife and their son until the day he met Jean-Pierre Martin, then production manager at Decca, who had worked with Manu Dibango. Martin offered Jean-Pierre Lebrot-Millers, then employed at Rank Xerox, the position of artistic director at Decca. He accepted and became, a year later, promotion director (radio, press, TV). He worked on Julio Iglesias’s first album for Decca, which became a massive hit and allowed him to meet Claude Carrère. The latter asked him to write new songs and find their performers, much like a “talent scout.” It’s through him that Jean-Pierre discovered Julie Pietri and Corinne Hermès. He composed “Ma Pompadour” for Ringo, Sheila’s husband, and took the microphone again for the syncope hit “Rendez-Vous” in 1982.
That same year, Jean-Pierre Lebrot-Millers tried to release a track for which he had heavily gone into debt: “Si la vie est un cadeau”. Having recorded it in London, he presented it to numerous professionals, all of whom refused to get involved. The same thing happened with Antenne 2 and the Sacem when he proposed the song as France’s entry for Eurovision. He then met Haïm Saban, who was producing cartoon soundtracks and had just launched the Goldorak theme song. Saban, having listened to the song, declared it had the potential to become a hit. He sent Jean-Pierre and Corinne Hermès to meet the CEO of the Luxembourg radio and television network. The latter received them, asked to hear a verse and chorus a cappella in his office, and immediately hired them to represent Luxembourg at Eurovision 1983. They reworked the arrangements and recorded a new version with Haïm Saban as co-producer. The song ended up winning Eurovision 1983, a great comeback for our hero. He continued producing and hung out with the band Nacash in Belgium when a couple came to introduce their daughter for an impromptu audition in a hotel room. The girl sang “Les démons de minuit” while dancing to a radio cassette. Impressed, he had her take singing lessons for a year and composed a song for her (for which he had the melody and title, but no lyrics). This required him to go on the hunt for a lyricist, who ended up being Guy Carlier. They recorded the song, which was initially a ballad, at Bernard Estardy’s CBE studio, and gave the singer a new name: Melody. They showed the song around their industry network without success. Later, Estardy called Jean-Pierre to suggest changing the rhythm and making it pop-rock. Orlando, Dalida’s brother, liked the result and decided to co-produce the track. “Y’a pas que les grands qui rêvent » became a classic hit. The song has since been covered by Juliette Armanet (as a ballad, like the original) and Valentina.

Born into an aristocratic Breton family, Hervé Mettais-Cartier worked as a DJ at Queen Kiss, a nightclub in Poitiers, where he formed the band Les Concentrés with Michel (an actor) and Christian (a radio technician). Together, they created a repertoire of whimsical songs (“Ma bique est morte”, “J’suis un salaud”, “Fils de dégénéré”...) that they performed on stage dressed in white (in homage to “concentrated milk”). They performed at Bliboquet and Olympia in 1968 for the 10th edition of the “Relais de la chanson Française” organized by L’Humanité-Dimanche and Nous les Garçons et les Filles, sponsored by Pepsi Cola. Winners in the author-composer category, alongside Danish singer Dorte, their visibility allowed them to record a 45, and appear on television in Jean-Christophe Averty’s show. The A-side of the disc features Bruno le ravageur, a casatchok dedicated to Bruno Caquatrix, the director of Olympia, nicknamed in the song “Coq Atroce” or “croque-actrices”. The B-side is dedicated to “Fils de dégénéré”, a quirky tribute to Hervé's aristocratic roots, mixing absurdity with sophisticated vocal harmonies.
After Les Concentrés, Hervé Mettais-Cartier formed the duo La Paire et sa Bêtise with his friend Olivier Robert. They performed in Parisian cabarets and toured with Pierre Vassiliu. In the late 1970s, Hervé began a solo career. He recorded two albums for the Motors label in 1978 and 1979, which did not achieve their anticipated success due to lack of promotion. In 1980, he met Bernadette, with whom he started a family and created a “Chansons à voir” (songs to see) show that he performed until his death at the end of 2024.

Publicité comes from the final EP by the Missiles (Ducretet Thomson, 1966), a disc that also includes “La (nouvelle) guerre de cent ans”, featured on Volume 4 of our Wizzz! series. Please refer to the booklet for the story of the band.

“He’s 1.82 meters tall, 28 years old, weighs 135 kg, is black and Belgian”: this is the description of singer Hegesippe on the back of his sole single (Decca, 1967). He appears on the album cover wearing a Greek toga, like a hippie gag – we are at the end of the year 1967. In “Le crédo d’Hegesippe”, this former bodyguard of Antoine and the Charlots plays the delightful card of the thick brute converted to Flower-Power and non-violence, with arrangements by Jean-Daniel Mercier, aka Paul Mille.
“Ethéro-disco” was released on a promotional record for clients of the Maréchal company (Liège, Belgium) for the New Year 1979. Over a funky rhythm, celebrity impersonations (Brigitte Bardot, Jacques Dutronc, Fernandel…) deliver an enigmatic text about pharmaceutical products like ether, bismuth, and aspartate. The track was composed by Dan Sarravah (responsible for Joanna's “Hold-up inusité” featured on Wizzz! Volume 3) and Tony Talado, who was also a singer (one 45 in 1967), songwriter (with over a dozen credits between 1964 and 1985 in various styles from surf music to disco), author (Devenez Végétarien, Dricot Editions, 1985), ad designer, and psychologist.

Décollez-les is on the A-side of Mamlouk's only single, a pseudonym for Marsel Hurten, who is known for his work on several EPs in the late sixties, as well as composing music for Hervé Vilard’s “Capri, c’est fini”, Claude Channes' “La Haine”, Annie Philippe’s “On m’a toujours dit”, and Nancy Holloway’s “Panne de Cœur”.
This strange song, with Afrobeat horns and absurd dialogues between a chef and his kitchen staff, is the result of a collaboration between Marsel Hurten and one of his neighbors, a photographer from Pavillon-sous-Bois (93), where the musician settled after returning from the Algerian War. A music video was shot to promote the record.
Marsel Hurten was born in Tourcoing (59) into a musical family. At a young age, he joined the brass band founded by his grandfather, playing the piston before studying trumpet at the conservatory, as well as teaching himself how to play the guitar. As an orchestra musician, he toured in France, Belgium, Germany, and England. He released a series of solo 45’s between 1965 and 1968 for the DMF and Az labels before stopping recording to focus on working for other artists (Gilles Olivier, Noëlle Cordier…).
“L’amour nu” (Vogue, 1971) is the work of the short-lived Belgian band Mozaïque. The track, written by singer Jacques Albin, closely resembles another of his compositions, “Carré Blanc”, which he recorded in 1969 for Disc’AZ.
Represented by the Lumi Son micro-label based in Marignane (Côte d'Azur), Jean-Marc Garrigues released two 45 RPMs in the late sixties, defending the French jerk sound. The song “Je dis Non” is a short, joyful ode to youth, pop music, and rebellion.
Songwriter and performer Jacques Penuel released three singles. The first one, “Astronef 328” (Fontana, 1969), features a dizzying series of chords punctuated by sound effects, a sci-fi story, and arrangements by Jean-Claude Vannier.

We would like to sincerely thank Pierre Alain, Moon Blaha, Marsel Hurten, Bastien Larriaga, Jean-Pierre Lebrot-Millers, Bernadette Mettais-Cartier, Robert Pico, Olivier Robert, Claude Rogen, Micky Segura.

Psyché is an eclectic project rooted in the Neapolitan music scene. Conceived in 2018, the project includes Marcello Giannini (Nu Genea Live Band, Guru, Bassolino, La Famiglia), Andrea De Fazio (Nu Genea Live Band, Parbleu, The Funkin Machine), and Paolo Petrella (Nu Genea Live Band, Fratelli Malibu). They were recently joined by Roberto Porzio (Parbleu, Fitness Forever, 24 Grana, The Funkin Machine).

"Hurriya (We Must Resist)" is a sonic bridge crossing the Mare Nostrum, connecting the shores of Naples and Tunisia.

At the heart of this fusion is the voice and soul of Tunisian musician Ziad Trabelsi, whose Arab roots intertwine with the psychedelic, Mediterranean sound of Psyché.

In this track, Afrobeat and Arabic sonorities meet to create a hypnotic journey, one where Ziad's oud weaves an evocative groove that gallops like horses in the desert.

The song carries the echo of the ancient dominations and cultural exchanges that have shaped Naples—a millennia-old crossroads of civilization—where traces of Arab and North African influences continue to resonate in its streets and, most notably, in its music.

"Hurriya"—the Arabic word for freedom—is an anthem of resistance and resilience, a dialogue between East and West that dissolves the rigid boundaries of geography and politics. It is a collective song for the freedom of all peoples, against oppression, abuse, and injustice everywhere in the world. As Psyché emphasize: "Even if life tests us severely, and we often feel like giving up in the face of injustice, we must resist. We must refuse to disappear."

The single is available digitally and physically, on January 23rd, as a 7" vinyl. The B-side of the physical release includes an exclusive, extended version of "Hurriya (We Must Resist)", available only in this format.

From Ace Records’ early days, there’s always been a place in our hearts for music’s feminine side. A year having flown by since the release of our last compilation spotlighting the US girl group sound of the 60s – think castanets, anguished teen sirens, Svengali-esque producers and mini-sonatas about dreaming, dancing and moody boyfriends (sometimes deceased) – means the time has come for a new vinyl-only volume.

As 1968 drew to a close, the golden age of girl groups had seemingly been and gone: the Shangri-Las, Ronettes and Chiffons, for example, hadn’t had a hit record of note since 1966. Then along came ‘Condition Red’, a cleverly produced psychodrama performed by the Goodees, who grace the front cover and open the top side of this new comp in dramatic style. Over on the generally more soulful second side, Les Chansonettes are first up with ‘Don’t Let Him Hurt You’, a big production stomper written with Martha & the Vandellas in mind.

