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Allowing yourself to find meaning or beauty in the mundane is an act of generosity, Whether it’s seeing a smiling face in an electrical outlet socket, or discerning cosmic design amidst the forest floor detritus, it comes from a place of kindness to yourself and senses – and openness to hidden spirit of the world. These tracks came together during a period of intense personal change for adaa, rooted in a fruitful reflection on the connections between spirit and body, “feeling my flesh so I can feel and understand my spirit,” as adaa puts it. The sense of a crossover and clash of multiple connected realities – on-screens, on-line, on-earth, off-world, after-life – unites adaa’s multifaceted productions.

Ostensibly an assemblage of found sounds. scribbled thoughts and poems from diaries, and musial snippets, the album's scattered production reflects adaa’s own many mirror worlds. Field recording sit behind most tracks, alongside VST synths, guitars, and a variety of voices, from adaa’s own mangled vox to EVP samples taken from YouTube (recorded sounds believed to be spirits or paranormal activity), all processed to varying degrees.

While the music was mostly produced either in adaa’s studio in Providence, Rhode Island, or in bed, the field recordings bring the outside world in. The result of walks in the woods, hum of roads and highways, hiss of beaches, warmth of walks with friends and past lovers “around the East Coast”. It sits behind tracks like ‘sight’ where a lilting piano lin bobs atop a pond of rustling and distant whistles. Is that birdsong? Or ghosts? Saccharine hyperpop arpeggiation crossfades sharply into noise guitar squall. Angelic demon voices yawn into a hefty crescendo. Pure drones duet with gales of undefinable field sounds.

“Sometimes I feel like a seed in frosted soil,” says adaa. “If i choose to be optimistic.”

Introducing Self Portrait, the latest chapter from the endlessly inventive one-man force Ryan Adams — a brand‐new, 24-track album that brings together fresh, unheard originals alongside spellbinding reinterpretations of classics by R.E.M., New Order and more.Capturing restless creativity and emotional depth across the two dozen songs, this bold collection once again proves why Ryan Adams is one of the most distinctive voices in modern music. Self Portrait shows Adams at his finest – poignant, unpredictable and sonically rich. For long-time fans, it’s another essential chapter in a prolific career, for newcomers, it is the perfect entry point into the world of Ryan Adams. This project isn’t just another album from Ryan Adams—it’s a dual‐mission: hear where he’s been, and where he’s going.

Repress!

4 To The Floor is committed to delivering seminal house music to wax, making sought after heritage tracks readily available on vinyl for crate diggers to add to their collections. The fourth edition of the series pays homage to one of the most loved names in house music – Sandy Rivera. Known for his soulful dancefloor cuts he has produced timeless classics, with his long-lasting career and multitude of aliases captured by this 12” release. Opening the A-side is the Moodymann Edit of Kings of Tomorrow’s ‘Fall For You’, featuring the stunning vocals of long-time collaborator April Morgan, followed by Sandy’s grooving ‘Come Into My Room’ which features LT Brown. On the flip is Soul Vision’s ‘Don’t Stop’ with its atmospheric strings and gospel vocal. The release is closed with Kings Of Tomorrow featuring Elzi Hall ‘Show Me’, an atmospheric club cut that shows the versatility of this house legend.

Born to Dominican and Brazilian parents, xavi grew up bouncing from place to place, picking up inspiration wherever he landed. His first love was baile funk, but he was raised on classic hip-hop, eventually notching up production and songwriting credits for Vince Staples, Demi Lovato and Ariana Grande. But the major label life wasn’t giving; sick of the industry, he headed back to São Paulo to soak up the atmosphere and connect with artists on the ground. Before long, he started uploading quickfire bangers to SoundCloud – at this point there are over 350 of them on his feed – an »evolutionary playlist« in his own words, bursting with ideas.

»balança e paixão« is his debut release, proper, a 12-cut snapshot of chaotic, trailblazing, turbulent genius – bending thrashed rhythms into relentless vocal chops from a laundry list of young brazillian MCs. Built on ear-zizzing »tuin« hits and razor’s edge cuts, he creates hypnotic ripples that wedge themselves between São Paulo’s weirdo fringe (artists like JLZ and Iguana) and the percussive, MC-heavy sound of funk ritmado, one of the contemporary scene’s most vital and recognisable strains. Crucially, you can hear a Photek-like approach to space in his productions too, filling the gaps with metallic clangs to lend his rhythms their own unique dimension. The flipside takes it slower, deeper. On »sei q tu gosta« (I know you like it), DJ Leal Original and MC Vuk Vuk’s voices are transformed into ghosted sibilances next to xavi’s sonar pings and woodblock hits with an almost avant-dancehall slant, like some choice Equiknoxx dub, while on »cuidado bandida« (be careful bandit), he deploys bone-rattling trills that bite down on atmospherics that wouldn’t be out of place on Akira Yamaoka’s »Silent Hill« OST.

