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When CRIMEAPPLE and Big Ghost Ltd first linked up on their "Aguardiente" collaboration in 2016, the two came to shake the game up. The iconic Antioqueño bottle left a mark in underground hip-hop that still stands strong to this day, and to follow up they cooked up the deadliest material to do that once again with "Bazuko".

Named after the deadliest and most addictive street drug in Colombia, basuco, the album embodies the raw, uncut and unfiltered essence of their artistic process, much like the gritty remnants of cocaine paste.

CRIMEAPPLE's razor-sharp lyricism cuts through Big Ghost Ltd's masterful, hard-hitting beats, creating a visceral, addictive and immersive soundscape. With "Bazuko," the two aren't just following up on "Aguar-diente"; they're raising the stakes, delivering a project that is as potent and unforgettable as its namesake.

When CRIMEAPPLE and Big Ghost Ltd first linked up on their "Aguardiente" collaboration in 2016, the two came to shake the game up. The iconic Antioqueño bottle left a mark in underground hip-hop that still stands strong to this day, and to follow up they cooked up the deadliest material to do that once again with "Bazuko".

Named after the deadliest and most addictive street drug in Colombia, basuco, the album embodies the raw, uncut and unfiltered essence of their artistic process, much like the gritty remnants of cocaine paste.

CRIMEAPPLE's razor-sharp lyricism cuts through Big Ghost Ltd's masterful, hard-hitting beats, creating a visceral, addictive and immersive soundscape. With "Bazuko," the two aren't just following up on "Aguar-diente"; they're raising the stakes, delivering a project that is as potent and unforgettable as its namesake.

Halina Rice is a London-based electronic music artist known for her groundbreaking approach to music production and live performance.Rice has established herself as a leading figure in the contemporary electronic scene, blending complex soundscapes with immersive visual elements.

Her previous releases have been praised for their innovative use of technology and emotional depth, earning her a dedicated following around the world.

UNREALITY is the latest installment in the NEW WOLRDS series where each track is considered as the creation of a unique environment using textured synths, warped sound design and underpinned by a beat-driven dance sensibility.

Rice has toured the album extensively across the UK and Europe with sold out headline shows as well as festival appearances on the lineup with artists such as Jon Hopkins, Max Cooper and Rival Consoles.

Press coverage for the album includes Mundane Mag, Narc Magazine and previous support for the artist project includes feture length articles in Electronic Sound Magazine, DJ Mag, Mixmag, Decoded, Earmilk and Headphone Commute.

"Rice is part of a frontier movement of like-minded artists who twist, transform and manipulate the hallmarks of electronic dance music and visual accompaniments into exciting new shapes"

Electronic Sound Magazine

Los Angeles-based artist Sam Wilkes is known for his genre-defying solo work and collaborations in the experimental and jazz community. His debut release for Psychic Hotline, 104.3 is part of the label's ongoing Singles Series. Stepping away from his bass guitar, Wilkes explores new territory on a borrowed Fender Stratocaster, lent to him by longtime friend Brian Robert Jones (Paramore, Vampire Weekend). On the very night he brought the guitar home, Wilkes recorded a live, loop-based version of Tom Petty's "Learning to Fly" in a single take, later layering in bass and background vocals. The whole thing started as an experiment; more about exploring an instrument than making a record. A few weeks later on his last night with the Strat, Wilkes recorded what would become the A-Side: his reimagining of Fleetwood Mac's "I Know I'm Not Wrong." "I just wanted to document what was happening without any other intention. Half of my time on bass is spent trying to make it sound not like a bass, so actually getting to play a different instrument felt incredibly liberating," says Wilkes. Both arrangements are intuitive and spontaneous. Captured without pretense, the result is a pair of understated songs, perfect for a summer drive. This release is the latest installment in our long-running Psychic Hotline Singles Series, which has featured standout tracks from artists like Kieran Hebden, Sam Gendel, Blake Mills, Flock of Dimes, Anjimile, and Bartees Strange. With each new entry, the series continues to showcase boundary-pushing work from across our extended creative family.

Beloved for their cinematic songwriting and atmospheric blend of folk, rock, and psychedelia, MIDLAKE returns with their sixth studio album, A Bridge To Far—a sweeping, soul-stirring meditation on resilience and hope. Lead singer Eric Pulido describes the record as a reminder that, regardless of circumstance, there is a place—“not made of stone”—where one can find solace and strength. It’s a call to persevere, to “go bravely arm in arm and climb upon,” inviting listeners to transcend the darkness through connection and belief. This is MIDLAKE at their most inspired and intentional, weaving together mythic storytelling and emotional clarity with the signature textures that have made them a touchstone in modern independent music. Recorded in the band’s hometown of Denton, TX at The Echo Lab with acclaimed producer and mixer Sam Evian, A Bridge To Far captures the warmth and wildness of the band's earliest recordings while pushing into luminous new territory. The first single, “The Ghouls,” arrives as a haunting and propulsive introduction to the record’s themes—equal parts spectral and cathartic.

Based in St Leonards-on-Sea, East Sussex, Dark Circles Recordings has

rediscovered and is reissuing an album originally recorded and released in 2008 by

Dog Soup, a then London-based quartet that played a handful of gigs and recorded

just one exemplary album before, seemingly, disappearing. Fragments, that album, is

a crucial chapter in the British jazz story that can now be told again.

