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In 1979, the Soviet label Melodiya released a record that immediately stood apart from most Soviet jazz of its time and perhaps for that very reason never became widely known. Oriental Suite by Oleg Gotskosik Quintet is a rare example of jazz, Eastern musical tradition, and compositional thinking coming together not as an exotic stylization but as a fully formed artistic statement.

This is not “Oriental colour” used as decoration, nor folklore treated as an ornament. Oriental Suite grows from within another musical tradition, with its monody, modal logic, slow unfolding of form, and focus on inner states rather than outward effect. The music is calm and concentrated. It does not try to impress, but gradually draws the listener into its own space.
Oleg Gotskozik was born in Tashkent in 1951, a city where Eastern music was part of everyday life rather than something distant or exotic. That may explain why his engagement with traditional material sounds so natural. He does not quote or stylize; he thinks in the same musical categories. By temperament, he was closer to a composer than to a jazz musician in the conventional sense. For him, jazz was not a style but a way of working with form and improvisation.There is no standard “theme and solos” logic in Oriental Suite. Improvisation is woven into the fabric of the music itself and unfolds in the same way as in oral traditions, gradually, with rising tension and a clear sense of arrival. Individual sections refer to traditional Uzbek genres such as lullabies, lyrical songs, and funeral laments, but these are not genre sketches. They are states of being. The music unfolds slowly, avoiding familiar harmonic drama and relying instead on modal scales and subtle internal movement.

A special role is played by trumpeter Yuri Parfyonov. His approach, with delayed vibrato, micro-glissandi, and melismatic phrasing, sounded unexpected at the end of the 1970s and still feels remarkably fresh today. This is not expressive jazz virtuosity but a focused, almost meditative voice, where improvisation becomes a form of inner speech.
It is also important to note that the original recording was not without technical flaws. Like many Soviet jazz releases of the time, Oriental Suite was captured under far from ideal conditions, and the master contained audible imperfections that were never part of the music itself. For this edition, the restoration was approached with great care and respect, working through the recording moment by moment to remove unwanted artifacts while preserving the character and atmosphere of the original. The aim was simple: to make sure nothing stands in the way of fully experiencing the music.

In the early 1980s, Oleg Gotskozik left the Soviet Union, and after that his name virtually disappeared from Soviet music journalism and literature. There were no official bans or public statements. He was simply no longer mentioned. Oriental Suite continued to exist on its own, without an author and without context. The record never entered the canon, received no continuation, and was never officially reissued. It seemed to fall out of time.
The original vinyl pressing was released in a run of around 32,000 copies, but most of them remained within the republic and never reached wide circulation. Today, original copies are hard to find and have long become objects of interest for collectors. There have been no official reissues, only attempts that never went beyond test pressings.
Today, Oriental Suite sounds surprisingly contemporary. It is music that can be described as deep ethno-jazz and even, in a certain sense, spiritual jazz. There is no exoticism here, no decorative borrowing, only a complete immersion in another musical way of thinking. It does not require explanations and does not need to be justified by its time.
This is not a forgotten curiosity revived for collectors’ sake. It is music that simply waited for the moment when it could be heard without ideological filters or genre expectations. Now it is returning quietly, without noise or hype, but with the clear sense that this is not an artifact of an era, but a living and genuinely rare artistic statement.

Filmmaking and music-making share a common element of worldbuilding. Whole cloth, environments are raised in which a perspective can be placed; the viewer, the listener, is taken on a ride into the unknown for a time. Movie, the newest album by DMV-based duo Lifted, is like a film shot with microphones rather than cameras, using the pacing, spatialization, and semiotics of cinematic sound design to lead us through a surreal soundworld that draws as much from Foley artistry as dub, jazz, and electronic music. Musical elements and field recordings shift in and out of focus, collaged in spontaneous improvisation sessions on CDJs by the core duo of Andrew Field-Pickering (Max D, Dolo Percussion, Beautiful Swimmers) and Matt Papich (Co La, Ecstatic Sunshine). We may not see where we are, but our ears give us all the information we need.

We open on a pedal steel, played by More Eaze, but it’s been warped and slowed, gradually pitching upward until it's met by drums and electronics. Imagine the THX logo emerging onscreen. Movie is bookended by two related themes, “The Ice Chewers (Opening Credits), ” and “Midnight Snack (End Credits), ” giving the spatial experiments at the heart of the record form and focus. If there’s a broader narrative to latch onto, it’s in the transition moments, the juxtaposition of various field recordings that indicate movement of characters through space and life happening at its own pace. Tracks are defined by other thematic elements: a wandering piano in "Repossessed, " the drone of Duncan Moore’s bagpipe on “Melts Very Nasty, ” the delicate dance of Dustin Wong’s guitar over Jeremy Hyman’s drums on “Midnight Snack. ” Even with such an expansive ensemble cast, the focus remains squarely on the flow from one scene to the next.

Robert Altman’s use of sonic perspective shifting, as well as Apichatpong Weerasethakul’s intricate construction of environmental ambience and aural representations of the unknown, were both inspirational for Lifted’s focus on sound as a way to establish set and setting in film. We hear Altman especially in the way dialogue emerges and recedes: as Papich puts in a sandwich order, as Field-Pickering browses the grocery store. These techniques have been a part of the duo’s arsenal in Lifted and their own projects for years, but here, without the mandate to make something overtly musical, they are foregrounded and placed in crisp focus. Here is another way to listen to the world, to understand how time, place, and personality are communicated through sound as Lifted closes the gap between artforms. What you can’t see only drives the imagination to more brilliantly invent.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took usfrom the industrial and post-punk sounds of the late 70s, through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 1.

There are two versions of this album:

1. numbered 100 copies of limited black 180g vinyl made in collaboration with U JAZZ ME Records

2. transparent orange 180g vinyl

LINER NOTES:

" When AJ Lee stepped back into the ring in September 2025 - after a ten-year break - she introduced herself to a new generation of fans with the words: 'If you haven't heard of me, I am your favorite wrestler’s favorite wrestler.' That is exactly what came to my mind as a lead for this blurb when Pokusa asked me to write it. Because that’s what they are: your favorite indie darlings' favorite indie darlings (even though no one uses that term anymore, let alone identifies as such). They are your favorite cool jazzcats’ favorite jazzcats. And they are probably your favorite young jazz act - if you don’t usually (or ever) listen to jazz.