Elsewhere, Beverly Williams performs the very Lesley Gore-like ‘One Way Street’; ‘Go Away’ by the Murmaids (of ’66) is a lavishly produced number with a chamber pop vibe; ‘What Did You Do Last Night’ by the Drake Sisters was recorded in Phase-O-Phonic Sound; the lyrics of Denita James’ ‘Wild Side’ call to mind genre classics such as ‘He’s A Rebel’, ‘Out In The Streets’ and ‘Chico’s Girl’; and the Sweathearts close the show with a gorgeous harmony-filled update of the mid-50s oldie ‘Eddie My Love’. As usual in this series, the inner sleeve features a picture-packed 4,000-word track commentary by long-serving compiler Mick Patrick.

The Select series makes a return for a superb 11th edition. Selecting some of the best music from the world’s most exciting electronic producers, with over 30 tracks featuring across 2 DJ mixes. Includes music and remixes from Kölsch, Danny Howells, Anthony Pappa, Hernan Cattaneo, Nick Warren, Hunter/Game, Noir, Christian Smith and more

Die Select-Reihe kehrt mit einer großartigen 11. Ausgabe zurück. Mit einer Auswahl der besten Musik der weltweit spannendsten Elektronik-Produzenten, mit über 30 Tracks auf 2 DJ-Mixes. Enthält Musik und Remixe von Kölsch, Danny Howells, Anthony Pappa, Hernan Cattaneo, Nick Warren, Hunter/Game, Noir, Christian Smith und vielen anderen.

The Ruins Of Beverast narrate fables of the darkest secrets in human history and present. ‘Tempelschlaf’ is The Ruins Of Beverast’s seventh full-length output and sees the band continue with their sonic morbidity, noises and melodies of a human habitat in its sunset era, while maintaining and refining the widescreen low end that has been sustaining their sound from the beginning. On the instrumental side, ‘Tempelschlaf’ is stripped of some fat, forging the songs with a reduction in length and layers, cautiously leaning towards the stage part of things. While synths and samples have always played an adamant role in The Ruins Of Beverast’s sound, they reach yet another level of psychedelia and insanity on ‘Tempelschlaf’. The Ruins Of Beverast were formed in early 2003 and named after the most bloodcurdling occasion of the collapse of the giant bridge Bifröst. This incident bears analogy to the musical aura of The Ruins Of Beverast, which builds a sonic landscape of massive, surreal, barren mountain formations. Seven full-length albums and several EPs, splits and compilation releases have been published through Ván Records so far. As a live act, The Ruins Of Beverast became a strong force after Roadburn 2013, a festival the band have played again since with exclusive shows. The Ruins Of Beverast have embarked on several European tours with acts like 1349, Grave Miasma and King Dude, as well as a highly acclaimed US tour that eventually concluded with an iconic show at Fire In The Mountains festival. The band have played such well-established club shows and festivals as Hellfest, Inferno, Incubate, Party.San Open Air and Beyond The Gates, to name just a few.

'In 2023, sound artist and composer Weston Olencki toured across the American South. Beginning in their hometown in South Carolina, they snaked a circuitous path from the mountains of West Virginia to the banks of the Mississippi River. As the miles accumulated, so did the initial seeds of new work.
'Instruments and artifacts they acquired hitched a ride in the backseat, while songs and sounds filled their portable recorder: water in its various states, the familiar insectoid buzz of those summer nights, trains cutting through the landscape, the traditional music that lived alongside the communities that kept it. Olencki took it all in, and over time, found ways that these experiences coalesced into a bramble-like perspective of time, where past, present, and future intersect in ways both barbed and beautiful.
'Broadsides, Olencki’s newest solo full-length is the multilayered result of this journey. The album follows their landmark release Old Time Music from 2022, which presented radical interpretations of traditional tunes from Appalachia and throughout the South alongside original compositions that drew significantly on archival recordings. On Broadsides, Olencki rejects delineations between the unmoored avant-garde and the rootedness of one’s cultural heritage, revealing their porous and intertwined nature. “My mother was a quilter. Her mother before that,” they write in the album’s liner notes. “Quilting, like music, is a practice of embedding knowledge and remembrance into the very core of the thing you are making. It’s not just about the materials, but how they’re reassembled, recontextualized, stitched, woven to form new patterns - the minutiae of craft holding significance to those looking to find it. Stories woven from stories, never told the same way twice.”
'Like all great road trips, Broadsides unfolds slowly and continuously, with moments of dramatic reverie punctuating the endless melt of highway in the rearview. We’re immediately confronted by the uncanniness of revisiting old haunts, as Southern storms break through the initial churn of the freight locomotives of Alabama. Olencki’s interpretation of the bluegrass standard “Foggy Mountain Breakdown” captures the euphoria of melancholy in motion. The permutational plucks of banjo are bounced around the frame by a computer, its pitches determined within algorithmic sequences and transcriptions of classic three-finger licks. The tonalities of old-time are smeared and stretched until all that’s audible is the insistence that Heaven might be real.
'In the album’s second half, “Omie Wise,” a murder ballad made famous by Doc Watson, follows an interlude recorded on the river in North Carolina in which the titular character’s body was laid. Ghostly echoes of a dozen other renditions float through the substrata as Tongue Depressor’s Henry Birdsey accompanies them on the pedal steel guitar. The album’s central composition, “all my father’s clocks,” is a profound meditation on entropy and impermanence. The sound of their father’s extensive clock collection ticks away as Olencki pulls a bow across the length of an autoharp sourced from a rural strip mall. The instrument was left as detuned as it was found, the resonance of its deep bass drone and clanging high-end the result of years of neglect and the warping effects of Southern humidity.
'Historically, broadsides were an early form of broadcasting, an often- musicalized telling of current news pasted in the public square. The name was later taken up by Sis Cunningham and Gordon Friesen in the 1960s, whose Broadside magazine published songs and social commentary when American folk music resurfaced as an urgent way of communicating the multifaceted politics of its time.
'Olencki borrows the phrase to recall both this old form of songmaking and that later prominent reexamination of traditional music’s role in modern life, but also to draw attention to the fragmented and machine- mediated way heritage is diffused in this very different, but no less pivotal, moment.
'As a sanitized past is used as justification for current violence and domination, we can turn to these artifacts to better understand the history of ourselves, but only if they are consciously pushed to evolve. Broadsides represents one personal, striking vision of what far-flung futurisms could be respun from = these high, lonesome sounds: a reflection of the unbridled joy and deep sorrow inherent to living together through time, and a desire to push further into the untold and unknown.'

Berlin-based composer and vocalist FRANKIE, also known as Franziska Aigner, and Dominican-American producer Kelman Duran meet at the Twelve Apostles Church, in the Berlin district of Schöneberg, sometime in 2022, at the beginning of the spring season. They were each asked to engage the space’s solemnity, and its reverence, through distinct performances. Their chance encounter, abounding with mutual curiosity towards each other’s practices, smoothened the path for a years-long collaboration, culminating in McArthur, their first joint album. Following a period of exchanging musical fragments and prompts at a distance, Aigner and Duran come together in Athens, and later in Los Angeles, to prepare the stuff and material for the album, slowly developing a body of work informed by shared hauntings, and a commitment towards the disjointed and the residual. Aigner describes her process as writing “into the negative space” of Duran’s beats—filling in, if not invigorating, their thudding and inflections, but without rearranging the integrity of the whole. The result is an album where time and geography are made elastic, and where sonic improvisations become a site for quiet, and cryptic, articulations of intimacy.

In der Rock-Mythologie traf Robert Johnson 1930 an einer Kreuzung auf den Teufel und begründete damit den Rock'n'Roll. Fast hundert Jahre später, im Mai 2024, steht Dirty Sound Magnet vor seinem eigenen Schicksal, als es an der Zeit ist, ein neues Album aufzunehmen.Zum ersten Mal in ihrer Geschichte hat das Trio nicht den Luxus, jeden Schritt des Aufnahmeprozesses sorgfältig zu planen. Seit 2022, nach der Veröffentlichung ihres vielgelobten Albums DSM-III, spielt die Band 120 Konzerte pro Jahr und managt alle Aspekte ihrer Karriere selbst. Daher ist es 2024 für das Trio die einzige Möglichkeit, ein neues Album zu produzieren und aufzunehmen, indem es seinem Instinkt folgt. Me and My Shadow ist das Album, zu dessen Entstehung die Band bestimmt war - ein Album, auf dem alles auf elegante Weise zusammenkommt.Wie immer in der Rockgeschichte war die Tragödie nie weit entfernt, und das Album wäre beinahe nicht entstanden. Zwei Wochen vorden ersten Aufnahmesessions entgeht Stavros nur knapp dem Tod durch eine versehentliche Vergiftung. Auf einem Krankenhausbett, halb bewusstlos und umgeben von aufgeregten Ärzten, tauchen die Themen des Albums in seinem Unterbewusstsein auf. Inmitten des Geflüsters der besorgten Ärzte, die um sein Leben fürchteten, wuchs in ihm die Gewissheit und Klarheit: ,Das kann unmöglich das Ende sein - wir müssen noch ein Album aufnehmen." Dieses Licht, das ihn aus den Schatten zurückholte, ist dasselbe Licht, das vor hundert Jahren Robert Johnson und seitdem unzählige Musiker inspiriert hat.

Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only a year or so ago, Gnome actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material - quite a few albums' worth - on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like minded players from Frankston's rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins on drums, Gnome became a band.

Early in 2025, the last solo Jay recordings released under the Gnome name caused something of an international underground sensation when the Bandcamp only I Like It EP - four songs of kranked up Kinks-style mono riffage - was posted by a Spanish garage-punk YouTube page and quickly clocked up over 50,000 views.