The brainchild of trumpeter and composer Robbie Robson, Dog Soup was briefly part

of the Loop Collective, a group of musicians founded in London in 2005. Dog Soup

cut one mesmerising album of rhythmic shapes and melodic colours that still

sounds fresh, exciting and dynamic 17 years later. An intoxicating mix of composed

and freely improvised playing, Fragments keeps the listener guessing just where the

music is coming from.

Released in 2008, Fragments just preceded the revitalised British jazz scene and slipped

under the radar of even the most ardent aficionados, becoming a lost classic—until Dark

Circles Recordings recognised its brilliance 17 years later and persuaded Robson to reissue

it.


'...prefigures the post-rock into jazz trajectory which Chicago's International Anthem label would later inscribe so joyfully'
* * * * Mojo

'...original, free and dramatic...'

The Guardian

At last, after fifty years, the first ever vinyl album by British 60s band The
Montanas!Despite having "turntable hits" such as 'Ciao Baby', 'You've Got To
Be Loved' and 'Let's Get A Little Sentimental', they never had a UK hit
'You've Got To Be Loved', a Tony Hatch & Jackie Trent song, made the US Top 100, but
no album followed.
Includes the US-only 45s 'Heaven Help You' and 'I'm Gonna Change'.
Digitally remastered and released on 180 gram vinyl / 300 gsm board.
Also available on BGO Records: BGOCD1438 The Complete Studio Sessions.
Other vinyl releases available on BGO Records: BGOLP2005 Bang (The James Gang);
(The Searchers) BGOLP2007 A and B Sides 1963-67, BGOLP2009 Meet The Searchers,
BGOLP2010 Sugar & Spice, BGOLP2011 It's The Searchers, BGOLP2012 Sounds Like
Searchers, BGOLP2013 Take Me For What I'm Worth; and BGOLP2015 In Town (Rockin
Berries).

"“Veruschka” is a unique film within the Italian cinematic landscape of the early 1970s — halfway between experimental cinema, visual art, and fashion. Directed by photographer Franco Rubartelli, it tells (in a highly symbolic and almost dreamlike way) the story of Veruschka von Lehndorff, the famous model and muse of the director, who plays herself in a journey of inner exploration and alienation through Africa and the world of fashion photography.
It is not a narrative film in the traditional sense, but rather a visual and sensory experience, made of extraordinary imagery, contemplative rhythm, and a constant sense of aesthetic melancholy. And for this very reason, Ennio Morricone’s score plays a fundamental role: it is the true emotional voice of the film.
For Veruschka, Morricone composed one of his most delicate and spiritual works. The soundtrack is a perfect balance between avant- garde and lyricism, between melody and sonic experimentation."

Get ready for Rizla Records - the bold new imprint from rising force The Rizla, supercharged by legendary London acid techno icon Sterling Moss. A fresh label with a fierce vision, built to ignite dancefloors worldwide. Straight from the heart of The Sound Lab, this label will be dropping blazing 303-infused cuts with every release. Get ready for pure fire from the underground ! Rizla Records is member of the Flatlife Records labelgroup.

kuniyuki takahashi – new single on studio mule studio mule is proud to announce the latest release from one of japan’s most respected producers and musicians, kuniyuki takahashi. this new single was created with the atmosphere of our listening bar studio mule in mind, and showcases kuniyuki’s unmatched ability to bridge dance music with sophisticated musical expression. the a-side, “open window,” is a modern classical piece inspired by the light and breeze flowing into his sapporo studio—an uplifting, deeply moving composition. on the b-side, “tobira” offers a dreamlike journey of ethnic new-age jazz, evoking the sensation of stepping into a new world. kuniyuki is a rare artist who has continued to push boundaries across genres, and this release is no exception—a future classic in the making. the artwork has been designed by yoshirotten, a leading figure in tokyo’s contemporary art scene. with this release, studio mule delivers an inspired response to the timeless legacy of ecm, while continuing to explore new musical horizons.

Mit ihrem 2025 erscheinenden Album »Alienated« startet Europas Nr. 1 Horror-Punk- Band The Other ein neues, aber vertrautes Kapitel. Frontmann Rod Usher beschreibt es als bewusstes »Back to the Roots«-Album mit energiegeladenen Punk-Riffs, dunklen Hymnen und Gothic-Punk-Vibes. Die neue Besetzung – inklusive Gründer Andy Only – ermöglichte die Rückkehr zum klassischen Stil.

Nach Erfolgen wie »Haunted« (2020) und der Rückkehr zum eigenen Label Fiend Force entstand ein fokussiertes, kraftvolles Album voller Spaß beim Songwriting. Produzent Tim Schulte brachte frische Akzente, während Arne Neurand den Mix perfektionierte. Songs wie »I Give You the Creeps« oder »Hier Sein« greifen Themen von Entfremdung auf. Rod Ushers tiefe, eindringliche Stimme macht Alienated womöglich zum bisher dunkelsten Album der Band – direkt, emotional und mit Herzblut.