This, I always thought, is their greatest strength. Half the battle (in my eyes) is recording a sick jazz album - one that a jazz magazine would fawn over. The real win is getting someone wearing a heavy metal T-shirt into it; someone who’s never listened to jazz and has never stepped foot in a place like Pardon, To Tu, but heard Pokusa and decided to change that. I am such a person. I didn't learn about jazz because of them, but they’re definitely the reason I started rating it.
Głowy (Heads) is, in a way, a classic album. If someone played it for me and - relying on my lack of knowledge and gullibility - tried to convince me that it was recorded in the Polish Radio Studios in 1975, at Akwarium Club in Warsaw in 1985, at Club Rura in 1989, somewhere in Tri-City in '94, or at Mózg in Bydgoszcz, I would probably believe it. Its 'classicness' goes hand in hand with its timelessness. I could write about how the album fits into the catalogs of Lado ABC, GOWI, or Biodro Records. I could dig for connections to Yass, Tzadik, or a number of other things.
But what Teo, Natan, and Tymek create here is as important in its experience as it is in its music. For me - an artist active in a similar time - each Pokusa album, including this newest release, is a record of a period of time and the experiences hidden between the notes. The Indian spices in food served before a show in Mózg. A headache from all the cigarettes smoked listening to tapes in Eufemia. Marveling at the graffiti over the sink in Młodsza Siostra. The narrow steps at Chłodna 25. The wider but slippery steps to Pogłos. The quirky and uncomfortable steps in Ziemia. The mosquitoes at Ladomek. The dilemma of whether to wear a nice polo instead of a T-shirt to SPATiF. The wonder of turning off Monciak into Dwie Zmiany. Why is a club like this on such a strip? Why is Pokusa playing here? And why do they sound so good?
On one hand, you can find journalists writing that Pokusa grew out of the classic free jazz of the 1960s; some might mention Albert Ayler. On the other hand, there’s Unsound Festival and young critics writing about 'post-jazz.' All of them are correct. This is universalism. This is that timelessness. Whether you pick up this album the day it comes out or in the year 2046, it will be good. In twenty years, people will still reach for it. Of that, I am certain."
Michał Turowski

There are two versions of this album:

1. numbered 100 copies of limited black 180g vinyl made in collaboration with U JAZZ ME Records

2. transparent orange 180g vinyl

LINER NOTES:

" When AJ Lee stepped back into the ring in September 2025 - after a ten-year break - she introduced herself to a new generation of fans with the words: 'If you haven't heard of me, I am your favorite wrestler’s favorite wrestler.' That is exactly what came to my mind as a lead for this blurb when Pokusa asked me to write it. Because that’s what they are: your favorite indie darlings' favorite indie darlings (even though no one uses that term anymore, let alone identifies as such). They are your favorite cool jazzcats’ favorite jazzcats. And they are probably your favorite young jazz act - if you don’t usually (or ever) listen to jazz.

This, I always thought, is their greatest strength. Half the battle (in my eyes) is recording a sick jazz album - one that a jazz magazine would fawn over. The real win is getting someone wearing a heavy metal T-shirt into it; someone who’s never listened to jazz and has never stepped foot in a place like Pardon, To Tu, but heard Pokusa and decided to change that. I am such a person. I didn't learn about jazz because of them, but they’re definitely the reason I started rating it.
Głowy (Heads) is, in a way, a classic album. If someone played it for me and - relying on my lack of knowledge and gullibility - tried to convince me that it was recorded in the Polish Radio Studios in 1975, at Akwarium Club in Warsaw in 1985, at Club Rura in 1989, somewhere in Tri-City in '94, or at Mózg in Bydgoszcz, I would probably believe it. Its 'classicness' goes hand in hand with its timelessness. I could write about how the album fits into the catalogs of Lado ABC, GOWI, or Biodro Records. I could dig for connections to Yass, Tzadik, or a number of other things.
But what Teo, Natan, and Tymek create here is as important in its experience as it is in its music. For me - an artist active in a similar time - each Pokusa album, including this newest release, is a record of a period of time and the experiences hidden between the notes. The Indian spices in food served before a show in Mózg. A headache from all the cigarettes smoked listening to tapes in Eufemia. Marveling at the graffiti over the sink in Młodsza Siostra. The narrow steps at Chłodna 25. The wider but slippery steps to Pogłos. The quirky and uncomfortable steps in Ziemia. The mosquitoes at Ladomek. The dilemma of whether to wear a nice polo instead of a T-shirt to SPATiF. The wonder of turning off Monciak into Dwie Zmiany. Why is a club like this on such a strip? Why is Pokusa playing here? And why do they sound so good?
On one hand, you can find journalists writing that Pokusa grew out of the classic free jazz of the 1960s; some might mention Albert Ayler. On the other hand, there’s Unsound Festival and young critics writing about 'post-jazz.' All of them are correct. This is universalism. This is that timelessness. Whether you pick up this album the day it comes out or in the year 2046, it will be good. In twenty years, people will still reach for it. Of that, I am certain."
Michał Turowski

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took us from theindustrial and post-punk sounds of the late 70s, through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 2.

Ltd Edition 10"

Budapest based concept label Blue Sun welcomes formerly independent local afrobeat-jazz ensemble to its catalogue with a nuanced 4 tracker EP. The release not only marks the beginning of the collaboration, but a definite new musical direction in the band’s life.

Written in a one week jam session retreat in the Hungarian countryside, and recorded at one of the highest peaks of Hungary after a year of global touring, The Garden becomes an amalgamation of the band's personal and artistic experiences. The material conveys a more jazzier approach, with complex harmonies, and an almost cinematic, dreamlike atmosphere, somewhat distancing from (but not completely forgetting) the previously emphasized, dance-oriented Afro- and Latino roots. Song for Ramon serves as the EP’s emotional climax inspired by the passing of a close friend and local underground chef pioneer.

Formed in 2019 in Budapest, Hakumba is a staple of the Hungarian festival circuit, with a growing international presence (SXSW London, SHIP, PIN Music Showcase). They’ve recently finished a tour in Australia this January.

The groove-driven ensemble blends afrobeat, jazz, and various strands of world music into a sound that is both rhythmically powerful and harmonically adventurous. With an eleven-piece lineup featuring an expansive horn section, multiple vocalists, percussion, and keys, the band moves effortlessly between dancefloor energy and more intricate, jazz-influenced musical ideas.

Like the band’s previous album, the EP was again recorded, mixed, and mastered by András Weil, the producer behind The Qualitons, the only hungarian band ever performed Live at KEXP. This continuity preserves Hakumba’s recognizable sonic identity while giving space for new colors and more complex musical ideas to emerge.