At the same time, the band quickly began gaining attention on the thriving Frankston scene and around Melbourne. They started breaking out, sharing bills with the likes of Drunk Mums, Skegss, Split System, The Prize, The Unknowns, Cosmic Psychos, Hockey Dad, Guitar Wolf, The 5.6.7.8's, The Breadmakers, Loose Lips, fellow Frankstoners/Singing Bird alumni The Belair Lip Bombs, and, on a quick trip to Sydney, Cammy Cautious & The Wrestlers.

And now, finally, we have The Gnomes' debut album. Twelve killer tracks that combine the best of the '60s with the best of today. Twelve killer tracks that show off assertive and accomplished songwriting, singing and playing and an explosive and authentic swinging group sound. Twelve killers slices of raw rock'n'roll running the gamut from the savage Rhythm & Blues of "Play With You" and “Better With You” to the vibrant beat pop of "I'll Be There" and "I'm Not The One", with forays into the heavy reverb psych of "Stung", the Cavern/Star Club stylings of "Flippin' Stomp" and the first flyte jangle of "Time Will Tell" along the way. There’s more of course, including a new version of that Kinks-style kranker “I Like It” for good measure.

Frankston’s Fab Four are taking their sound to the world. Join them for the ride!

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

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

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

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

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

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

Bulat Khalilov and Stefan Schneider, November 2025

Una interpretación de Soinuarenbidea II debería partir de esta premisa: todo es posible, nada es aleatorio, y en sí mismo es un imposible de aleatoriedades. El escenario planteado explora la idea de realidad aumentada desde una percepción sonora, ambiental y colectiva. La obra transita hacia adelante y hacia atrás recreando experiencias extintas de porvenir incierto, tratando de facilitar un fin pacificador. Cada pieza sonora se crea, se despliega, se repliega y se destruye, en una torsión permanente de toda la realidad que hace posible cada fragmento musical, cada identidad acústica, cada espacio sonoro. Lo onírico, la ficción, y el viaje están continuamente presentes, y es en el transitar de cada fragmento donde se produce el diálogo de la exposición musical. Los elementos de esta ficción se recrean continuamente, en un continuum donde se entrelazan y se van contorsionando a medida que crecen o decrecen con cada fragmento de síntesis concreta. Los temas explícitamente musicales son el magma que conduce a dar voluptuosidad al disco, siendo la piel un contexto o límite que en sí mismo fluctúa indefinidamente en texturas y configuraciones posibles. Y la urdimbre del silencio es la síntesis que está continuamente presente y que trata de cohesionar los fragmentos en continua colisión expresiva. Las grabaciones de campo proporcionan el material sonoro concreto, y como un fractal sonoro cada una de ellas ofrece diferentes grados de interpretación que a su vez conduce a nuevos fragmentos y nuevas creaciones. Así que se puede pensar que esta es una síntesis de una posible realidad, pero interpretable en infinidad de maneras. Un movimiento y una estaticidad implícitas que generan estructuras y dinámicas acústicas. Lo que se escucha no es real, pero en sí mismo forma parte de la realidad, creando un escenario expectante. Lo cinematográfico, plástico y teatral, danzante y dinámico cobra importancia en este juego, porque se trata de contar una historia, una experiencia recreada desde los puntos de vista del arte visual. Es a su vez hilo conductor y entretenimiento, discurso político y puro divertimento. Es desde este espacio de convivencia artística que tiene sentido la totalidad y justifica el formato sonoro planteado. La contradicción de la obra es patente en el formato, y es a su vez el planteamiento de una accidentalidad en el devenir vital. Contenedor de Ruido recoge todas estas contradicciones y las manifiesta en la obra Soinuarenbidea II. Es una historia sonora, es un cuento acústico. Es un fragmento de vitalidad en imágenes audibles. Es una invitación a la reflexión, a la crítica, al disfrute, a la meditación, a la celebración. Y sobre todo es esperanzadora apreciación de la realidad como algo maleable que confeccionamos colectivamente, que requiere de una paciente observación y la participación colectiva global, en un mundo finito pleno de diversidades y del que ignoramos prácticamente todo, al que deberíamos volver con respeto y devoción.

Soinuarenbidea II-ren interpretazio batek premisa honetatik abiatu beharko luke: dena da posible, ezer ez da ausazkoa, eta, berez, ausazkotasun ezinezko bat da. Planteatutako agertokiak errealitate areagotuaren ideia aztertzen du, soinu-, ingurumen- eta talde-pertzepzio batetik abiatuta. Lanak aurrera eta atzera egiten du, etorkizun zalantzagarriko esperientzia desagertuak birsortuz eta helburu baketsua lortzen saiatuz. Soinu-pieza bakoitza sortu, hedatu, tolestu eta suntsitu egiten da, musika-zati bakoitza, identitate akustiko bakoitza eta soinu-espazio bakoitza ahalbidetzen dituen errealitate osoaren etengabeko bihurdura batean. Onirikoa, fikzioa eta bidaia etengabe daude presente, eta pasarte bakoitzaren joan-etorrian gertatzen da musika-erakusketaren elkarrizketa. Fikzio honen elementuak etengabe birsortzen dira, continuum batean, non sintesi zati zehatz bakoitzarekin hazi edo txikitu ahala elkar lotzen eta bihurritzen diren. Esplizituki musikalak diren gaiak diskoari atsegintasuna ematera eramaten duen magma dira, azala testuingurua edo muga izanik, testura eta konfigurazio posibleetan mugarik gabe aldatzen dena. Eta isiltasunaren irazkia etengabe presente dagoen sintesia da, zatiak etengabeko adierazpen-talkan kohesionatzen saiatzen dena. Landa-grabazioek soinu-material zehatza ematen dute, eta soinu-fraktal batek bezala, horietako bakoitzak interpretazio-maila desberdinak eskaintzen ditu, eta horrek, aldi berean, zati eta sorkuntza berrietara eramaten du. Beraz, pentsa daiteke errealitate posible baten sintesia dela, baina hamaika modutan interpreta daitekeena. Egitura eta dinamika akustikoak sortzen dituzten mugimendu eta estatikotasun inplizitu bat. Entzuten dena ez da erreala, baina, berez, errealitatearen parte da, eta agertoki espektakularra sortzen du. Zinematografikoak, plastikoak eta antzerkikoak, dantzariak eta dinamikoak garrantzia hartzen dute joko honetan, ikusizko artearen ikuspegitik birsortutako istorio bat, esperientzia bat, kontatzea baita helburua. Aldi berean, hari gidaria eta entretenimendua da, diskurtso politikoa eta dibertimendu hutsa. Elkarbizitzarako espazio artistiko honetatik osotasunak zentzua du eta planteatutako soinu-formatua justifikatzen du. Obraren kontraesana nabarmena da formatuan, eta, aldi berean, bizi-bilakaeran istripu-tasa bat planteatzea da. Zarata-edukiontziak kontraesan horiek guztiak jasotzen ditu eta Soinuarenbidea II obran adierazten ditu. Soinu istorio bat da, ipuin akustiko bat. Bizitasun zati bat da, irudi entzungarrietan. Hausnarketarako, kritikarako, gozamenerako, meditaziorako eta ospakizunerako gonbidapena da. Eta, batez ere, itxaropentsua da errealitatea modu kolektiboan egiten dugun gauza xaflakor gisa hautematea, behaketa pazientea eta partaidetza kolektibo globala eskatzen dituena, dibertsitatez betetako mundu mugatu batean, ia guztia kontuan hartzen ez duguna, eta errespetuz eta debozioz itzuli beharko genukeena.

An interpretation of Soinuarenbidea II should start from this premise: everything is possible, nothing is random, and in itself is an impossible randomness. The proposed scenario explores the idea of ​​augmented reality from a sonic, environmental, and collective perception. The work moves back and forth, recreating extinct experiences of an uncertain future, seeking to facilitate a peaceful end. Each sound piece is created, unfolds, retreats, and is destroyed, in a permanent twisting of all reality that makes each musical fragment, each acoustic identity, each sonic space possible. The dreamlike, the fictional, and the journey are continually present, and it is in the transit of each fragment that the dialogue of the musical exposition takes place. The elements of this fiction are continually recreated, in a continuum where they intertwine and contort as they grow or diminish with each fragment of concrete synthesis. The explicitly musical themes are the magma that leads to the work's voluptuousness, the skin being a context or boundary that in itself fluctuates indefinitely in possible textures and configurations. And the warp of silence is the synthesis that is continually present and seeks to unite the fragments in a continuous expressive collision. The field recordings provide the concrete sound material, and like a sonic fractal, each one offers different degrees of interpretation that in turn lead to new fragments and new creations. So one can think of this as a synthesis of a possible reality, but interpretable in an infinite number of ways. An implicit movement and staticity that generate acoustic structures and dynamics. What is heard is not real, but in itself is part of reality, creating an expectant scenario. The cinematic, plastic and theatrical, dance and dynamic aspects take on importance in this game, because it is about telling a story, an experience recreated from the perspective of visual art. It is at once a common thread and entertainment, political discourse and pure entertainment. It is from this space of artistic coexistence that the whole makes sense and justifies the proposed sound format. The contradiction of the work is evident in its format, and it is, in turn, the presentation of an accidentality in the course of life. Noise Container gathers all these contradictions and manifests them in the work Soinuarenbidea II. It is a sound story, an acoustic tale. It is a fragment of vitality in audible images. It is an invitation to reflection, to critique, to enjoyment, to meditation, to celebration. And above all, it is a hopeful appreciation of reality as something malleable that we collectively craft, requiring patient observation and global collective participation, in a finite world full of diversity and of which we know practically nothing, to which we should return with respect and devotion.

Paisajes sonoros, diseño sonoro, drones y música grabada, realizada y arreglada para Contenedor de Ruido por David Aranaz. Coro: Basandere Ahotsak. Producido y mezclado por David Aranaz. Mástering: Estanis Elorza. Fotografía: David Aranaz. Texto: David Aranaz. Traducción: Saioa Aranaz Oreja. Trabajo y Diseño artístico: Cristina Martinez. Edición: Contenedor de Ruido Producciones y Sarbide Music. Distribución: Contenedor de Ruido.