Kai Winding (1922 -1983) was a Danish-born American trombonist and jazz
composer, particularly remembered for his collaborations and solo
exchanges with fellow trombonist JJ Johnson
Fans of their classic album 'The Great Kai & JJ' (Impulse!) will welcome 'Duo Bones'
with Kai trading solos with renowned Italian valve trombonist Dino Piana (1930 -
2023). The programme includes three original compositions by Kai, 'Duo Bones', 'Lady
H', and 'Stop Following Me', and one by Piana aptly titled, Kai & Dino. The rest of the
programme includes Cole Porter's 'Get Out Of Town', Bronislawl Kaper's 'On Green
Dolphin Street', Gorden Jenkin's 'This Is All I Ask', and an original composition by
producer Enrico Pieranunzi titled 'Soul Dance'.
"A series of pieces played very well, characterised by a marked swing and with solos
that transmit to the ear the joy felt by the musicians in performing them. An album of
pure fun, impeccable in execution, full of dizzying and spectacular phrasing,
impressive in the speed with which Winding and Piana intertwine their sounds in
elaborate counterpoints." - Marco Giorgi, from the liner notes
Kai Winding: trombone
Dino Piana: valve trombone
Enrico Pieranunzi: piano
Giovanni Tommaso: bass
Tullio De Piscopo: drums
Recorded by Francesco Melloni, Giovanni Fornari, Emmequattro Studio, Rome, Nov. 17
& 18, 1979.

【Record Day 2025 Item】
Akira Miyazawa, a master of Japanese jazz who left behind such important works as “Yamamegyo”, “Iwana” and “Kiso” a work that recalls the original
landscape of Japan, has created a unique work based on “ninkyo eiga uta”, “enka” and “gunka”, with all songs arranged by Masao Yagi in jazz rock/rare
groove style!

The theme of “Abashiri Bangaichi” is supported by an inert flute, giving it an Ethiopian funk flavor. The Latin jazz-rock style of “Ryutensha” with its impressive
congas and vibraphone. “Zatoichi Lullaby” which starts with a superb groove from the introductory drum break and features a smooth and lustrous saxophone...
each of these songs is a unique Japanese groove sound spectacle with a mysterious combination of sounds.

Regrettably, the personal credit for “Soul Leon” is unknown, but its tight sound image and strong groove have led some to suggest that it may have been recorded
on the eve of the formation of Sound Limited, given the timing of its release in 1969.

World Without Form was originally released in 2012 on CD format only, the album is now being made available on vinyl for the first time, in two separate volumes because of the length of the recording.
Each of the two volumes also contain a previously unreleased track from the sessions.
Volume 1 has ‘Ithnaan’ which is an earlier version of the track released as ‘Man From Varanasi’ on Nat’s ‘Cosmic Language’ album.

The Klezmaticsare thrilled to announce the re-issue of their seminal 1990 album, "Rhythm & Jews Revisited", set for release on limited-edition vinyl LP pressed on Bio Vinyl. In 2026, The Klezmatics will be celebrating their 40th anniversary. This milestone will include the re-issue of many of their landmark recordings which will include previously unpublished material. Originally released in the pre-digital era, this groundbreaking album never made its way to modern platforms, until now. The re-issue features alternate versions of the album"s iconic tracks, unearthed from recently discovered master files, offering fans and new listeners alike a fresh perspective on this klezmer masterpiece.

SML is the quintet of bassist Anna Butterss, synthesist Jeremiah Chiu, saxophonist Josh Johnson, percussionist Booker Stardrum, and guitarist Gregory Uhlmann. Their second album, How You Been, finds the supergroup of prolific composer/producers pushing ever further into the hyperrealist, collectivist approach to music creation nascently explored on their debut Small Medium Large, which was lauded as "awe-inspiring" by Glide, "exuberant" by the Los Angeles Times, and "an exciting milestone" by Pitchfork. As SML has evolved and spread out in space-time, their fluencies, both as an improvising unit in performance and as a production team in the studio, have sharpened. At inception the band inspired disparate but distinctive artist comparisons like Essential Logic, Oval, Herbie Hancock"s Sextant, and electric Miles Davis, as well as assorted genre touchpoints like Afrobeat, kosmiche, proto-techno and new-jazz. With How You Been their work manages to both collapse and explode such derivatives, displaying a new, high resolution version of SML, fully-flowered into a new strain of sound, bound to incite its own copycats in due time.

With HANKY XX, James Eleganz (formerly of Success) and Goulven Hamel (Philippe Pascal, Santa Cruz, The Celtic Social Club) reinvent country music by blending it with sound effects, samples, and a striking cinematic universe. Their debut album, Under A Western Sky, produced by the ZRP label, is a powerful and unique concept album that explores madness, identity, and reinvention. Between poetic narratives and sonic experimentation, HANKY XX surprises with its audacity and originality. The highlight: a completely reinvented cover of Taylor Swift's cult song "The Last Great American Dynasty," already tipped as a hit single. With a vinyl and CD release, HANKY XX offers an album that will appeal to folk and indie fans alike, as well as those curious to discover new musical experiences. A project at the crossroads of genres, tailored to appeal to a demanding audience... and naturally find its place in record stores.

Westerman’s 3rd album, A Jackal’s Wedding, became a document of leaving and arriving, ongoing transformation, and the liminal spaces between shadows and the lights that cast them. The collaboration with producer Marta Salogni (who mastered An Inbuilt Fault) created a woozy and dreamier work than the 2 previous Westerman albums. Recorded in a 17th century mansion, converted into an art space on the island of Hydra; the album reflects the chaos and limits of the space and uses it as a collaborator.