A house is something that is so deeply temporary, yet it can hold so much energy. How do we carry or leave behind those energies while transitioning into new spaces? How does each space we occupy for some time shape us and how do we tear ourselves away from it and its influence once it’s time to go? These are some of the core questions behind CC Sorensen’s new album for mappa, ‘Phantom Rooms’ – it’s a record about movement, change, transformation, family, juxtapositions… but most of all, home.

CC Sorensen was reflecting a lot on their childhood home in rural Kansas, USA while working on this music. The album could be characterised by a familial, chamber feel and both of CC Sorensen’s brothers, Ryan and Nyal Ruehlen, make an appearance on ‘Phantom Rooms’, among other instrumentalists. Using a wide palette of sounds – CC Sorensen alone in charge of keyboards, software instruments, voice, electronics, percussion, trumpet, guitar and field recordings, in addition to guests on pedal steel, voice, chimes, saxophone and drumset – the American musician crafts music as mysterious as it is inviting. The idea behind it would be almost surrealist – ghostly rooms in houses where we live – if we all didn’t know exactly what CC Sorensen means. Home isn’t something concrete, but it’s also not just an abstract concept. It’s a space beyond space; home in itself is a phantom room we enter. And what enables us to enter is the object of exploration here.

CC Sorensen’s approach is playful – tracks like “Beat Bot” and “Plastic Portals” are almost fun – but also contemplative. They make thoughtful, meandering chamber music intertwined with field recordings and electronics. Reeds, strings and percussion often set the atmosphere – sometimes airy, gentle, at other points more insistent – as the music grapples with departure, instability, deep reflection and imagined future spaces. Especially in the closing “Bexar” there’s a tangible yearning for a stable home, a longing to rekindle and keep ablaze this beautiful familial connection to a physical place. It’s both music that invites to reflect and music that in itself reflects; desires, hopes and dreams.

After the success of Soda Stereo’s three albums and their impressive Signos tour, the band released their first live album,
Ruido Blanco - En Vivo. This live album was recorded in Argentina, Chile, Peru, Venezuela and Mexico.

This shows how the band's already has a substantial fanbase across Latin America after just three studio albums.

The album features some of their biggest early hits, such as "Prófugos", "Persiana Americana", and "Signos",
and these live recordings give the songs really an extra kick.

Ruido Blanco - En Vivo is one of the most iconic live albums in Latin rock history, celebrating Soda Stereo’s status as pioneers of the Rock en Español movement and their enduring legacy.

Very limited repress. Buy or cry!

Opening the release we have one of the most interesting, boundary-pushing artists - Bawrut, who twists Burning Up into outer space. Never one to shy away from a bit of high drama in his tracks, he squeezes every ounce of the original through his sonic mangle resulting in a bass bin wobbling slice of intergalactic house music which confidently stands out in the crowd. Next up, and in perfect contrast, we have UK producer Telfort flipping Becoming Cyclonic on its head. He has well and truly stamped his mark with a fresh sound which takes influence from golden era 90’s deep house but adds a solid, bass-heavy Detroit edge.

He delivers a moody, late-night excursion dripping with fat strings, crisp hats and chiming arps. Flipping over you have the master of deep, iconic and prolific UK producer Charles Webster, who pushes Burning Up to a new sonic level. A sublime rework which is unmistakably his sound, cerebral and dark yet also uplifting, warm and enveloping.

Iconic hip-hop duo The High & Mighty, composed of rapper Mr. Eon and producer DJ Mighty Mi, make their long-awaited return with Sound of Market, their first studio album in over twenty years. The release marks a powerful comeback for one of underground hip-hop’s most celebrated duos — a project steeped in nostalgia, boom-bap grit, and the timeless energy of East Coast rap.

Named in honor of Sound of Market Street, the legendary Philadelphia record store that served as a hub for crate diggers, DJs, and hip-hop heads for decades, the album pays homage to the culture that shaped The High & Mighty’s sound and identity. Much like the store itself, the record celebrates deep cuts, rare finds, and the shared love of vinyl that connects generations of hip-hop fans.

Across 17 tracks, Sound of Market revives the duo’s trademark wit and sharp lyricism while showcasing an impressive lineup of collaborators, including Kool Keith, The Alchemist, Your Old Droog, Large Professor, O.C., Chubb Rock, King T, Skillz, and many more. The result is a cohesive, sample-driven experience that bridges the classic and contemporary — reaffirming The High & Mighty’s status as true architects of independent hip-hop.