Contenedor de Ruido agradece el apoyo en la realización de Soinuarenbidea II al coro Basandere Ahotsak y en especial a Eva Orbara Goicoa.

Soinuarenbidea II está dedicado al pueblo palestino.

Paisajes y objetos Sonoros, samplers y otras músicas transformadas para Soinuarenbidea II
Burlada: Paseos sonoros matinales por Merindad de Sangüesa, Calle Mayor, Capuchinas, Parque Uranga y varias iglesias y plazas. Pasajes del cotidiano: basura de papel, cristal y plástico.
Pamplona: Cementerio de San José. CEIP Sanduzelai /// Quinto Real: Fábrica de Armas, Puerto de Urkiaga y alrededores. Suite del silencio, bosques en movimiento /// Fábrica de armas de Orbaiceta: regatas, biosques, paseo sonoro hasta regata /// Belate: Puerto de Belate y alrededores. Vacas en pradera junto a las turberas /// Bardenas Reales: Suite de guitarra y Suite del silencio, estepa desértica /// Austria: Tranvías de Graz y Viena. Muchedumbre del metro de Viena.
Voces cinematográficas de: Matanza en Texas, Robocop, Espíritu Sagrado, Solo los Amantes Sobreviven, Voces de Gaza, Yojimbo, Terciopelo Azul, Los 7 Magníficos.
La pista A2 está dedicada a la memoria de David Lynch.
La pista B4 está dedicada a Eva Orbara Goicoa.
Pista A4: Contiene interpretaciones de piano de Three Piano Pieces Op.11 de Arnold Schoenberg.
Pista A5: Es una interpretación expandida con síntesis FM del Concerto Op. 24 - Etwas lebhaft - de Anton Webern.
Pista A7: Contiene la canción Besarkatu ninduzun (Letra de Josune López y música de Josu Elberdin) en interpretación de Basandere Ahotsak en la iglesia de Burutain bajo la tormenta.
Pista B2: Contiene la canción Recuerdos de la Alhambra (Fernando Tárrega) en interpretación torsionada de David Aranaz Sarasa.
Pista B14: Contiene la canción Agur María (Letra y Música de Estíbaliz Robles “Estitxu” y arreglo exclusivo de Alfonso Ortiz para Basandere Ahotsak) en interpretación de Basandere Ahotsak.

Equipamiento para Soinuarenbidea II.
Micros de condensador SE7, configuración XY y ORTF; Micros de cinta ORTIZ LUTHIER configuración XY y Blumlein; Grabadoras MARANTZ y ZOOM; Sintetizadores y samplers Elektron MONOMACHINE SPS-1, MACHINEDRUM SFX6 y MODEL:SAMPLES. Dave Smith MOPHO. Torso Electronics S-4. Sintetizador Modular 333 DIY; Guitarra clásica ALHAMBRA 6P; Esculturas Sonoras tipo Baschet, cristal y metales; Mesa Soundcraft FX16ii; Interface de Audio RME Babyface Pro FS; DAW Logic Pro; Procesamiento de modelado analógico con Acústica Audio, Waves, Softube, Brainworx, Sonible, Analog Obsesion, Tokio Dawn. Metering de Logic y RME DigiCheck . Amplificación Hafler PRO2400. Monitorización BW DM602 S3. Mezcla digital; Mastering híbrido.

The Roots of Chicha, compiled by Barbès Records, was originally released in 2007 and became the first recording to popularize psychedelic cumbia around the world.

From the late 60's through the 80's, Peruvians invented a new popular musical hybrid inspired by music from the Americas. In 1968, Enrique Delgado released his first record on Odeon with his new group, Los Destellos, single-handedly creating Peruvian cumbia. He codified the genre early on by using the electric guitar as the primary melodic instrument, and mixing cumbia rhythms with folkloric huaynos, criollo voicings, Cuban guarachas and guajiras, rock, boogaloo, surf, psychedelia, oriental music, classical music, and bits and pieces from Brazil, France, Chile... All Peruvian cumbia bands for the next thirty years would end up drawing from the exact same sources (Grupo Celeste, Los Mirlos, Juaneco Y Su Combo, Manzanita Y Su Conjunto...).

This new wave of Peruvian cumbia came to be known as chicha. Chicha is originally the name of an alcoholic drink, made of fermented maize, which the Incas were especially fond of. In the past thirty years, however, the word has taken on a pejorative connotation. Peruvian cumbia started being called chicha in the late 70s, around the same time that the music came to be viewed as the expression of the slums – the pueblos jovenes. Little by little, the word became an adjective, and people now talk of chicha culture, chicha press, chicha architecture, even of a chicha president, and none if it – you guessed right – is meant as a compliment. Chicha suggests corruption, shady deals, and cholos – a derogatory term for a person of Andean heritage that, of late, is being reclaimed and worn as a badge of honor by the very cholos it was supposed to demean in the first place.

Hello Spiral returns to the same North London block, the same triangulated geometry of balconies and courtyard, but with a shift of orientation. His previous record looked outward from the eighth floor, these four new recordings move inside, into the building’s arteries. Joe explores the hallways of the complex where he has lived and listened for years, using the same tool as before, an iPhone and its voice memo app. The recordings were made in situ, each exactly eleven minutes, captured without ceremony.

The hallways feel different. Less private, less scenic, more neutral. They are the connective tissue between hundreds of domestic units, a space of transit rather than rest. The carpet absorbs certain frequencies. The fire doors catch and release pockets of air. The lights hum. Elevators drone in soft cycles of arrival and departure. These are the institutional sounds of shared living, yet once recorded they begin to behave strangely. A kind of internal weather appears.

As with the previous album, Joe remains attentive to what is often overlooked, irrelevant or discarded. The hallways, with their scuffs and signage, their coded access and polite functionalism, provide an unexpectedly rich field. The ambience is not shaped by storms or scaffolding, not by birds or street spill. Instead the material is the building’s own breath, its mechanical rhythms, the low frequency traces of neighbours, the occasional shuffle of footsteps that pass but do not return.

Joe talks about this record as a possible middle chapter in a trilogy. If so, it sits between the exposed openness of the balcony and whatever comes next. A hinge point. These recordings continue Joe’s long practice of defamiliarization, sharpening attention to the unnoticed while withholding narrative. They invite repeated listening, not for revelation, but for the subtle shifts that occur when a familiar space is treated as an instrument.

Technological agitation. Narcissism fatigue. A galaxy of isolation. These are the new norms keeping Weyes Blood (aka Natalie Mering) up at night and the themes at the heart of her latest release, And in the Darkness, Hearts Aglow. The celestial-influenced folk album is her follow-up to the acclaimed Titanic Rising. (Pitchfork, NPR, and The Guardian admiringly named it one of 2019's best.) While Titanic Rising was an observation of doom to come, And in the Darkness, Hearts Aglow is about being in the thick of it: a search for an escape hatch to liberate us from algorithms and ideological chaos. "We're in a fully functional shit show," Mering says. "My heart is a glow stick that's been cracked, lighting up my chest in an explosion of earnestness." And in the Darkness, Hearts Aglow opens with the wistful, winsome "It's Not Just Me, It's Everybody," a song about the interconnectivity of all beings, despite the fraying of society around us. "I was asking a lot of questions while writing these songs. Hyper-isolation kept coming up," Mering says. "Our culture relies less and less on people. Something is off, and even though the feeling appears differently for each individual, it is universal." Other tracks follow in kind. The lullaby-like "Grapevine" chronicles the splintering of a human connection. The otherworldly dirge "God Turn Me into a Flower" serves as allegory about our collective hubris. "The Worst Is Done" is an ominous warning, set against a deceivingly breezy pop melody. "Chaos is natural. But so is negentropy, or the tendency for things to fall into order," she says. "These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment."

Waiting is the essence of travel. Patience is its own reward.

Two people. A Telecaster guitar with a few effect pedals. A drum machine. An audio interface is connected to a laptop. The ingredients are simple yet effective.

But any suggestion of four-track cassette machines and vintage bedsit productions is quickly dispelled by digital dubbiness and refined arrangements. A tail of reversed echos. The crystalline flourish of octave-pitched delays. Riddled hi-hats tickle and taunt. A bass drum asserts its space.

Winkler's guitar patterns have a fragmented, almost haphazard connotation. Searching in a shimmer of reverb. Until the beat, the framework, sets in to reveal structure. Intentionality. Reihse's programmed rhythms go just to the point of a groove, holding the moment of tension, knowingly delaying the gratification. Beats that have scratchy patina anda subtly playful edge; their crispness stands in contrast to the contemplative drift of the guitar. Is it a trance? Or a dance? Yes.

There are some apparent references here: a good portion of Les Disques du Crépuscule, some kraut-esque electronica, even a smidgen of Morricone / Spaghetti Western, blending into a kind of Musique Noir – yet these serve as a set of orientational coordinates, rather than quotations.

This is so far the most assured release by Periode, perhaps eschewing some of the naiveté that was wilfully cultivated in earlier output – there is no cheeky cover version this time. And no singing either. The nine pieces have the quality of a series, a variation on a mood, or a subset of moods. What emerges is an inviting swagger in the face of bleakness. There is a profound melancholy, but it is not the darker kind, and does not exclude humour.

First impressions may suggest that this is purely nocturnal music. Yet it equally evokes the harsh sunlight and baking summer heat. Or a rainy day. And transportation: the music suggests the motion of travel, even if that travel only happens within the mind. And waiting. Waiting while doing nothing much. Because that's all you can do. (Alexander Paulick)

British singer-songwriter Lucy Kitt unveils her highly anticipated second album, Telling Me, a deeply personal collection that shifts focus from introspection to storytelling, capturing the lives and struggles of those closest to her. Drawing from her love of 70’s Laurel Canyon folk, 90’s indie rock, and country music, Kitt crafts narratives that blend her own experiences with compassionate observations of loved ones. Based on a raw acoustic “three chords and the truth” style of songwriting that ripples throughout, the album expands with full-band arrangements that give a huge range and richness to the sound.