Written & performed by:

Soma Számel – drums
Endre Szép – bass
Imre Hegedűs – guitar
Zalán Bendegúz Huff – guitar, vocals
Csongor Mari – keys
Noel Nagy – percussion, vocals
Dorka Foster – flute, vocals
Kristóf Szabó – alto sax
Alpár Sikó – tenor sax
Gáspár Simon – trumpet
András Téglásy – baritone sax

Produced, recorded, mixed and mastered by Andras Weil
Artwork by Eszter Lukács
Graphic design by Péter Tóth
Manufactured by AD Records
Distributed by Rush Hour

Recorded at Galyatető, Hungary

Released under the Blue Sun

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



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

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

The single will be a limited edition release of 500 vinyl copies as part of the Blow Up 45 Series. All sleeves for the Blow Up 45 series are die cut with the record centre dinked.
The distinctive in-house design which has been utilised since the year 2000.
Broadcast embargo until 5/05/26 – Exclusive first play on 4th May on Roman Jugg’s Roman show (Truly Electric Camembert – Phoenix FM). The band were recently featured in Shindig magazine and were described as “bringing a forceful new twist to vintage tinged rock ‘n’ roll.
The Now She’s Gone single are the first tracks to be completed from the recording sessions at the Fish Factory in Willesden London in December 2025. Sixteen tracks were recorded in the sessions with additional overdub recording taking place at Soundbody studios London between January and February 2026. The single was produced by The Forty Fours and former member of The Damned, Roman Jugg. Whilst Paul Tunkin of Blow Up is the executive producer of the sessions. The remainder of the tracks for the debut album are currently being mixed by Nick Terry in Oslo, Norway for release later in 2026. The Forty Fours are a London based three-piece group, who originally formed in Cornwall as teenagers.
The Forty Fours are : Oliver Harriss – Electric Guitar / Vocal, Jason Bazeley – Bass guitar / Vocal, Andrew Stander – Drums / Vocal.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took us from the industrial and post-punk sounds of the late 70s,through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 3.







f B2. Javi Redondo - HALT [Process]

Death Cab for Cutie is one of the definitive indie-rock bands of the century. After twenty-odd years in the major label system, the band returned to their indie roots and signed with ANTI- Records and they"re back with a brand-new eleventh album titled, I Built You A Tower out June 5th. I Built You A Tower is the sound of loss, compartmentalization, and then grief bursting out from the seams. It"s also the sound of the growth that comes after falling apart, of acknowledging pain without letting it destroy you. "I see the tower existing on your emotional horizon," Ben Gibbard states. "You don"t always have to look at what"s inside it, but it"s a reminder that it happened. You know it"s there. You have to face it." The band is set to hit the road in the US this summer, kicking off on July 10 and includes a two-night run at The Greek in Los Angeles. This comes on the heels of a historic, sold-out global tour marking the 20th anniversary of the album Transatlanticism, and the release of their universally acclaimed, 2022"s Asphalt Meadow.

Hot on the heals of their spectacular self-titled debut album, The Handover is back with their second long form composition, New Old Medicine. Aly Eissa (oud), Ayman Asfour (violin), and Jonas Cambien (vintage organ/synth) have been cutting their teeth on the international touring circuit for the past two years, landing from town to town in their seductive spaceship to blow people's minds and then dematerialize into the void. An outline for a new piece began to emerge along the route and late last year during a stop in Berlin, this metamorphosis of the trio's sound was recorded in pristine form by Rabih Beaini at Morphine Studios.
Attempting to define the music is not as important as allowing it to define itself - from person to person, village to village. All we can do is suggest what may resonate to lure you into the arena; psychedelic, folkloric, Egyptian, etc., as these excerpts from the liner notes suggest: "Though one long piece, New Old Medicine moves through several unofficial chapters. It originates in the psychic depths with a pensive melody. Gradually solidifying, the organ’s first solo ushers the piece into a swaying, reverent dance. This dance nears its end with a vigorously percussive section on oud, handing it off to the violin for a climactic solo. A momentary pause, then the rhythm thickens, and the musicians ride untethered through the midnight. This frenzy is followed by a calm repose on placid water. But this calm is merely a deep inhale before the final charged ascent into cosmic rapture."
Don't sleep on this one!

A transcendental journey through the shadows of consciousness - remastered and expanded for the deepest listening experience yet With Metamorphyses , Swedish dark ambient pioneer Peter Andersson (RAISON D'ETRE) invites us into a labyrinth of sound and soul, where drone, ritualism, and neoclassical minimalism converge into something vast, immersive, and transformative. Originally released in the mid-2000s, this defining work now returns in a gloriously expanded edition - and for the first time ever, pressed onto double vinyl.

This 2025 edition, meticulously remastered to K14- level standards by Andersson himself, features not only the core studio album (Disc I, recorded winter 2005-2006), but also two full discs of evocative live performances from across Europe, including Gent, Sofia, Salzburg, Alkmaar, Budapest, and a stunning set recorded in the Sophienkirche of Wuppertal during the Phobos II Dark Ambient Festival (2010) - a performance that plays like a liturgy for forgotten gods. The sound is monumental yet subtle: subterranean drones coil beneath spectral chants, decaying harmonics ripple through ancient cathedrals of reverb, and slowshifting textures create a space where the listener floats between the sacred and the surreal. There are echoes here of Lustmord's somber gravity, Thomas Koner 's icy isolationism, and the ritualistic depth of Inade or Desiderii Marginis, but it's RAISON D'ETRE's singular spiritual voice that rises from the abyss. The artwork by Kati Astraeir perfectly captures the album's meditative darkness - fluid forms, organic decay, and transcendent abstraction - while the layout, also designed by Andersson, reinforces the ritualistic purity of the listening experience.

A transcendental journey through the shadows of consciousness - remastered and expanded for the deepest listening experience yet With Metamorphyses , Swedish dark ambient pioneer Peter Andersson (RAISON D'ETRE) invites us into a labyrinth of sound and soul, where drone, ritualism, and neoclassical minimalism converge into something vast, immersive, and transformative. Originally released in the mid-2000s, this defining work now returns in a gloriously expanded edition - and for the first time ever, pressed onto double vinyl.