Westerman’s 3rd album, A Jackal’s Wedding, became a document of leaving and arriving, ongoing transformation, and the liminal spaces between shadows and the lights that cast them. The collaboration with producer Marta Salogni (who mastered An Inbuilt Fault) created a woozy and dreamier work than the 2 previous Westerman albums. Recorded in a 17th century mansion, converted into an art space on the island of Hydra; the album reflects the chaos and limits of the space and uses it as a collaborator.

Betty Everett, a Mississippi-born singer best known for her 1964 hit The Shoop Shoop Song (It's In His Kiss) released on Vee-Jay Records, made her debut
shortly after moving to Chicago in 1957 with a single on Cobra Records. P-VINE is proud to reissue this historic debut release.

Among the highly collectible Cobra Records catalog, this single stands out as an especially rare gem. The A-side, My Love, written by Willie Dixon, is a cool,
minor-key mid-tempo R&B track that enjoys immense popularity within the Popcorn and New Breed R&B scenes. The song features a melancholic melody and
the fresh, vibrant vocals of a then-17-year-old Everett, leaving a lasting impression. On the flip side, My Life Depends On You is a charming, lovely ballad that
also shines as a truly exceptional track.

SoftSun was formed in 2023 by guitarist Gary Arce (Yawning Man) and bassist/vocalist Pia Isaksen (PIA ISA). On their second album they are joined by Robert Garson on drums. The band is experimenting with sounds and are difficult to place in a specific genre. They have a style of their own with contrasts of softness and distortion, beauty and noise and emotional peaks and valleys. The music is patient, heavy and dreamy, with haunting vocals and beautiful guitars drenched in distortion and reverb over patient and thought out drums. The songs are flowing slowly and take inspiration from both the Californian desert landscapes to the Norwegian oceans where the two founding members come from. On this second record SoftSun has developed their sound further and sound both moody, experimental, beautiful, and raw.

Aqua Blue vinyl, limited to 350 copies. SoftSun was formed in 2023 by guitarist Gary Arce (Yawning Man) and bassist/vocalist Pia Isaksen (PIA ISA). On their second album they are joined by Robert Garson on drums. The band is experimenting with sounds and are difficult to place in a specific genre. They have a style of their own with contrasts of softness and distortion, beauty and noise and emotional peaks and valleys. The music is patient, heavy and dreamy, with haunting vocals and beautiful guitars drenched in distortion and reverb over patient and thought out drums. The songs are flowing slowly and take inspiration from both the Californian desert landscapes to the Norwegian oceans where the two founding members come from. On this second record SoftSun has developed their sound further and sound both moody, experimental, beautiful, and raw.

Finding Ways is a new project from Sebastian Rochford (Polar Bear).

Sebastian Rochford is a singular force in British music, an extraordinary drummer, composer, and producer. His work with theiconic group Polar Bear helped redefine the boundaries of jazz and earned multiple Mercury Prize nominations. With a careerspanning collaborations with Patti Smith, Damon Albarn, Brian Eno, Adele and Grace Jones, and his 2023 ECM duo album A ShortDiary with Kit Downes, an album written for his father described as a “ quiet masterpiece” , Rochford has carved out a uniquespace in contemporary music.Finding Ways, his new major project, marks a bold new chapter for Seb Rochford. The first album focuses on the guitar, featuringamong others, the dynamic lineup of Tara Cunningham, David Preston, Adrian Utley (Portishead), and Simon Tong(The Verve,Gorillaz), exploring various combinations and layering up to three guitars at once. The result is a striking blend of jaggedexperimental grooves and raw emotional depth, with an unaffected, pedal-less sound that evokes a timeless, exploratory edge.Rochford’s music, as ever, defies categorisation—a sound that feels alive, fractured, and profoundly human, and all mixed by thesingular talent and master of sound, Tchad Blake.The title Finding Ways refers to a frame of mind he chose to adopt after multiple significant life events happening in a smallamount of time. "It’s about finding ways to keep ourselves moving forward and buoyant, transforming life’s challenges intosomething meaningful, also in a practical, everyday type of way.In Finding Ways, it’s direct, energetic music that refuses to be boxed in, a reflection of Seb Rochford's trailblazing spirit. For fansof his previous work and newcomers alike, this album is a testament to his ongoing quest to find emotional truth in sound.

PING is back - playing experimental Norwegian rock since last millennium. Inspiration from diverse artists like Zappa, Melvins, Fred Frith, Ween, dEUS, Tom Waits and Wilco can be heard through all albums, combining elements from 60s roots to modern metal and electronica. Did you know there are worlds awaiting in the void? Ping's new concept album Songs from the Nebula bends time and space with melodic yet dissonant progressive rock from the outer reaches. Songs from the Nebula bring words from that emptiness and the hope of space-time companions to be found. You'll hear claims of accelerating time; that black matter lives; a maiden voyage ship-wreck in the multiverse; bad boy recycling a funeral cake; and Calisto's lament at always being number two. Play loud and travel light!

"Amir ElSaffar (b. 1977, USA) is a composer, trumpeter, vocalist, santur player, and modular synthesizer artist whose innovative compositions blend elements of jazz, classical, and traditional Arabic music. His newly established label, Maqām Records, released its first album earlier this year, Maqam Al-Iraq, by legendary vocalist, Hamid Al-Saadi and is now following up with an album of ElSaffar’s work, New Quartet Live at Pierre Boulez Saal. Recorded live in Berlin in 2023, the album captures the ineffable magic of ElSaffar’s first encounter with Greek pianist Tania Giannouli, a star on the European jazz scene, alongside his NYC-based collaborators: acclaimed drummer and bandleader, Tomas Fujiwara, and saxophonist Ole Mathisen, who is also a featured member of ElSaffar’s Two Rivers and Rivers of Sound orchestra. The quartet merges Arabic maqām with jazz harmony and features microtonal and prepared piano. In addition to the concert itself, the album features alternate takes that were recorded at Pierre Boulez Saal the next day without an audience.