Though influenced by American musical traditions, the Essex-native maintains her distinctive voice and authenticity, ensuring the music remains unmistakably her own. Following her 2018 debut Stand By, this new record represents a more mature approach to songwriting, written during her early 30s and completed in the 2021 lockdown – a storybook of songs capturing that moment in time.

Musically, Telling Me showcases Kitt's stripped-down acoustic foundations, while incorporating fuller arrangements that blend her love of Nick Drake, Bob Dylan, Gram Parsons, Joni Mitchell and Joan Baez, with music she loved as a teenager such as The Lemonheads and Veruca Salt. The album features collaborations with an impressive roster of musicians, including Jay Starkey on drums, Nashville-based pedal steel virtuoso Spencer Cullum, Treetop Flyer’s Sam Beer and longtime collaborator Pat Kenneally on drums and piano.

Recorded between 2021-2023 at London's Lightship 95 studio at Trinity Buoy Wharf, the album was co-produced and engineered by Dave Holmes, with some musicians contributing remotely from Nashville and London.

Kitt's commitment to authenticity extends to every aspect of the album, from the down-to-earth, home-based album artwork which represents her life right now as a musician and a working mum, with all the wonderful chaos that comes along with it. Also her decision to maintain her natural accent throughout her vocals. "I have always retained my authentic self in my songs," she explains. "Always singing with my own accent, despite the influences of all the bands and artists over the years."

Kitt has been songwriting and performing for over 20 years, starting in a riot grrl band in her teens in her hometown of Romford, Essex, before evolving into the thoughtful folk storyteller she is today. A semi-finalist at the BBC Young Folk Awards in the early 2000s, she has performed at major festivals including Glastonbury and Cambridge Folk Festival, building a reputation for intimate, lyrically-focused performances.

Telling Me is a resplendent collection of songs, capturing the human experience with great empathy, honesty and musical sophistication that has become Lucy Kitt's signature.

"Deep Purple's Greatest Hits, released in 2009, is a comprehensive compilation showcasing the legendary band's most iconic tracks. Spanning their groundbreaking career, the album features classic live versions of hits like ""Smoke on the Water,"" ""Highway Star,"" ""Child in Time,"" and ""Black Night,"" offering a perfect introduction to Deep Purple's influential sound. Known as pioneers of hard rock and heavy metal, the band’s virtuosic guitar solos, soaring vocals, and dynamic keyboard riffs shine throughout this collection. Greatest Hits captures the essence of Deep Purple's heyday while celebrating their timeless appeal. It highlights the band’s ability to blend powerful rock energy with intricate musicianship, making them a cornerstone of the genre. For longtime fans and newcomers alike, this compilation is an essential addition to any rock music collection, solidifying Deep Purple’s legacy as one of the most influential bands in rock history. Greatest Hits is available as a limited edition of 1500 individually numbered copies on purple coloured vinyl."

Back in 2002 British producers Fingaz and Skillz teamed up to create a project showcasing the current state of London’s R&B and hip-hop artists. In collaboration with different artists, they produced the compilation Big Brovaz Watching You, which led to the eventual formation of the group Big Brovaz. The group was referred to as a softer version of the So Solid Crew. The group enjoyed huge success, particularly with their debut album, which made big waves in the UK charts, with four singles reaching the Top 10. “Nu Flow”, the debut single, even reached the top 3 in Australia, Belgium, New Zealand, Netherlands, Sweden and Turkey. Similar successes were also achieved by the “Favourite Things” and “Baby Boy”. Big Brovaz became one of the most notable UK R&B / Hip-Hop acts of the early 2000s and are still loved by fans of the genres to this day. Their debut album is now available on vinyl for the first time and features the bonus track "OK (Rock Remix)" and the hidden track "My Favourite Things (Original Version)".Nu Flow is available as a limited edition on translucent green coloured vinyl and includes an insert.

We Jazz Records is delighted to present the first ever vinyl release for two modern classic tracks by Swedish organist Eric Malmberg. Originally released in 2007 by the label Häpna on Malmberg's second solo album "Verklighet & Beat", the pair of tunes herein serve as proof of Malmberg's remarkable artistic vision, echoing both the pure pastoral beauty and the irresistible groove of his work. This release, part of the ongoing 7" series by We Jazz Records, follows the label's Artistic Director Matti Nives's 10+ years of obsession with the aforementioned Malmberg album after an initial chance encounter with the side A track on a WIRE Magazine compilation in 2007.

"Eric Malmberg's music is a small miracle. I don't want to call him a genius, because I don't want to jinx him. But I will say that he's a complete original, in addition to being a vastly talented musician. I will also say that his recordings and the two performances that I saw by Sagor & Swing merit a place on a short list of most enjoyed musical experiences of the last half decade. I could bleat about the quality of the work, but "most enjoyed" to me carries the stronger charge." – David Grubbs, New York, March 2007

"A special mention needs to go out to the phenomenal and totally bonkers 'Till minne av Lilly Lindström' a track which starts with a clean break, builds into dancefloor abusing Hammond-hammering mayhem and then ends up with lush string orchestrations and disco-lite sweeps. Insane and more enjoyable than you could possibly imagine - an album to totally lose yourself in, and one for anyone looking for something just that little different. Huge recommendation." – Boomkat

In 1991, Chris Whitley made his debut with the beautiful album Living with the Law, which immediately showcased his brilliant songwriting and unique guitar playing. Blending blues, roots and folk, the debut was positively received by critics and aficionados of these more traditional genres. Growing up, Whitley listened to Southern radio, which played artists such as Muddy Waters, Howlin' Wolf, Bob Dylan and Jimi Hendrix. His career started by playing with artists like Arto Lindsay and Michael Beinhorn. Interestingly, Whitley lived in Belgium for a short time in the 1980s, where he started his career playing guitar for 2 Belgen and Nacht und Nebel. In the 1990s, he started his solo career at Kingsway Studio in New Orleans, owned by none other than Daniel Lanois. The result was an album characterized by the use of traditional instruments such as the slide guitar and banjo. All of this is accompanied by his splendidly timbred voice and honest lyrics exploring themes such as freedom, desire and human struggle. Sadly Chris Whitley passed away in 2005, but his influence on contemporary songwriters and blues artists remains strong. a_Living with the Law is available as a 35th anniversary edition of 1000 individually numbered copies on gold coloured vinyl and includes an insert.

Purple vinyl. With Abyss Calls to Abyss, their third full-length album, Skulld bring to completion a path that began in 2019, a journey through old-school death metal, esoteric mysticism, and radical punk-rooted activism. Written and recorded in 2025, the album unfolds as an eight-track odyssey exploring the furthest edges of human and spiritual experience through a feminist, pagan, and anti-authoritarian lens. The abyss evoked by the album is not only an external, cosmic void, but also an inner, personal, and collective chasm, the place where death and rebirth collide, where wounds and healing, desire and destruction intertwine. Each song delves deep into the essence of being, merging ancestral ritualism, female mythology, social critique, and archetypal symbolism into a single, cohesive vision.

Strong one on Voyage Direct from Rotterdam's Benny Rodrigues...TIP!

The label say "Benny Rodrigues seems to delight in confounding critics. Since making his debut alongside Darko Esser with 2007's Underwater Records-­-released 'Paradox', the Rotterdam-­-based DJ has surprised and excited at every turn.

Variously delivering woozy tech-­-house, rave revivalism, stripped-­-back minimal, jackin' acid, wide-­-eyed deep house and, under his occasional ROD alias, shirts-­-off warehouse techno. Along the way, he's released music on some of Europe's most prestigious labels, including Desolat, Soma, EC Records, Be As One and Wolfskuil Records.

Here, he makes his debut for Tom Trago's Voyage Direct imprint with two undulating, hypnotic, heads-­-down tracks that blur the boundaries between house and techno. Rhythmically loose but impressively tough - like all of Rodrigues' best productions - both cuts are built around mesmerising late night grooves and intoxicating chords.

'Master French' kicks things off, lacing nagging shakers, subtle synth strings and fluttering chords over a robust, shuffling tech-­-house groove. Rodrigues works the mix like a master, bringing elements to the fore before sliding them into the background. It's a simple, heads-­-down, 4am groove, but it's executed brilliantly.