This 2025 edition, meticulously remastered to K14- level standards by Andersson himself, features not only the core studio album (Disc I, recorded winter 2005-2006), but also two full discs of evocative live performances from across Europe, including Gent, Sofia, Salzburg, Alkmaar, Budapest, and a stunning set recorded in the Sophienkirche of Wuppertal during the Phobos II Dark Ambient Festival (2010) - a performance that plays like a liturgy for forgotten gods. The sound is monumental yet subtle: subterranean drones coil beneath spectral chants, decaying harmonics ripple through ancient cathedrals of reverb, and slowshifting textures create a space where the listener floats between the sacred and the surreal. There are echoes here of Lustmord's somber gravity, Thomas Koner 's icy isolationism, and the ritualistic depth of Inade or Desiderii Marginis, but it's RAISON D'ETRE's singular spiritual voice that rises from the abyss. The artwork by Kati Astraeir perfectly captures the album's meditative darkness - fluid forms, organic decay, and transcendent abstraction - while the layout, also designed by Andersson, reinforces the ritualistic purity of the listening experience.

Pianist and bandleader Linus Rebmann, together with Gabriel Widmaier on double bass and Johnny Walker on drums, shapes a transparent and powerful sound characterized by great joy in playing and a palpable sense of familiarity. The album's ten original compositions tell of observations, inner movements, and moments whose depth is better expressed through music than words. The three young musicians met in the Baden- Wurttemberg Landesjugendjazzorchester, and after winning the "Jugend jazzt south- west" competition in 2024, the trio was awarded the prestigious Deutschlandfunk Studiopreis at the national meeting. This made it possible to produce the album in the legendary Kammermusiksaal of Deutschlandfunk in Cologne - a space that has been among the country's finest recording venues for decades. The band members deliberately chose an intimate setting for the recordings. Everything was played through a single main microphone, without subsequent corrections to individual instruments. A working method that demands absolute presence and mutual trust. It is precisely this immediacy that shapes the sound of "Listen To The River": the album is transparent, organic, flowing, almost breathing.

Definition of spin doctor: a spokesperson employed to give a favorable interpretation of events to the media, especially on behalf of a political party. Spin Doctors weren't part of a political party but spread the word about romance.

The band was formed in New York City, best known for their early 1990s hits "Two Princes" and "Little Miss Can't Be Wrong". Those 2 songs were hits all over the world, and are still big hits in the streaming era. Pocket Full of Kryptonite is the first studio album (and second release) by the Spin Doctors, and originally released in August 1991.

The album was a top 10 hit in many countries, including the UK, Denmark, Germany, Norway and Sweden. It was the band's bestselling album and was certified 5x Platinum in the US. Not to be confused with the 3 Doors Down song 'Kryptonite' from 2000, the Superman theme was all over the Spin Doctors' album, with the title, a song called "Jimmy Olsen's Blues" and the album cover showing a phone booth (referring to Clark Kent frequently ducking into a nearby phone booth to change into his Superman attire).

This pressing of Pocket Full of Kryptonite is a limited 35th anniversary edition of 4,000 individually numbered copies on green vinyl. The jacket has a deluxe leather-texture laminate finish.

Bliss Point is proud to welcome the Bogotá born, New York based Matük to the label with Sendero, a collection dripping with life, with lust, with joy in the face of it all.

Birthed from weekend-long studio sessions in the heat of New York summer, Sendero is luscious and visceral party music, crackling with the spontaneous possibility that runs through city streets as temperatures peak, asses throw and emotions run high.

Hailing from Colombia and deeply immersed in the New York underground, Matük’s influences collide into an ecstatic tapestry on Sendero, blending the rich traditions of Afro-Caribbean musics with experimental and club sonics, long the sounds of joy as defiance from deep within the imperial core.

Many paths cross on Sendero. “Ricotta” features vocals from BRAVA, the Basque DJ and MC whose raw, infectious spirit has injected new energy into the international bass and footwork scene. She is joined by Argentinian-Colombian artist FEDRA on synth and vocals, transforming voice notes the trio sung into their phones over a long weekend of dancing into a party anthem of their own. “Lio”, the EP opener, pairs Mexico’s Renn Loop with Matük himself, trading sultry, heated frustrations over latinx futurist production. Things slow down on “De; Dioses y Pantallas”, a yearning, introspective plea to the night sky, before returning to the party with the bouncing, acid-fueled remix of “Ricotta” from Mexico City’s Soos.

Sendero is a snapshot of a scene in motion, a document of serendipity and collaboration, music made in the long tradition of enjoyment as a revolutionary act.

Summer is around the corner and what a perfect timing to introduce you to Admo’s latest musical project - Charlottenzbeul Science Club. After three years since his last solo EP, many live acts around the globe and releases on Limousine Dream, Haws and Ordinateuf, the mad bassist is back at it again with his first release on his new label - Two-Headed Fish Records - which he co-runs with his wife. Definitely an EP that stays in the family.

It’s another four-tracker - you know the kind of vinyl that keeps on giving. A celebration of his time in the vibrant German capital, Berlin (West is the best). A1 opens the ball : bassy, catchy and this infectious chromatic melodic line. The recipe for a summer hit. Now onto A2 (and we’re not talking about his German language skills here): a regular laidback approach where acid sounds mesh together with this high-energy baseline. A classic in the making. If you’ve seen him live, you must’ve recognised B1 as it used to be his closing. A dreamy touch, where storytelling is the key word. You will have your head bopping from the first minute - mellow moment guaranteed. And B2 wraps it up - it takes you by the hand, you hop onto the next U-bahn and straight to the dance floor. The analogic bass keeps on bringing the track higher, progressively transforming into this groover that gets your feet stomping. It’s a proper farewell and a perfect conclusion to this beautifully crafted record.

On her new album, Neon Summer Skin, Bedouine, the project of Azniv Korkejian, explores this feeling of safety long before one can fully understand the concept. Written with vivid, honest and intimate imagery after visiting her family in Saudi Arabia, it tells the story of family and upbringing, and mourns the end of her childhood. There is a singular resonance and newfound heft in this music previously unheard in Bedouine’s discography. Bedouine is known for making gentle, lilting folk songs that build fingerpicked guitar melodies into tsunamis of emotion. Her masterful songwriting and timeless melodies have earned her praise from publications like Pitchfork, who said her music “boasts a surreal calm and lived in glow,” and Rolling Stone, who lauded her “humble folk-pop brilliance,” plus an NPR Tiny Desk Concert, and tours with the likes of Fleet Foxes and Father John Misty. While working on the record, Bedouine realized the pain of displacement, of searching for home, has been a throughline in her family history. Other relatives have also experienced this sense of loss as they’ve migrated between Armenia, Syria, and Saudi Arabia. “I felt so frustrated about the places that I'm from becoming war torn or difficult to return to,” she says. “My family has been split apart time and time again.” This realization prompted her to document and honor her parents’ lives and stories. On a family trip to Houston, Bedouine recorded a conversation with her mother and sampled the introduction to “Canopies.” The song tells the story of her mother’s time in an orphanage. She was put there by her own mother as a way of escaping her abusive father. Nearby, her mother would sing about feeling her daughter’s essence in the air: "The waves of Beirut's beaches flutter, and how sweetly they blow my darling's air." It’s a story of profound yearning told with the quiet profundity of a flower blossoming.