RIYL: Classic artists: Miles Davis - “Sketches of Spain,” “Kind of Blue,” John Coltrane - “A Love Supreme,” “Ballads,” Don Cherry - “Relativity Suite,” Ahmed Abdul Malik - “Jazz Sahara,” “East Meets West,” Cecil Taylor, John Hassel, Hossam Ramzy, Ziad Rahbani.
Contemporary artists: Vijay Iyer, Ibrahim Maalouf, Ambrose Akinmusire, Rabih Abou-Khalil, Dhafer Youssef"

LOST SONGS – 10 unveröffentlichte Lieder von Mikis Theodorakis, arrangiert und gespielt von Henning Schmiedt

Zum 100. Geburtstag von Mikis Theodorakis (29. Juli 2025) erscheint bei Intuition Records ein besonderes Album: LOST SONGS – vierzehn bislang unveröffentlichte Kompositionen des weltbekannten griechischen Komponisten, erstmals präsentiert in einer außergewöhnlichen Klavier-Version von Henning Schmiedt. Der Berliner Pianist und Komponist beschreibt die bislang unbekannten Lieder wie folgt: „Diese Melodien sind so großartig, dass man sich wundert, dass sie noch nicht existierten. Jetzt wissen wir, dass es sie doch gab.“ 2008 kam es im Athener Studio von Mikis Theodorakis zu einem besonderen Moment: Henning Schmiedt spielte dem Komponisten persönlich seine Klavier-Versionen der LOST SONGS vor. Theodorakis, der sich an einige der Lieder erinnern konnte, an andere nicht, hörte aufmerksam zu, machte Anmerkungen und gab Hinweise, die direkt in die abschließende Gestaltung der Stücke einflossen, so dass LOST SONGS als posthum veröffentlichtes Album gelten kann. Diese Lieder dokumentieren die musikalische Reife und Ausdruckskraft von Mikis Theodorakis bereits in jungen Jahren: Die meisten der LOST SONGS entstanden Anfang der 1940er-Jahre – ein eindrucksvoller Einblick in die frühen Kompositionen eines der bedeutendsten Komponisten des 20. Jahrhunderts. Die Lost Songs werden nun zu seinem 100. Geburtstag veröffentlicht.
Rezensionen
»Schmiedt überzeugt nicht nur durch sein sensibles und nuanciertes Klavierspiel, sondern auch als einfühlsamer Interpret, der das Werk und die geistige Welt Theodorakis’ genau zu verstehen scheint.​« (jazz-fun.​de, Juli 2025)

Evelyne/Masao bring TESTPATTERN to Dark Entries for the label’s first foray into vintage Japanese electronics. Masao Hiruma and Fumio Ichimura’s project Testpattern is known for their release Apres-Midi, a cult slab of synthpop perfection released by Yukihiro Takahashi and Haruomi Hosono’s legendary Yen Records in 1982. While Hiruma and Ichimura parted ways following Apres-Midi, Hiruma’s musical endeavors would continue after meeting French/American model and vocalist Evelyne Bennu in 1984 at a café bar where she would sit and write poetry. Their collaborative efforts as Evelyne/Masao were fruitful, and the duo first performed together in June 1984 on a television program called TOKYO ROCK TV. The album TESTPATTERN comprises seventeen songs recorded in Hiruma’s home studio, which have never been released previously. The Evelyne/Masao duo continues building on the soundworld of Apres-Midi: lush, sophisticated electronics with intricate yet minimalist production. Tracks like “Sakuramochi” and “Bird Island” bear influence from Hosono most clearly, their soaring melodies revealing a subtly ironic redeployment of East Asian musical tropes. But TESTPATTERN is more than homage to Yellow Magic Orchestra. “Tabac” and “Le Soleil Se Leve” display oddball sensibilities closer to Sky Records icons Asmus Tietchens or Cluster. Elsewhere, the project shows affinity for the punkier ethos of continental DIY electronics, like on the quirky “Alien Go Home” and a positively skewed cover of “Singin’ in the Rain.” Bennu’s vocals provide a common thread through these explorations, as she alternates deftly between New Wave deadpan and unhinged chanson singer—check her waxing maximally Francophone on “Au Clair de Lune,” based on an 18th century French song. TESTPATTERN will be available on both double LP as well as CD, and includes a fold-out poster with liner notes with lyrics. This album is dedicated to Masao Hiruma, who passed away in 2011.

Acclaimed electronic musicians, producers and sound architects Max Cooper and Rob Clouth team up for a new collaborative EP; a dark, playful four-track dive into ambient, breakbeat and techno’s subconscious flow, featuring a standout vocal performance from South London rapper FLOHIO.

Recorded over a series of spontaneous London sessions, “8 Billion Realities” channels years of creative exchange between two of the genre’s most quietly innovative artists and is a result of a decision between the longtime friends to refrain from conceptual overthinking in favour of instinct and joy.

As long-time admirers of each other’s audio/visual work, Cooper and Clouth collaborated in London together after both emerging from intense, idea-heavy album cycles. What followed was a series of exploratory sessions, half-improvised, half-built around half-formed thoughts.