'Z', on the other hand, is an altogether breezier affair, with repetitive, new age-­- inspired synthesizer melodies seemingly drifting over a rock solid house groove. Notable ride cymbals and warm beats proper the track forward, giving it a humid, tropical feel. This is music to move the body, mind and soul. "

“The album explores the duality between nature and mankind, and the blurred line where we become both the executioner and the victim. I’ve always felt this inner struggle, the pull between instinct and reason, between animality and humanity. This album reflects that ambivalence: an intimate journey where I allow myself to be consumed by my contradictions in order to be reborn. It’s a cry, a waking dream where we shed our masks to become whole again. I blend wildness with tenderness, fury with poetry — because deep down, I’m an animal who dreams, and a man who roars.” Sébastien Tellier

"Graze the Bell" ist eine Sammlung von bewegenden, faszinierenden Solo-Klavierstücken und das bisher reinste Werk von David Moore. Bekannt für seine atmosphärischen Kompositionen mit Bing & Ruth sowie seine Zusammenarbeit mit dem Gitarristen Steve Gunn und Cowboy Sadness, ist dies Moores erstes weit verbreitetes Solo-Klavieralbum. Wie das Albumcover - ein Foto, das Moore von Hand bestickt hat - abstrahiert die Musik persönliche Erfahrungen zu transzendenten Eindrücken. Moore nutzt sein Klavier, um meditativ die Conditio Humana zu erforschen, und macht "Graze the Bell" zu einem Zufluchtsort des Klangs. Im Laufe ihrer zahlreichen Veröffentlichungen haben Bing & Ruth häufig ihre Form und ihren Sound verändert, sich zu einer fünfzehnköpfigen Gruppe entwickelt und sind schließlich zu einer Trio-Konfiguration gelangt. Ihr jüngstes Album ,Species" stellte Moores Farfisa-Spiel in den Vordergrund, während eine nachfolgende EP mit dem gleichen Namen seine Solointerpretationen des Albums enthielt. Dieser lange Prozess der Destillation konzentrierte sich stets auf Moores Kompositionen für das Klavier und sein Verständnis davon. Nach zwei Jahrzehnten gefeierter Ensemblearbeit ist das Erscheinen von ,Graze the Bell" ein Moment, in dem sich der Kreis schließt, eine Heimkehr - nicht einfach zu einem Ort oder einer Zeit, sondern zu einem leuchtenden Zentrum, das beides übersteigt. Einige der Stücke auf ,Graze the Bell" waren ursprünglich für ein Album von Bing & Ruth geplant, wurden aber schließlich als Soloprojekt neu konzipiert. Moore nutzte nur das Klavier und versuchte, die bewährten Methoden, die er im Laufe der Jahre entwickelt hatte, weiter auszubauen. ,Ich möchte mich weiterentwickeln", sagt er, ,und dogmatische Denkweisen hinterfragen." Er öffnete sich aktiv für Experimente und suchte nach einer tieferen Präsenz in seinem Spiel, wobei er seine Beziehung zum Klavier und zum Leben neu bewertete. Moores Musik basiert zwar auf komponierten Noten und schöpft aus Lebenserfahrungen, doch die Quelle seiner Inspiration bleibt eher unbeschreiblich. Indem er Letzteres bewusst pflegte, entwickelte er eine natürliche Fähigkeit, sich in einen tranceähnlichen Zustand zu versetzen. Moore kann sich mit dieser Absicht hinsetzen und ist ,innerhalb weniger Sekunden" ,vollkommen dort". Von der ersten bis zur letzten Note basiert das Album auf dem atemberaubenden Klang eines ,bestialischen" Steinway Model D aus Hamburg von 1987. Dies hängt zum Teil mit seinem subtilen Spielstil zusammen, der manchmal an Stille grenzt. Moores anmutige Herangehensweise gibt dem Klang Raum und offenbart Nuancen des Klaviers, die viele Spieler gewöhnlich ignorieren würden. Solche Nuancen wurden während der Aufnahmen des Albums im renommierten Oktaven Audio in Mt. Vernon, New York, gepflegt. Der Klang des Steinway-Flügels des Studios wurde unter der Produktionsleitung des Grammy-Gewinners Ben Kane mit Unterstützung von Owen Mulholland lebhaft eingefangen. Um Moores experimentellen Ansatz zu unterstreichen, setzten sie Pitch-Correcting-Software kreativ ein, um die verschiedenen Register des Klangprofils des Klaviers zu orchestrieren. Der Ausdruck ,graze the bell" (die Glocke streifen) kam Moore vor Jahren aus heiterem Himmel in den Sinn. Er fand ihn poetisch und blieb ihm im Gedächtnis haften. Moore, der lange Zeit daran geglaubt hatte, dass das Leben eine Reise ist, an deren Ende man etwas erreicht oder ankommt, und dies zunehmend in Frage gestellt hatte, fand zunehmend mehr Sicherheit darin, einfach da zu sein, wo er ist. ,Es gibt keinen Gipfel - und keinen Weg dorthin", schreibt er. ,Nur die Hoffnung, dass wir, wenn wir Glück haben, gelegentlich die Glocke streifen." Und diese Erkenntnis hat er in sein Klavierspiel einfließen lassen. Mit diesem Album hat er sich bewusst dafür entschieden, Eigenheiten, sowohl seine eigenen als auch die des Instruments, voll und ganz anzunehmen. Anmut, subtile Klänge, rohe Gesten und glückliche Zufälle werden hier geschätzt. Die Stickerei auf dem Cover zeigt seine Frau beim Drachensteigen an der Küste von North Carolina. Sie wurde während der Abmischung des Albums über zehn Monate hinweg methodisch mit Kreuzstich gestickt, und viele persönliche Lebensereignisse - traurige und hoffnungsvolle - sind in seine Handwerkskunst eingewoben. Da Moore selbst mit einer bipolaren Störung zu kämpfen hat, dienten sowohl das Album als auch die Stickerei als kathartische Mittel der Meditation für ihn. Moores Klavierspiel enthält eine versteckte Karte persönlicher Erfahrungen, die bezaubernde Wiederholung seiner Melodien navigiert seinen Weg und unseren durch die Skalen des Raums. Moores Musik weckt verborgene Gefühle, erweckt uns und erinnert uns an unser gemeinsames Zentrum. In einer Zeit, in der unsere Menschlichkeit regelmäßig abgelenkt und beeinträchtigt wird, lässt ,Graze the Bell" das Herz erklingen, das wir als unser wahres Zuhause kennen. David Moores "Graze the Bell" wird über RVNG Intl. veröffentlicht - eine spirituelle Heimkehr, wenn man so will.

Terror Squad is the second album by Danish thrash metal band Artillery. It was originally released in 1987 via Neat Records. It's the successor of Fear of Tomorrow (MOVLP3190) and was later followed by their most succesfull album By Inheritance (MOVLP3935).Terror Squad; the opening track "The Challenge" immediatly kicks your door down and from there on their thrash metal is aggressive, relentless, and executed with deadly precision. At the time it lacked commercial success, but it made up for it with sheer musical intensity. The album's combination of blistering riffs, thunderous drumming, and commanding vocals still leaves its mark decades later. When Artillery hits, it leaves a crater Fun fact: Metal Hammer included the album cover on their list of "50 most hilariously ugly rock and metal album covers ever" Terror Squad is now available as a limited numbered edition of 1000 copies on red translucent coloured vinyl and contains an insert.

SAGENBRINGER weaves fantasy and emotion, joy and sorrow into the 12 stories on ‘Zwischen den Welten’ (Between Worlds) through words and sound. All of this is packaged in a modern musical guise that has been forged from folk and metal elements into a hot iron. Stories are everywhere. They are countless and come from all corners of the worlds we know and don't know. But they always manage to stimulate the mind, touch the heart or send the soul on a journey. This is the calling of SAGENBRINGER: to spread these stories and not let them fall into oblivion. After establishing themselves in the German folk and pagan scene with their first two albums, ‘Sagenbringer’ and ‘Zeit der Geschichten’, and becoming a recurring name on festival posters across Germany, the young skald troupe are now releasing their third studio album on 30 January 2026. Zwischen den Welten (Between Worlds) transports listeners to the most diverse corners of mythology, legends and human emotions.

Adventure Rock pioneers Hällas deliver their most ambitious album yet with "Panorama”, released on 2026-01-30. The album both consolidates and expands the image of what the band is, but also what rock can be. This time different perspectives in a scenario are explored regarding whether humanity is capable of understanding a viewpoint other than their own. It reflects our time but is, in typical Hällas fashion, staged in a fictional, distant world.

Hällas' cult following in modern prog and hard rock will find "Panorama" familiar in a way: an imaginative hybrid of progressive 70s rock and heavy metal with echoes of both folk and psychedelia, along with conceptual content. In another sense, you have not quite heard a record like this from Hällas before. The self-confidence has never been as evident. Influences from different directions collide, and sometimes clash, contributing to the feeling that the expected instead culiminates in wonder at what it is you’re hearing.

Spanning recordings from 2018 to 2025, Archive Vol. 1 is a curated collection of outtakes, alternate versions, and previously unreleased tracks that didn’t find a home on the band’s three studio albums. The band describes the project as “an album that came together almost by accident,” born from revisiting forgotten demos and half-finished ideas that, when assembled, revealed a cohesive and emotionally resonant body of work.
The album features 18 tracks, including fan-favourite live staples and experimental interludes.
With its blend of shoegaze textures, new wave energy, and introspective songwriting, Archive Vol. 1 offers a unique glimpse into the creative process behind Pale Blue Eyes’ evolving sound.

Pacific Northwester Drew Sullivan is the man behind the Slow Dancing Society and on his latest album, he interrogates nostalgia with clearer eyes while sculpting analogue glow, treated guitar and patient ambience into scenes that breathe. Tracks drift like headlights through snow - hums, howls, bass rumbles, rain-veiled keys all feature, each motion subtle, deliberate and devastating. The record's power lies in restraint: chord changes feel meteorological, melodies arrive as messages, then vanish. It's ambient music with a spine, grief without spectacle. By the time 'Blue Suburban Skies' lifts into Twin Peaks-levels of ache, Sullivan has rebuilt a world you want to hide away in forever.

20 page book with gold foiled cover, featuring photographs from 1960s in and around Sunderland.

Romeo’s Fall is an original score for voice by artist and composer EXLRUTH (Ruth Hughes), a new work traversing romance and romanticism in a post-industrial North East England. Performed by countertenor Nik Rawlings with accompanying double bass from Caius Williams.

Informed by congregation, community and euphoria, exploring the meeting points of contemporary dance music cultures, traditional hymnal form, and the sonic appropriation and influence of regional industry, influenced by the legacy of the New Monkey. Addressing alternative trajectories of communion; on dancefloors (Makina) versus the nuclear act of togetherness within an industrial Northern landscape (classical/hymnal form).

This book features images taken from recently developed family super8, taken in and around Sunderland - 1960's onwards.