First time available on 180 grm black 180 grm vinyl 2LP . Revelation is the first album that was fully recorded & produced at Anton's recording studio in Berlin . It is the 14th full length release from the Brian Jonestown Massacre recorded from late 2012 to early 2014. With Anton Newcombe refining the 13 tracks that appear on the album Featuring Ricky Maymi an original member of the band plays on this album. It also features Joachim Alhund (Les Big Byrds) , Constatine Karlis (Dimmer), & Ryan Van Kriedt (Asteroid #4) . Plus vocal performance in Swedish by Joachim Alhund (Les Big Byrds) on the opening track . This album brings the traditional Brian Jonestown Massacre sound mixed with eastern influences & bringing it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years. Two dozen band members later and numerous ups and downs' (some have been famously sensationalized in the media ), the one thing that has always remained consistent for this psychedelic collective, is front man Mr. Anton Alfred Newcombe

A founding member and keyboardist of acclaimed jazz
groupBADBADNOTGOOD,Tavares has gone from being an in-demand
producer with some of the biggest names in music to a songwriter and
artist in his own right, having touched corners of the globe and cemented
twoGRAMMY Awardsand five nominations
Between collaborations with Kendrick Lamar , Ghostface Killah , MF DOOM , Tyler
the Creator , Kali Uchis , Tavares has also played with Frank Ocean ,
soundtracked Virgil Alboh 's landmark S/ S 2019 runway show for Louis Vuitton,
and penned songs for Post Malone , Rosalia , Travis Scott , Kodak Black , Justin
Beiber,Camilla Cabello,Jack Harlow amongst others.
With a sound that fuses his nostalgia for the golden era of blogs with the
eclecticism of the late 2000s, the combination of the internet crossed with an
isolated suburban upbringing has laid the groundwork for Matty's genre-bending
artistry. Embracing a raw creative output with an aversion to following the norms
of the industry reverberates across his discography,Matty has found success in
previous releases including 'Clear' and 'I'll Gladly Place Myself Below', which push
the boundaries of sonic creativity and knowledge.
Now with his upcoming album POPS , Matty relinquishes his lowkey and
understated style for something larger than life, while maintaining a level of
honesty and openness that has defined his past work to make for a dynamic
release that constellates around music's greatest subject - love.

Exactly four years and one day after ''All That Has Never Been True'' Ultha releases their fifth full-length studio album entitled ''A LIGHT SO DIM''.
It features 10 original new songs at a combined length of 74 minutes, with guest appearances by Pieter Uyttenhoven & Annelies van Dinter (TAKH), Pardis Latifi (DAEVAR), Danni Kann and the ''Chor Der Damen Ohne Namen'', a 40-women choir from Cologne.
Recorded, engineered and mastered at GOBLIN SOUND STUDIOS (Cologne) by ANDY ROSCZYK, who also contributed guitars and keys to various tracks. Artwork was done by TOBIAS HAHN, featuring photography by MAX HECKMANN.
After the conclusion of the trilogy consisting of Converging Sins, The Inextricable Wandering & All That Has Never Been True, the question was: where do you go when you've lost everything? You either accept defeat and die - or you start fighting. This is an album about hope in the darkest of times. It's a call to arms for the inner self, to find a rope of light in a world of mist. ''A Light So Dim'' is another concept album, with a narrative spinning from beginning to end. The unnamed narrator wakes up and tries to make sense of a world gone absolutely mad, where truth is nothing more than an empty shell of its once great self.
''IT'S THE STRUGGLE FOR AMBITION IN AN OCEAN OF DEFEAT. LIKE A FOREST FOR A GARDEN IN A WORLD YOU'LL NEVER SEE''.
This is for all of you!
Viva reason, viva love.

* A highly influential and sought-after benchmark dub LP, originally released on the Jah Works label in 1995.

* Produced by the late Rej Forte AKA Jah Rej, who was one of the most creative minds from the UK reggae and dub scene from the last 40 years.

* The album features recognisable tracks from the Jah Works cannon, but dubbed into oblivion with special effects galore. All tracks played by humans, with the exception of a drum machine.

* Dub Crusaders feature members of Revolutionary Dub Warriors (On-U Sound, Ariwa), and Radical Dance Faction.

* Recorded at Channel One under the supervision of Martin Campbell, whose vocals feature twice on this set.

"I decided to just let myself go," Zzzahara says of their new record, 'Spiral Your Way Out' "I think I finally came to this acceptance that I don't have to be perfect. I want to be a good role model to my fans and stuff like that, but I also don't want to hide who I am." Zzzahara's music wades into the deep waters of love, lust, and self-discovery in a part of the world where artifice and authenticity co-exist. Emerging from the heart of LA's alternative music scene, their sound is raw in feeling and rebellious by nature.

Their 2022 debut album, Liminal Spaces, chronicles a coming- of- age in Highland Park, following painful childhood memories through to late- night, live- fast coping mechanisms, and the changes the neighbourhood has endured over the same period of time. Their 2023 follow- up, Tender, marked a period of slowing down, looking inward, and embracing a softer side of being. 'Spiral Your Way Out' sees Zzzahara evolve again. Emotionally, its foundations are built on scorched earth.

The album finds Zzzahara in the aftermath of a relationship spent trying to fit someone else's mould, being jerked around by indecision, and then hitting "emotional rock bottom." Made in a three-month burst that let all their pent-up frustrations loose, 'Spiral Your Way Out' is in part a work of self-reclamation, swapping there 2nd album Tender's meditative state for something fiery and more assertive. The new album marks another sonic evolution as much as an emotional one. Zzzahara's songs have always come wrapped in a warm glow that reflects how they were written -namely at home in their bedroom.