The result is a club-ready EP that feels alive and human: imperfect and hypnotically rich.

“Rob Clouth has been one of my favourite electronic music producers since I first heard his work in 2011,” says Cooper. “His work is more full of ideas and structure than anyone else.” “We were both coming from extensive conceptual studio albums and both in the mood for simplifying things and having some fun with the music, so that’s what we did”.

For Clouth, no stranger to Max Coopers Mesh label having previously released an array of EP’s plus his 2020 debut album “Zero Point” this record marks a new chapter, both creatively and personally.“Something pretty new for me is collaborating,” he says. “You kind of have to when to stop, because if you develop an idea all the way to its endpoint, the other person has nowhere to jump in.”

The first “A Moment Set Aside” began as a break from another idea, a live, unplanned improvisation based around arps and ambience. “The track was written in about as long as it took to play it,” says Cooper. “It was pulled from a 1 hour recording session, more or less as you hear it… the energy and excitement grew as the unplanned moment bore some magic.”

“The lesson being that sometimes it’s helpful to set aside a moment without forcing results, and let the subconscious have something to say.” What followed was darker, heavier. “Asymptote” is detuned techno. Subversive and euphoric in its descent. “We found a sort of brain mangling, half consonant, half wandering detuned techno pulse, which we started chatting about being a sort of pit of spiralling body parts we were falling into,” says Cooper. “It was a lot of fun to work on and let loose with bigger kicks than I usually ever get to unleash.”

Then came “8 Billion Realities”, featuring a standout rap performance from FLOHIO; an emerging figure in the UK grime and rap scene. The track was inspired by conversations about algorithmic echo chambers and hyper-personalised online worlds. Frantic, direct, and South London to the core, FLOHIO brings this tension to life. Her sharp, intense flow cuts through distortion and rhythm, landing the track somewhere between chaos and control instantly making it one of the most striking moments in either artist’s catalogue. “A different reality for all 8 billion of us,” says Cooper. “We weren’t sure if it would work… but there was something about the energy of the percussive idea and the story which felt like it might fit.” “Then FLOHIO had a play with it and straight off the bat absolutely killed it, not just with the lyrics and energy, but the harmonising too, it was a beautiful process.”

The final piece on the EP “Candeleda” originated from Clouth’s solo experiments with a live rig made entirely of vocals and keys, using his self-developed “cheatbox” system. “He put forward a beautiful stumbling melodic sequence which we bounced back and forth adding harmonies and synth layers,” says Cooper. “It rounds off a collection covering some of the breadth of music that we both love.”

“sitting in the terminal at Barcelona airport, health safety warnings echo through empty architecture. feeling slow, and fast, out of sync with rituals and routines. structure and rhythm disintegrate into micro gestures appearing in random order, a daily psychedelia... amid all of the chaos and distraction in the last few years, it’s only through letting go that I've found solid ground to stand on.”

These are some of the experiences and reflections that gave shape to Slipstream, a hallucinatory mini-album by the artist PVAS and the fourth release on Objekt's label, Kapsela. Slipstream is an aural document of PVAS's interior life, conceived not as a grab-bag of DJ-friendly tracks (although it’s clearly inspired by the club) but as a single, delicately crafted artistic statement. The entire record is shrouded in a flickering haze, worn through by smudged breakbeats and wiry drum machines. “Wetland”, with its swampy percussion and crystalline arps, echoes T++ and Kraftwerk. The radiant incandescence of “Gathering Drift” recalls GAS or Monolake's “Hong Kong.” Sampled breakbeats dip and swerve asymmetrically through “Boba” and “Terminal”. Across the record, textures and voices are reshaped by PVAS's homemade algo-software, UMT, which, in PVAS’ own words, “reconstructs one audio file by sampling another, resulting in output that merges their aesthetic qualities, creating rhythm with non-rhythmic sound files and abusing the stereo field.” But the most striking union of technology and poetic self-exploration comes at the end of the record, in the title track, from words murmured through a classic vocoder:



“when i stop framing myself as a boundaried stone

immovable, and powerful, and heavy

when i stop figuring my deepest space as my own

something which i am solely responsible

i surrender, i surrender”



PVAS is Jordan Juras, a Berlin-based artist who grew up outside of Windsor, Ontario. He has released solo EPs on Isla and xpq?, and is half the duo NUG (3XL, West Mineral Ltd.). In addition to developing music software professionally, he has used his UMT software on records by Lyra Pramuk and Dylan Kerr. Slipstream was recorded from 2022 to 2025.

Written and produced by PVAS

Mixed by TJ Hertz

Mastered by Anne Taegert at D&M

Artwork and design by Brodie Kaman

With its 31st release, EYA Records welcomes German producer Dominik Marz for a full solo outing, and the result is a shimmering, synth-laced journey that feels both retro and radically forward-thinking. Beginning to Fly EP is a four-track package that seamlessly balances warmth and drive—making it as suitable for peak-time club energy as it is for the early morning hours when the dancefloor turns inward. From the outset, Marz delivers on the EP’s title. The music feels elevated—each track hovering in that sweet spot between euphoria and control, never overreaching, always gliding. The synth work is lush and textural, channeling a sort of cosmic nostalgia that recalls early ‘90s techno and electro, yet with a sleek, modern production edge.