Moanin’ in the Moonlight, Wolfs erstes Langspielalbum aus dem Jahr 1958, versammelte ein Dutzend
Singles, die er im Laufe des vorangegangenen Jahrzehnts aufgenommen hatte, darunter die Favoriten
„Smokestack Lightnin’“, „Evil“ und „How Many More Years“.
Holen Sie sich den Sound des größten Blues-Labels Amerikas in High Fidelity mit der Chess Records 75th
Anniversary Series nach Hause. Diese audiophilen Neuauflagen klassischer Alben und Compilations aus der
Chess-Diskografie wurden von den originalen Analogbändern remastert und bei Quality Record Pressings
(QRP) auf 180-Gramm-Vinyl gepresst. Jede Platte ist in einer Tip-On-Gatefold-Hülle aus hochwertigem
Karton verpackt.







g 7 The Red Rooster [aka Little Red Rooster]







[g] 7 The Red Rooster [aka Little Red Rooster]

Mit Lucky Now präsentiert Lande Hekt ihr bislang persönlichstes und musikalisch ausgereiftestes Album. Die britische Indie-Songwriterin, bekannt für ihre ehrlichen Texte und ihren warmen Gitarrensound, verarbeitet Themen wie queere Identität, Hoffnung, Rückkehr und politisches Erwachen. Produziert wurde das Album von Matthew Simms (Wire, It Hugs Back), was dem Sound eine neue Tiefe verleiht - zwischen 80s Twee-Pop, Jangle-Gitarren und modernen Indie-Vibes. Die Songs erzählen von Liebe im Alltag ("Kitchen ii"), Sommernächten voller Hoffnung ("Rabbits") und dem Glück, sich selbst wiederzufinden ("Middle of the Night"). Politisch wird es auf "Circular" und "A Million Broken Hearts", wo Hekt klare Haltung zeigt. Lucky Now ist ein Album über Rückkehr - zu Orten, zu Menschen, zu sich selbst.

After a few previous edits here and there, the two outsiders are back to add another stop to their endless journey through worldwide funky sounds. Deep disco, Boogie with a capital B (as in Bass or Beat — take your pick), breezy modern soul with an AOR touch, or hypnotic Afrobeat — the purpose of this four-tracker is simple: to bring some heat to any dance floor. Groove is in the heart (of Africa), as somebody once said.

From 1986-1987, Chet traveled and worked with the photographer and filmmaker Bruce Weber on a project that would become their Oscar- nominated documentary "Let's Get Lost"1988. During this period, Chet performed at the Cannes Film Festival and recorded sessions at Studio Davout in Paris and Sage and Sound Studio in Hollywood. All remained unreleased until now. Inspired by the film - which celebrated its 35th anniversary last year - SWIMMING BY MOONLIGHT is a two-record soundtrack album curated by Bruce Weber and produced by John Leftwich that compiles music, dialogue and live concert recordings.

Only The Poets melden sich mit „And I’d Do It Again“ zurück, einem mitreißenden Album, das uns daran
erinnert, warum sie eine der vielversprechendsten neuen Popbands Großbritanniens sind. In 14 brillant
produzierten Songs beschäftigen sich die Bandmitglieder Tommy Longhurst, Andrew Burge, Clem Cherry
und Marcus Yates mit Themen wie Liebeskummer, Eifersucht, Reue und Hoffnung.
„Wir sind einfach so stolz auf dieses Album“, sagt Longhurst. „Es ist die bisher beste Darstellung unserer
Band – es steckt viel Selbstreflexion, Wachstum und Entdeckungen darin.“ Das Album enthält alle herausragenden Singles – „I Keep On Messing It Up“, „You Hate
That I’m In Love“, „Emotionally Hungover“ und „Saké“. Produziert wurde es von den Bandmitgliedern
Cherry und Yates zusammen mit DanDlion, gemischt von Lee Smith und gemastert von der Branchenlegende Chris Gehringer.

"Ballad of a Small Player" ist eine der großen Veröffentlichungen von Netflix im Jahr 2025. Der Film mit Colin Farrell erzählt die Geschichte von Brendan Reilly, einem in Ungnade gefallenen irischen Finanzier, der sich als der aristokratische "Lord Doyle" ausgibt und in Macau lebt, nachdem er vor seinen Finanzverbrechen im Vereinigten Königreich geflohen ist. Reilly wechselt zwischen Hotels und Kasinos, während seine Abhängigkeit von Alkohol und Glücksspiel wächst.

Die Musik für diesen Film wurde von Volker Bertelmann komponiert, einem der bekanntesten zeitgenössischen Filmkomponisten. Nach "Conclave" und "All Quiet on the Western Front" ist dies die dritte Zusammenarbeit zwischen dem Komponisten und dem Regisseur Edward Berger. Bertelmann verleiht dem Film eine angespannte, paranoide Atmosphäre, die die Welt von Brendan Reilly perfekt einfängt.

"Ballad of a Small Player" ist auf Translucent Red Vinyl erhältlich und enthält eine Beilage.

Black Vinyl

"Sudd WAX is the vinyl only label of Sudd Records. Legend from Chicago, Gene Hunt comes up with classic and basic roots from acid, house and deep sounds, original from Chi-town. Energetic and versatile EP, playable full set time."

‘Let’s take a trip’ – with major names on the psytrance scene Avalon and GMS releasing on KNTXT for the first time, combining forces for a full-on attack, 4-track EP ‘The Underground’, out December 11th. Their joint mission? ‘Combining two worlds where psytrance meets techno, a fusion which will take you on a mind-expanding journey! Welcome to The Underground…you have arrived!

London DJ/Producer Avalon was recently awarded the number 1 top-selling psytrance artist on Beatport with over 30+ psytrance chart #1s and 5 top-selling LPs to his name, and performs at the likes of Tomorrowland, Boom, EDC Las Vegas, Glastonbury, Exit, Burning Man, Ultra, ASOT, Ministry Of Sound,... GMS (Growling Mad Scientists) was founded by Dutch Ibiza-based DJ/Producer Riktam with the sadly late Bansi, to establish pioneering psytrance label Spun Records and to have director Tony Scott no less, using GMS tracks on three of his films. A prolific producer with over 300K album copies sold, GMS holds the most psytrance records released overall.

‘I'm beyond honoured to release this stunning four tracker from psytrance legends Avalon and GMS. With this release, friendships were formed and worlds truly started colliding. I have massive respect for both these artists and their long standing impact on electronic music. This release feels like a bridge between generations and genres. It carries an energy that deserves to be heard, experienced, and felt on dancefloors around the world.’ Charlotte de Witte

Title track ‘The Underground’: hyperspeed trance beats support a wild variety of acid-dripping pulsations, spacey arps, otherworldly swoops, mind-teasing stabs, it’s like a lightshow in sound. That transports its listeners into another dimension. On ‘Horizen’, psytrance thrives, while ethereal vocals call, with intricate sound design painting a mythical soundscape. On ‘Machines’, it’s driven by hypnotic acid lines, pulsating Kick & Bass with sprinkles of techno infused percussion! Its choral notes and alien-like spoken lyrics, both gripping and disorientating as builds & breaks come thick and fast. ‘Rave to the Grave’: constant pulsing high synth and vocals with twanging acid together with frantic percussion create a sustained, agonizing build, build, build – until ‘On the 7th day, the Lord said ‘Let the beat drop!’’ Phew!

‘We are very excited about our debut release on KNTXT ‘The Underground’ and can’t wait to share this 4 track EP with you all. We hope you enjoy it as much as we did creating it. This fusion of techno/psytrance is brought together by all of our mutual love for acid & driving hypnotic dance music! Enjoy… Play it loud! Welcome to The Underground… You have arrived!’- Avalon & GMS

A mind-bending EP, with racing beats that give the ‘trance’ in psytrance a huge adrenalin shot. This is high energy reaching new altitudes; hold on to your brain cells, they’re going for a ride!

Beijinho do Brasil announce their second release with the highly anticipated follow-up from LA-based producer and multi-instrumentalist James Matthew Seven, featuring guest vocals on the A-side by Rio de Janeiro's Fabio Santanna.

Recorded in a small studio on the beach in Oaxaca, Mexico, "Feels Good, Do It" brings to mind a lost recording from Marcos Valle's time with Leon Ware. Funky and soulful with warm Fender Rhodes and a horn section reminiscent of Banda Black Rio, the tune is a breezy, mid-tempo ode to embracing life's pleasures. Originally with vocals in English, the track was translated and re-recorded in Rio de Janeiro by Fabio Santanna. Fabio has a long-established reputation in Brazil as a torchbearer of modern funk and boogie, continuing in the lineage of artists like Robson Jorge and Lincoln Olivetti. But with his releases on labels like Onda Boa and Dippin' Records (which sold out nearly instantly), his international reputation is steadily growing. He has a new 7" due out on Dippin' Records on October 10th, pushing his name to the forefront once again, right on time to generate more buzz for our next 45!

About the flip side, "Ilha Racional" (a nod to Tim Maia's Racional era):
I had this dream where I was in a dive bar discotheque somewhere in the Caribbean. A thick cloud of smoke hung in the air as the selector dropped this bass-heavy bop that had the whole crowd vibing. Then, out of nowhere, in walked Tim Maia with a bag of mushrooms. He proceeded to grab the mic and preach about this alien world of rational energy. Shit was bugged out. When I woke up, James Matthew Seven had sent me this track to check out.

Hiver completes a trilogy of EPs on Gudu with ‘Blue Hell’, another transmission of space-age machine funk from a duo who are truly shaping their own soundworld.

If you’ve followed Hiver, you should know the deal by now: they’ve spent the last decade honing a sound that draws heavily from dance music history – namely the starry-eyed synthesizer funk of classic techno and electro – that drips in colour and emotion without ever feeling retrograde. ‘Blue Hell’ is their third EP for Gudu, and maybe their most accomplished yet.