That glow remains on 'Spiral Your Way Out', but it also packs an ambitious streak and a gutsy punch. Taking a more collaborative approach than usual, Zzzahara worked with a range of producers including Jorge Elbrecht (Japanese Breakfast, No Joy, Sky Ferreira), Sarah Tudzin (boygenius / Cloud Nothings / The Armed), former Ducktails guitarist Alex Craig (Jelani Aryeh / re6ce) and Halsey tour drummer Franco Reid, who helped harness their intimate style of writing and blow it up into something more panoptic. After a year of upheaval, Zzzahara finally feels "calm." The musical equivalent to going several rounds on a punching bag, 'Spiral Your Way Out' finds solace between extremes. It licks its wounds in a place where pain and love, healing and abandon, sit side-by-side. If it has a message, it's one of standing tall in your own shoes - scuffs and all.

"I decided to just let myself go," Zzzahara says of their new record, 'Spiral Your Way Out' "I think I finally came to this acceptance that I don't have to be perfect. I want to be a good role model to my fans and stuff like that, but I also don't want to hide who I am." Zzzahara's music wades into the deep waters of love, lust, and self-discovery in a part of the world where artifice and authenticity co-exist. Emerging from the heart of LA's alternative music scene, their sound is raw in feeling and rebellious by nature.

Their 2022 debut album, Liminal Spaces, chronicles a coming- of- age in Highland Park, following painful childhood memories through to late- night, live- fast coping mechanisms, and the changes the neighbourhood has endured over the same period of time. Their 2023 follow- up, Tender, marked a period of slowing down, looking inward, and embracing a softer side of being. 'Spiral Your Way Out' sees Zzzahara evolve again. Emotionally, its foundations are built on scorched earth.

The album finds Zzzahara in the aftermath of a relationship spent trying to fit someone else's mould, being jerked around by indecision, and then hitting "emotional rock bottom." Made in a three-month burst that let all their pent-up frustrations loose, 'Spiral Your Way Out' is in part a work of self-reclamation, swapping there 2nd album Tender's meditative state for something fiery and more assertive. The new album marks another sonic evolution as much as an emotional one. Zzzahara's songs have always come wrapped in a warm glow that reflects how they were written -namely at home in their bedroom.

That glow remains on 'Spiral Your Way Out', but it also packs an ambitious streak and a gutsy punch. Taking a more collaborative approach than usual, Zzzahara worked with a range of producers including Jorge Elbrecht (Japanese Breakfast, No Joy, Sky Ferreira), Sarah Tudzin (boygenius / Cloud Nothings / The Armed), former Ducktails guitarist Alex Craig (Jelani Aryeh / re6ce) and Halsey tour drummer Franco Reid, who helped harness their intimate style of writing and blow it up into something more panoptic. After a year of upheaval, Zzzahara finally feels "calm." The musical equivalent to going several rounds on a punching bag, 'Spiral Your Way Out' finds solace between extremes. It licks its wounds in a place where pain and love, healing and abandon, sit side-by-side. If it has a message, it's one of standing tall in your own shoes - scuffs and all.

#andifyouknowyourhistory#detroit#raresoul

We are talking Holy Grail territory…

Edwin Starr and JJ Barnes were two of the main stars at Ric-Tic, the legendary 1960s Detroit Soul label that ended up being purchased by Motown to take out the competition.

JJ Barnes REAL HUMDINGER Ric-Tic 45 is a standout gem from the Motor City’s Soul heyday years and an all time Northern Soul classic. Edwin’s Ric-Tic 45s and subsequent gems for Motown made him such a Northern Soul icon that he moved to live in England.

What Anglophile Edwin never revealed is that he actually recorded the first version of REAL HUMDINGER for Ric-Tic. It never got released and its’ very existence was unknown. After painstaking detective work WEST GRAND found about the recording and have now managed to licence it from Universal Music / Motown for its debut worldwide release News of the discovery has created huge interest amongst Soul fans globally, As a bonus the flip side is another “wow find” that had been stuck, also unknown and unloved, in the tape vaults for nearly 60 years. It is a preciously unused alternative take on SCOTT’S ON SWINGERS.

The track is in effect an extended jingle for Detroit back in the day star radio DJ Scott Regan based on Edwin’s smash S.O.S (Stop Her On Sight). The released take came out on a limited edition RIC-Tic giveaway single that now commands a £400 price tag.

Bolka is known as the man with the cap. His cap has lived through a lot: his glitchy and microtonal experiments, studies at Institute of Sonology in The Hague or through countless performative works. A few years ago, Bolka’s cap fell apart. By that time he was already a fixture on the slovak experimental scene, but only releasing his debut album, “smutné stropy.” He started wearing new caps from then: somehow reminiscent of the old one, but much more varied — same as “smutné stropy,” bubbling with motifs, charming humour and pop sensitivity layered over detailed soundscapes popping with surprises.

On schwarzkopf, Bolka returns wishing for a thick black hair. With his charming love songs, that are positioned somewhere between a tightly run freak folk orchestra, deconstructed ballads and colorful ecstatic melancholy, he creates an album that thrives on juxtapositions that are completely unique, yet strangely familiar. Bolka’s songwriting is at once tender and irreverent — lovestruck whispering suddenly tripping over absurdist jokes and surreal images that fizz like soda. His songs move in that strange space between vulnerability and mischief, where intimate confessions collide with radical playfulness and the poetic rubs shoulders with the delightfully ridiculous.

On schwarzkopf, Bolka expands his world with a wide circle of collaborators and an even richer sonic palette. The album is meticulously detailed yet carefree: delicate moments sit next to sudden explosions, drifting from gentle pop to bursts of noise. Toward the end, the album even slips into a footwork-infused remix by Kodiki, passes through Julek ploski’s signature neon-baroque string perspective, and briefly wanders into Lénok’s cinematic sonic world. Bolka sings that he wants to dissolve into a healing ointment, to be ground in a mortar with calendula — and he invites us into this musical spa with him: a place that stings a little but ultimately soothes, a gorgeous soundscape that is both painful and joyful at the same time.

Hailing from New Orleans, Louisiana, Soilent Green emerged in the early 1990s as a formidable force in the extreme metal scene, blending sludge, grindcore, and death metal into a uniquely savage sound. The band quickly gained recognition for their ferocious intensity and uncompromising approach, pioneering a fusion of genres that profoundly influenced the development of extreme metal. With a history spanning over two decades, the band has faced more than its share of adversity and struggles. Yet they continue to push forward. Driven by passion, perseverance and an unrelenting will to dominate. On stage, Soilent Green is known for their electrifying performances, harnessing raw energy and aggression to create unforgettable shows. Each performance is a visceral experience, featuring blistering riffs, thunderous drums, and guttural vocals that resonate deeply with audiences. Whether headlining festivals or playing intimate gigs, Soilent Green leaves an indelible mark, forging a connection with fans that cements their legacy as one of extreme metal’s most revered bands.