"Colombian artist Nicolas Duque is the latest to join the LONEWOLF catalog with his WE DRIFT IN PIECES EP. The record is a journey into the unspoken and the unknown, a deep dive into emotional abstraction, dressed in the sleek, hypnotic rhythms of techno and acid. Seoul-based Krijka's remix of Consciousness Energy adds depth and a propulsive, trancey flair, completing this astonishing work. Limited to 300 copies worldwide."

Underground Macedonian techno rebel Stojche known for his no nonsense vibrant and dynamic Detroit schooled productions enters the dolly family! With releases on label like a.r.t.less, Syncrophone and Fuse Brussels he is an artist well in tune with his craft. 'Cause & Effect' is another consistent Stojche voyage, remaining true to his sound that stands for high quality techno with a heavy dose of funk and emotional content that simply never misses!

Das in Australien gegründete und in LA ansässige Duo VOWWS meldet sich mit I'll Fill Your House With an Army zurück, ihrem bisher ehrgeizigsten und am besten umgesetzten Album.

I'll Fill Your House With an Army ist der Höhepunkt der kühnsten Ideen der Band und zeigt, wie VOWWS, bestehend aus Rizz und Matt James, ihre charakteristische „Death-Pop“-Ästhetik vertiefen: eine genreübergreifende Mischung aus industrieller Elektronik, alternativem Rock, cineastischer Nostalgie und melancholischer Pop-Sensibilität. Co-produziert von Billy Howerdel (A Perfect Circle) und mit Gastauftritten von Josh Freese (A Perfect Circle, NIN, Devo) und James „Munky“ Shaffer (KORN), ist das Album eine Reise durch Sehnsucht, Entfremdung und die surreale Schönheit des Chaos.

Dieses Album zeigt perfekt die dynamische Bandbreite des Duos: von verzerrter Intimität bis hin zu gewaltigen Klangattacken reflektieren VOWWS ein zerbrochenes Spiegelbild des modernen Zustands - romantisch, aber desillusioniert, viszeral und doch seltsam erhebend.

Nachdem sie sich durch Touren mit den Deftones, Twin Temple und Poppy bereits eine kultige Fangemeinde erspielt haben und gerade einen bahnbrechenden Live-Auftritt im Golden Gate Park neben System of a Down und The Mars Volta absolviert haben, sind VOWWS bereit, ihr Vermächtnis mit dieser Veröffentlichung zu zementieren. Ihr künstlerisches Ethos, unbeugsam in einer Ära der Wegwerfbarkeit, hat sie auch in die Welt der High Fashion geführt, wo sie mit Comme des Garçons, Givenchy und Byredo zusammenarbeiten.

Tresor Records announces the first-ever reissue of Drexciya’s Fusion Flats 12” vinyl, including remixes from Detroit’s Octave One, Kaotic Spatial Rhythms and 043 Chaos.
Originally released in the wake of Drexciya’s seminal 1999 Tresor debut album 'Neptune’s Lair', this release marks its long-awaited return and first appearance on digital platforms. The remastered edition contains the original extended version of Fusion Flats and features new artwork by Detroit-based contemporary artist Matthew Angelo Harrison, whose reimagined covers continue to shape the Drexciya reissue series.
25 years later, Fusion Flats returns to the constellation of Drexciya’s Tresor works, connecting their debut full-length to further explorations that continue to inspire generations.

Reissue of seminal 1992 Bodysnatch cut ‘Euphony (Kuff Mix)’, later released as ‘Just 4 U London’. Accompanied by two more Bodysnatch back catalogue highlights from 1992 – ‘Eyes On The Horizon’ and ‘The Strength (Mental Rapids)’. All three tracks have been remastered with love and care by Johanz Westerman from the original recordings and selected for reissue by Parts Unknown and Craigie Knowes.

Tape

Atsuko Hatano is a contemporay classical Viola player who works with electronics to add textures and layers to her sound. Located in Tokyo, Japan, she is a commanding instrumentalist and composer who constructs innovative compositions with strings and layered electronics.
Cells #5 is an orchestral collection and sequel to her previous album Cells #2 which will also be released on cassette via Imprec’s Cassauna label. Cells #5 required three years to complete and the work features the artist’s signature methodology where the instrumental performances are gradually enveloped by multiple layers of a string orchestration.
When not playing solo Atsuko is extremely active recording, collaborating and playing live with Jim O’ Rourke, Eiko Ishibashi, Mocky, Midori Hirano and many more acts.

Atsuko Hatano: Violin, Viola, Cello, Contrabass, Piano (track 1), Xylophone, Oscillator and Chorus

Guest Musicians:
Eiko Ishibashi: Piano, Marimba, Vibraphone
Yuko Ikoma: Accordion
Natsumi Kudo: Horn and flugelhorn
Icchie: Trumpet, Flugelhorn, Piccolo Trumpet
Tatsuhisa Yamamoto: Snare Drum

Composed and Mixed by Atsuko Hatano. Mastered by Jim O’Rourke. Cover by Saskia Griepink.