In Hiver’s words, “this EP was shaped by a mix of late night club energy and the more introspective, melodic ideas we’ve been exploring in the past years. A big part of it also comes from the tension between how people connect today. This constant, hyper-connected flow of networks, media, and online exchanges and our own way of creating music, which is very physical and personal. We’re always bouncing ideas through messages and files, but the real magic still happens when we meet in the studio, face to face. That contrast between digital connection and human presence became a sort of hidden theme behind the EP.”

“With Blue Hell, our third chapter on Gudu, we wanted to capture a moment of clarity, something direct yet still drifting. In a way, this release completes the excursion we began with the first two records: three points that trace the contours of the sounds we’re drawn to. Each track feels like a fragment of that journey, grounded in rhythm but always leaning toward depth and escape.”

" A very limited 7” for the tropical heads, beat travellers and cosmic cumbia astronauts on the new imprint Sun Of A Beach — the free-spirited daughter of Editions de Lux, who skipped town, fell in love somewhere between Kingston and Cartagena, and came back glowing, barefoot, and heavy on the bass.

At home in the steaming rainforest as much as the urban jungle of the Chapinero district of Bogotá, Colombia’s psychedelic groove pilots Ácido Pantera deliver a double-sided tropical weapon aimed straight at late-night sweatboxes, boat parties, and sun-soaked terraces.

"Te quiero, te amo” is a declaration of love at 132 bpm, bouncing along like a low-rider over cobblestones while neon synths float in the humid air.

Flip it for “Pájaro cantor”, a sound system destroyer that will lock the floor in an acid trance that feels both ancestral and futuristic in the same breath. This one’s featured on the FC26 soundtrack and will have you shimmying like Luis Díaz right before he bangs one into the top corner!

You know what to do!"

A vinyl soundtrack for GQuuuuuuX (Geku Axe) is now available!

"Mobile Suit Gundam GQuuuuuuX" is a new Gundam series, a collaboration between Studio Khara, the creators of the "Evangelion" series,
and Sunrise, the creators of the Gundam series. The pre-release theatrical version was released in January of this year, becoming a huge hit,
grossing approximately 3.4 billion yen and attracting over 2.06 million viewers.
The TV broadcast began in April, and it became one of the most talked-about anime titles of the spring.
A vinyl record featuring a selection of the soundtrack from "Mobile Suit Gundam GQuuuuuuX," including the music used in the pre-release theatrical
version, is now available. The music was co-produced by Junsei Terui, known as a member of the bands "Haisui no Nasa" and "siraph" and
Masayuki Hasuo, also a member of "siraph," and composer of the anime "Jujutsu Kaisen" series and the live-action film "Showtime Seven"
The music, which includes pop, electronica, and minimal music that fits the worldview of the work, will allow you to experience a new "Gundam"
sound. The LP label side is colored vinyl (splatter disc) and it is a set of two discs!

Yesterday it started to rain…

The smell of damp tarmac rising up through open windows, a smell which is uniquely evocative for us all depending on our individual histories: a suburban pavement, a school playground, a basketball court.
The rain cut through a band of low pressure that had been lying over the city for days, pinging rhythmically off metal, causing rolling tyres to hiss and spit.

The music that soundtracked this meteorological shift was the debut full length from Rain Text (Giuseppe Ielasi & Giovanni Civitenga), simply titled III. Scattered throughout the nameless eight tracks there are moments of low-end pressure relieved by the fizz and clatter of metallic rhythms; there is static, there is discord, there is release.

The individuals comprising Rain Text have a long history of manipulating sounds for evocative ends, Giuseppe Ielasi has been making music as one half of Bellows for many years, each album stretching and destroying their sound in beautiful increments. He has also released reliably inspirational music either solo or in collaboration for the likes of Editions Mego, Shelter Press and Faitiche. His sensitive ears are also in high demand as a mastering engineer. It is worth perusing the 800+ releases he has technical credits for on Discogs: from classics of the avant-garde to the freshest faces of the Swedish underground, the chances are some of your favourite albums are included.

Giovanni Civitenga helms the SKYAPNEA long-running NTS show. Joining him, you can enjoy the fruits of a lifetime of deep listening through shows that flit between the industrial and the devotional, a space that is fully explored on III.

The album was recorded quickly over three fertile days in Ielasi’s studio in Monza, but of course results like this can only be achieved at such a pace by spending a lifetime obsessing over the mechanics and possibilities of sound.

Those who are enamoured by the rain—who are returned by it to the surfaces, smells and sounds of a lost and idealised youth; who feel themselves restored—are known as ‘pluviophiles’. Their response to rain may well have a biological explanation: when rain hits tarmac negative ions are released into the air, which are thought to result in feelings of wellbeing and positivity. All the more reason, then, to return to the vivid ecosystem that Rain Text has so carefully cultivated for III."

Words by The Dengie Hundred – August 2024

On the 25th August, Burna Boy will release his brand-new album ‘I Told Them…’. It will be available to stream everywhere as well as on CD & Vinyl. The Pre-order will go live alongside the album announce on the 28th July. ‘I Told Them…’ features Burna’s newest hit singles ‘Sittin’ On Top Of The World (feat. 21 Savage)’, ‘Talibans II’ & ‘Big 7’ as well as a whole host of album features.



Burna Boy was born Damini Ogulu in Port Harcourt, Rivers State, Nigeria, in 1991 and began making music at just ten years old. As a teenager he honed his craft on Nigeria’s southern coast, delving into dancehall, reggae and Afrobeat’s. In the early 2010s Burna Boy emerged as one of Nigeria’s fastest-rising stars, combining influences from his Nigerian heritage with hook-filled pop stylings to create unforgettable tracks. His 2012 single ‘Like to Party’ broke into the global mainstream and paved the way for his full-length debut L.I.F.E, a year later.



Over the next five years, Burna Boy released two more albums and collaborated with a long list of high-profile artists including J Hus, Skales, Fall Out Boy and Lily Allen. African Giant was released in 2019 followed by his fifth album Twice as Tall in 2020 (which featured collabs with Chris Martin and Youssou N'Dour), both charted in several countries across the globe andgarnered worldwide acclamation, with the latter winning a Grammy Award for ‘Best Global Music Album’. Breaking cultural boundaries, he became the first Nigerian to headline a show at New York’s Madison Square Garden, he released his sixth album, Love, Damini, last year (featuring collabs with the likes of Ed Sheeran and Khalid). It deservedly became the highest-charting Nigerian album in history and currently holds the record for the only African artist to earn a no. 1 on iTunes in 16 countries worldwide.

ATA Records proudly present the latest release from The Flying Hats, Blender 7” Following the buzz surrounding their debut LP and the soft limited pre-release of Blender, anticipation for this single has been huge - and with good reason.
“I've never heard something so perfectly combine funk and reggae and do it in a way that is dancefloor gold”. - Monkeyboxing.
The Flying Hats - the Leeds quartet responsible for one of the standout albums of the year - return in phenomenal form with two previously unreleased cuts of the highest calibre. Both tracks strike hard somewhere between Kingston and New Orleans, as if The Meters were channelling Jackie Mittoo or Sound Dimension were jamming with Jimmy Smith.
Thick, funky-reggae organ leads the charge with killer breakbeats, bass pressure, and rhythm-section fire designed to light up any dancefloor worth its salt. Both sides are built for selectors, collectors and dance DJs alike.

Mit Secret Love legt die Londoner Band Dry Cleaning ihr bislang reifstes Werk vor. Das dritte Studioalbum, produziert von Cate Le Bon, ist eine konzentrierte Momentaufnahme der besonderen Chemie zwischen Florence Shaw, Tom Dowse, Nick Buxton und Lewis Maynard. Aus intensiven Sessions in Peckham, Chicago, Dublin und schließlich im Black Box Studio in Frankreich entstand ein Werk, das Vertrauen und Verletzlichkeit ins Zentrum stellt - die Bande zwischen den vier Musiker*innen ebenso wie das fragile Verhältnis zwischen Nähe und Manipulation in der Gesellschaft. Musikalisch schlägt Secret Love eine Brücke zwischen den paranoiden Untertönen des frühen US-Punks, dem coolen Strut der Stones, Stoner-Rock, No-Wave-Experimenten und zarten, fast pastoralen Gitarrenfiguren. Die Stücke atmen gleichermaßen Schärfe und Verspieltheit, immer getragen von Shaws unverwechselbarem Sprechgesang, der präzise auf die dynamischen Soundlandschaften ihrer Band reagiert. Damit knüpft sie an eine Tradition von Spoken-Word-Künstlerinnen wie Laurie Anderson an, erweitert sie aber um eine ganz eigene Mischung aus Absurdität, Empfindsamkeit und lakonischem Humor. Die erste Single "Hit My Head All Day" zeigt exemplarisch, wie Secret Love gesellschaftliche Themen - etwa Desinformation und Einflussnahme - mit persönlicher Unsicherheit und existenzieller Fragilität verknüpft. Doch trotz aller Schwere bleibt das Album von einer spielerischen Offenheit geprägt: Ideen wurden ausprobiert, verworfen, neu zusammengesetzt - bis ein Sound entstand, der gleichzeitig roh, elegant und unerwartet warm klingt. Secret Love ist ein Album über das Vertrauen - in Freundschaften, in Musik, in sich selbst - und über die Risiken, die damit verbunden sind. Es markiert für Dry Cleaning den Schritt zu einer Band, die ihre avantgardistische Energie zu einem unverwechselbaren Ausdruck verdichtet hat.

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Dan Piu wrote this album during the "dark, dystopian times" of the last year. The record's themes take in nature, human life, sci-fi, cyborgs and plenty in between with opener 'Tru Confession' being a robust house track stacked with throwback breaks, futuristic synths and old school vocals. There is a real warmth and soul to the machine sounds of 'Un-X-Plored Exodus' while a certain sense of 90s New York house colours 'Upgrade System M59'. 'System Of Ethics' shows off a fine mastery of synth craft that brims with emotion and 'Asteroid Blues' is like a lost Kerri Chandler cut. Essential.