Thirteen years later, building on everything they had learned about capturing the purest sound, Guttenberg returned to produce The Ultimate Demonstration Disc Volume 2. Designed to bridge the gap between technical terminology and the listening experience, this collection serves as a practical guide to the audiophile lexicon. On each track, Guttenberg "spells out" exactly what to listen for, providing clear musical examples of concepts like "transparency" and "soundstage depth." By using a custombuilt recording chain and avoiding dynamic range compressors, equalizers, or overdubbing, the album captures a "live" session exactly as the microphones heard it - resulting in a sound so neutral and natural that it can be used to reveal the subtle differences between high-end speakers, electronics, and cables.

DJ Pone returns to his roots with Bass Culture (out March 6, 2026), a new 19-minute mixtape. A renowned turntablist, DJ Pone delivers an immersive and mesmerizing mix. Following his success with Birdy Nam Nam, he has released several genre-blurring projects, including the cinematic Radiant and the deeply introspective 1978. These albums showcase a producer with a meticulous ear for detail, atmosphere, texture, and storytelling—at times overshadowing the full extent of his talent and charisma behind the decks. With this new release, he reconnects with his first love: sound collage, razor-sharp cuts, and the magic of real-time manipulation. The mix fuses a burst of tracks into a seamless journey, punctuated by precise breaks and UK and tropical inflections. The sound design feels both cathartic and transient—a subtle blend of beats and sonic landscapes that echo and dissolve into one another with remarkable finesse. From an opening manifesto paying tribute to DJ Shadow and DJ Qbert to a rawer section infused with urbex textures, recalling the energy of Company Flow, Pone crafts a narrative that is as thoughtful as it is intensely joyful—yet paradoxically soothing. Mostly instrumental but never lacking soul, Bass Culture is filled with glitched melodies and vocal samples, echoes of his recent travels to Barcelona and beyond. The project stands as a personal, tactile canvas—instinctive and unembellished—pushing back against an era dominated by digital excess. It resonates as a true statement of faith in the art of DJing, reminding us that, even as a producer, DJ Pone’s touch on vinyl remains grounded and almost magnetic, far removed from today’s passing trends.

"Nusa" is the last part of a trilogy started in 2020 with Masao Yamamoto and Akira Uchida. A project that began with light (“Sasanami”, 2020), moved through darkness (“Kurayami”, 2023), and returned to the ambivalence of the two (“Nusa”, 2026), which ultimately sustain and complement one another in all their variations and complementarities. Both in terms of tones and in the humanity that runs through us in these times of such stark contrast.

For this last part of the trilogy, Masao Yamamoto and Akira Uchida travelled to the island of Hokkaido at the beginning of 2026 to supplement the project with photographs and audio recordings of the ice and the surrounding landscapes.

Graduated in saxophone from Senzoku Gakuen College of Music, Akira Uchida explores sound through tuning, medieval music, and acoustics, supporting jazz pianists as a piano tuner. After training under instrument maker Masahiro Adachi, he became an independent clavichord builder. In 2020, he created an instrument for Ryuichi Sakamoto. In 2021, he crafted one using reclaimed wood from Kiyomizu-dera Temple (FEEL KIYOMIZUDERA). His work focuses on making, tuning, and performing instruments.

The new EP is released on limited edition 'Scissorhands Ice Blue' coloured vinyl with a hand-numbered gold riso print sleeve art with obi strip. Sarah/Shaun wooed hearts and wowed critics with debut EP It's True What They Say? in 2024 plus follow-up EP Someone's Ghost in 2025. They have been featured across the media including BBC Radio 6Music, BBC Radio Scotland, The List and The Skinny. They've played gigs supporting French legends Air, Glaswegian 80s pop legends The Bluebells, Glasgow's huge Glasvegas, a slew of venues across Glasgow and Edinburgh, not to mention the festivals: Kelburn Garden Party, Fringe By The Sea, Kendall Calling, Dunbar Music Festival and Hidden Door Festival. The duo are set to release a full length album in late 2026.


b A2 Heart Started Beating [Backwards] (4:10)
[c] B1 Desperation Looks Ill [From The Other Side] (4:26)


[b] A2 Heart Started Beating [Backwards] (4:10)
[c] B1 Desperation Looks Ill [From The Other Side] (4:26)

Under the mentorship and executive production of Grammy-winning hip-hop producer 9th Wonder (Jay-Z, Destiny's Child, Kendrick Lamar) come North Carolina's fastest-rising hip-hop duo! THE ZENITH is produced entirely by 9th's daughter JADA and includes 15 tracks of lyrical raps from Fayetteville's own S14H over JADA's smooth sampling.
With features from established and revered hip-hop acts such as Murs and Swank & King Draft as well as from fellow members of THE COLLECTIVE, KMac, Carri Starr, and Iris Moon, THE ZENITH is living proof that the soul of lyrical hip-hop lives on in the next generation through artists like JADA X S14H.

With Superstring, one of the greatest trance classics returns to vinyl. Originally released by Cygnus X, the track became a landmark in trance history and remains instantly recognisable decades later. Its hypnotic melody and emotional drive helped shape the sound of the genre and continue to resonate with fans and DJs.

This special edition includes an exclusive, never-before-released remix by Oliver Lieb as well as the iconic versions by Rank 1: the celebrated Rank 1 Remix and the Deep Dub Remix. Each interpretation brings a different perspective to the timeless core of Superstring, showing why it remains one of trance's defining records.

Pressed on vinyl for collectors, DJs and trance enthusiasts, this release celebrates the enduring legacy of a classic that still feels relevant today. It represents trance's ability to connect generations through melody and emotion.

After a sold out first release, NY’s Superflux is back for Round Two with a debut release from arguably the most unsung hero of the Midwest underground. Uplink is a REDACTED-based hardware specialist known for their work running a series of labels and organizing parties that have helped define the region’s sound for more than a decade. Crafted using time-honored tools of the trade, these four dubby, tracky, and raw cuts – lifted from live stereo board recordings – will sit comfortably alongside releases from STL, Skudge, and MRSK.