C"mon Tigre announces their new instrumental project,Instrumental Ensemble - Soundtrack for Imaginary Movie Vol 1. This album oï¬Çers an alternate view of cinematic music: a soundtrack composed for a fictional film using a challenging and inventive method.This project investigates an alternative approach in which music shapes and guides visual storytelling. It"s the first in a series of albums dedicated to as-yet-unmade films, enabling listeners to explore music as a key component in cinematic narrative. The original story that inspired this music was created in partnership with a large language model, which was taught and instructed in substance and style to best fit the project"s artistic concept. C"mon Tigre works with AI to achieve collaborative harmony while contemplating on the unavoidable future ahead. Each track on the album depicts a scene, delivering stories about humans jugglingpersonal issues and contacts with advanced technology. The end result is a story told by sound and text, designed to immerse listeners in a multisensory universe

The word "amateur" originates from the Latin word "amator," meaning "lover" or "admirer". This Latin term is derived from "amare," which means "to love". The French adopted "amateur" from Latin, and the English then borrowed it from French, initially retaining the sense of someone who loves or is devoted to something. Over time, the English usage of "amateur" also developed a meaning related to a lack of professional skill or experience. How did a word derived from love become a slur? Is love really so defenseless? They say love conquers all, but in reality isn’t love quite ridiculous? It has no intention, no motive, no agenda. How could it possibly prevail? It can’t be bought or sold, or so they say.Its mere existence can't be proven or even measured. What an impossible thing. Trying and failing, time and time again, no wonder cynicism always seems to win. I see “amateurism” as a delighted, even foolish, protest. Protest against everything. Of what’s expected of someone, or expected of someone to desire or strive for. To be elite, to be expert, to be professional, to be a master, to excel and succeed. Where’s the joy in that? I just want to have fun. I want to want. I want to love. And keep doing it, forever. I want to have fun, even when it’s tiring and sometimes even heaven is boring as hell. I want to be bad. I want to do my own thing. “I vant to be alone”. I want to be someone so dedicated to their passion that it starts to seem like there’s something wrong with them. All the way. We can take it all the way, and never get it back. ” - Molly Nilsson Amateur is the 12th studio album by Molly Nilsson. Deep in the teeth of a career that threatens to tip into something resembling a “legacy,” Molly Nilsson celebrates with an album recorded instinctively, quickly and bursting with so many moments of emotional brilliance and clarity it may be her greatest yet. Hers has been a career spent reaching out, perennially powerful in her earnestness, a warrior ridiculously defenceless and armed with a glittering sincerity. Shearing herself of the machinations of the music industry, recording at home, writing direct to the heart. Amateur is a jubilee for losers. A treatise in 13 songs, Amateur states clearly that we should live our life with eternal curiosity, offers us an open hand of comradeship out of the rat race. The songs on the album are both some of the most personal of Nilsson’s career and the most anthemic. First single How Much Is The World asks us to re-evaluate value in the face of a Neo-liberal system squeezing the life out of our loves. Pulsing opener Die Cry Lie satirises the commercialisation of emotion in the form of a shout-along diss-track. With a pounding rhythm track held down by gorgeous chord changes, heartbreaker Valhalla carries the torch for the main themes of the album: never growing up, making mistakes with kindness, moving on. When the drums crash in on the line “It’s going to get better now, you’ll see, going to be much better off without me” there is a world of feeling swirling about in the vocal delivery. One reading of the track might be that it’s a break up song but the subtext is classic Molly Nilsson: by living truthfully, making mistakes, we’re active agents against the myriad oppressions of the world. All The Way takes the theme for a run into the eternal sunset. It’s a manifesto for living fully. “Take it all the way, and never get it back” - it’s the process that’s the important point. The journey not the destination. Big Life, follows on like a part 2: An ode not only to Molly Nilsson’s career of endless gigs, endless connections with people, it’s a massive ode for following your dreams, doing it yourself. Closer The Bitter End is a powerful anthem for friendship, another definition of love infused in Nilsson’s work, A beautifully poignant ode to comradeship til the end, it seems to be the songwriter approaching aging, approaching life’s inevitability with the same vigour and earnestness, the same love of life she enjoyed at the onset of her career. There are moments on Amateur shrouded in reverb, slightly out of focus, forcing the listener to step deeper into the Mollyverse.. Nilsson’s open-armed beseeching to the world permeates every beat, every chord. These are songs exploding with life: the chunky, aggressive bassline on the punker Get A Life can’t hide its massive, catchy chorus. The sweeping Swedish Nightmare might be a tongue-in-cheek self-reference, but at its heart it’s a song about the duality of living life large, what is a dream, what is a nightmare? Molly Nilsson says you can’t have one without the other, and why would you want to? Here’s to making mistakes.

2025 Repress

Tresor Records is proud to announce forthcoming special editions of its entire catalogue of Drexciya and related projects. 2022 marks the 20th anniversary of the passing of James Stinson and the releases of the Transllusion and Shifted Phases albums.
In recognition, the rightsholders, their families, and the label have commissioned Detroit-based contemporary artist Matthew Angelo Harrison to re-conceptualize the covers of Tresor's Drexciya-related catalogue. These editions will be released sequentially, bimonthly, starting early-September 2022.
Just a month after the album release of 'Neptune's Lair' in September, its companion 12" 'Hydro Doorways' will be second in the series, out on October 7th. In November, 'Harnessed The Storm' and 'Digital Tsunami' are coming, followed by the release of Transllusion in February 2023. The series is completed by the long-awaited re-release of 'Shifted Phases – The Cosmic Memoirs Of The Late Great Rupert J. Rosinthrope' - at the end of March.
These records, individually and as a catalogue, represent some of the most crucial moments in the Tresor label history, with the sound and mythic world of Drexciya undoubtedly inspiring generations.