The A1, Audio Sport, is a dubby groover with almost-steppy hats and bit of bite; a reverb-drenched lattice of delayed pads bends your sense of time and space until you realize you’re 12 hours into the warehouse function and someone’s just thrown a piano off the roof. A2, Blue Untitled, is a deep stomper reminiscent of the early WAX records. A big & shifty bassline turns this into a true head-nodder. B1, Temporary Machine 1, is a more subdued dubbed-out tech house cut anchored on a rolling bassline and flanked by dusty percussion and prescriptive stabs. Proper warm up tackle or hazy after-afters fodder: the choice is yours. Connoisseurs of a fine B2 rejoice – this one is it. Dokta is a moody, tripped out late night techno affair with a dash of bounce for good measure. All that hisses is gold.

Written by Colin Boardway

Seit mehr als drei Jahrzehnten befindet sich AFI in einem nahezu ständigen Prozess der Neuerfindung. Die Band hat es sich zum Ziel gesetzt, sich mit jedem Album weiterzuentwickeln - manchmal sogar dramatisch - und sich niemals zu sehr in einem Genre einzurichten oder sich auf ihren beeindruckenden Erfolgen auszuruhen. Dieser Ansatz hat ihr Publikum vergrößert, aber auch herausgefordert mit einer klanglichen Identität, die sich in wilde, unerwartete Richtungen entwickeln kann. Mit ihrem zwölften Album "Silver Bleeds the Black Sun_" stehen AFI erneut am Anfang eines mutigen neuen Kapitels, nur dass sie es diesmal geschafft haben, sich selbst zu überraschen. Wie schafft es eine Band, die für kreative Umbrüche bekannt ist, immer wieder Wege zu finden, sich selbst aus ihrer Komfortzone herauszuziehen? Normalerweise beginnt die Band ein Album, indem sie sich sofort in das Schreiben stürzt und sich einfach von ihrer intuitiven musikalischen Sprache leiten lässt. Für "Silver Bleeds the Black Sun_" jedoch haben AFI sich bewusst dazu entschlossen, ihren kreativen Ansatz komplett zu ändern. Diesmal begann alles mit einer Frage: Wie könnten sie neue Wege beschreiten? Der Schlüssel zum Fortschritt lag letztendlich in der gemeinsamen Vergangenheit von AFI. "Wir begannen mit etwas, das wie Echo & the Bunnymen klang", erklärt Gitarrist Jade Puget, der das Album produzierte und abmischte. "Aber schließlich landeten wir bei dieser Mischung aus Death Rock und Postpunk - all diesen Einflüssen aus den späten 70ern und frühen 80ern, mit denen wir aufgewachsen sind, wie Sisters of Mercy, Bauhaus und Siouxsie and the Banshees." Das Ziel war es, ein Album mit einer einzigartigen Stimmung zu schaffen, etwas Verträumtes und Ätherisches, und die Bandmitglieder tauchten kopfüber in Einflüsse ein, die schon immer tief in der Musik von AFI verwurzelt waren, jetzt aber in den Vordergrund rückten. "Silver Bleeds the Black Sun_" ist düster und jenseitig, aber auch grandios und würdevoll, bissig und schön zugleich - mit anderen Worten: Es ist sehr AFI, aber doch anders als alles, was man bisher von der Band gehört hat.

In May of 1966, the unknown singer Jack Wood recorded two songs at Great Lakes Studio in Sparta, Michigan. These unique, otherworldly songs 'Born to Wander' and 'So Sad' would be self-released by Wood on his own Lawrence Records imprint in an edition of 100 copies. Going nowhere and being quickly forgotten, it would take Wood ten years to pay back the $250 he borrowed for the entire endeavor. Fast-forward to the 21st century and the deepest of record collectors are intrinsically moved by the power behind Wood's single, vacillating between Northern Soul, garage, big band and country music all within the same song. Featured in the new Bacardi Rum advert as well..

Actor, comedian, friend of the label, Aziz Ansari (of Parks and Rec fame) has visited Third Man a handful of times, even gracing us with a surprise live set back in 2013. For years we've been working hard to find something to release together and his second Comedy Central stand-up special, Dangerously Delicious, which was originally released in 2012, contains so many great moments (50 Cent's 1st grapefruit experience, anyone?), it just needs to be pressed into wax. So, here we've done it! Put the needle in the groove and let the good times roll, friends. Co-released with Comedy Central

Helping to celebrate the 50th anniversary of his debut LP, Matthew & Son, released in 1967 via Deram, Third Man Records along with producer Jack White are pleased to announce two new and as of yet unreleased renditions of the earliest singles from Yusuf "Cat Stevens" Islam's vibrant and storied catalog. The project signals more of what's to come from the Blue Room Sessions series. Recorded at label headquarters this past September, the songs find new life with arrangements that are pensive and potent, sharpened by time on the road. The results are far and away a testament to the hustle and vision of all involved.

BEAR's sound is a calculated collision of technical precision and unfiltered aggression _ a modern strain of European metal that balances math-inflected complexity with visceral, live-wire intensity. At the core of their identity a combination of brains and brute force. With Anhedonia, Belgian heavyweights BEAR deliver five songs of pure adrenaline and unfiltered heaviness that capture a band confronting the strange emotional vacuum that can follow trauma. Anhedonia is both a battle cry and a confession; a visceral document of resilience carved from years marked by illness, loss, uncertainty, and hard-won perseverance. Musically, Anhedonia represents a sharpened evolution of BEAR's already formidable sound. Known for their intricate rhythms, punishing riffs, and explosive intensity, the band made a conscious decision this time to strip away excess and focus on the core of each song. There is no wasted movement on this EP. Every riff lands with purpose. Every rhythmic shift feels earned. The band trimmed the fat without sacrificing identity, creating space for dynamics and melody to cut deeper than ever before. "The songs are somewhat stripped back, allowing more space for Maarten's vocals to really shine this time around. I feel like we really hit a great balance of maintaining our signature complex sound while also allowing for more experimentation and melody." (James Falck) Anhedonia acknowledges numbness without glorifying it. It confronts pain without being consumed by it. And in doing so, it transforms heaviness into something connective. BEAR have always been a band driven by conviction, and here they stand at their most authentic, vulnerable and ferocious. Together, BEAR create music that feels alive _ tense, volatile, and emotionally charged _ where technicality enhances impact, and heaviness carries genuine vulnerability beneath its surface. FOR FANS OF The Dillinger Escape Plan * Every Time I Die * Botch * Converge * Norma Jean * Coalesce * Herod