From the opening anthem “Two Man Crew” and the surreal swagger of “Pinky Tuskadero” with Kool Keith, to the cinematic boom of “Mighty’s Big 5 (Live from The Palestra)”, the record moves effortlessly through sharp lyricism, layered production, and a shared reverence for the foundations of the genre. Sound of Market is both a return and a reminder — a record that feels timeless in its authenticity.

Ushering in a new era, Berlin based, New Zealand heavy psych duo Earth Tongue lower the castle gates on their third album Dungeon Vision, a trove of fuzz-drenched anthems produced by garage rock luminary Ty Segall in Los Angeles. Guitarist Gussie Larkin and drummer Ezra Simons spent the Berlin winter of 2025 refining the album’s twelve tracks in their self-described “windowless cave” rehearsal space, crafting a record that channels both isolation and the duo’s live intensity. With the songs finally taking shape and a studio deadline looming, they flew to Los Angeles to turn their hard-won ideas into the real thing. Once there, the band and Ty captured lightning in a bottle, recording and mixing Dungeon Vision in just ten days at Altamira Sound. Tracked live to tape, Dungeon Vision pulses with human energy, fuzz guitars, bone-battering drums, and hauntingly tuneful vocals. Ty Segall’s influence is all over the record with Ty choosing the best takes based on feel rather than technical perfection. The “king of fuzzy guitar tones” pushed the duo to find new sonic textures while championing their raw chemistry. “Ty’s been a big driving force,” says Ezra. “We supported him in New Zealand back in 2023, and he’s backed us ever since even bringing us on tour through Europe and the UK in 2024.” Since their emergence in 2016, Earth Tongue’s world-building, visuals, and relentless touring have earned them global attention and a cult-like following. Their 2024 album Great Haunting, also released on In The Red Records, received a Taite Music Prize nomination and saw them win Best Group at the 2025 Aotearoa Music Awards. They’ve toured extensively, sharing stages with the likes of Queens of the Stone Age, IDLES, Acid King, Brant Bjork and Kikagaku Moyo. With Dungeon Vision, Earth Tongue deliver their most immersive work yet, a richly human, fuzz-soaked journey that bottles the magic of their live show and cements their reputation as one of the most exciting psych rock acts on the planet.

Crystal Tides’ long-awaited debut album Toothpaste is the sound of a band truly coming into their own. Written and recorded completely independently, the record embodies the spirit of resilience, creativity, and raw honesty that has carried the Portsmouth outfit through their journey so far. “We wanted the focus of this album to showcase our independence as a band. We felt it important, given our journey thus far, that it come from us in as raw form as possible.” The seeds of Toothpaste were planted back in 2022 with rough voice notes on lead singer Billy’s phone, evolving into a collection of songs that capture both the band’s infectious energy and their most personal reflections to date. From collaborative writing sessions in the practice room to late-night home demos, every track carries the DNA of Crystal Tides’ unity and determination. Working with long-time collaborator and producer David Evans, the result is a bold, heartfelt body of work that celebrates their independence while delivering polished, stadium-ready anthems. The album takes its name from one of its most intimate tracks. Toothpaste was born out of Billy’s battle with Ulcerative Colitis, which led to life-changing surgery. A passing joke about naming the album after the song became a moment of clarity. It's unusual, striking title felt like the only choice, a symbol of the band’s authenticity and ability to find meaning even in the unexpected.

Two of the most respected voices in the underground connect for a heavyweight collaboration that's been a long time coming — BULLETPROOF CHICKEN is out now!

CRIMEAPPLE, the bilingual New Jersey spitter known for razor-sharp wordplay and a steady run of cult-favorite projects like Aguardiente and his collaborations with DJ Muggs, cementing his spot as a force in modern hip-hop.

On the boards, V DON has become a staple for his signature dark, cinematic production style. From Harlem to the world, he’s laced tracks for the likes of Boldy James, Estee Nack, A$AP Rocky, Dave East, Benny The Butcher among several otehrs, while also building his own lane with the underground classics like Omerta and his Deutsche Marks and Blue Note series with Willie The Kid. His beats balance grit and atmosphere, making him one of the most sought-after producers in the underground and beyond.

With BULLETPROOF CHICKEN, the two bring their worlds together — sharp rhymes, moody textures, and guest appearances from T.F, Bruiser Wolf, and Primo Profit only add more weight. This album is a testament to where both artists are right now, rising higher with every drop, carrying the underground to new levels.

Conjuring a faithful following, quite rare in these days of ADHD, by sheer force of their celebratory and fiery live shows, Montijo's most celebrated outfit reflects these past couple years of camaraderie and life on the road on their debut album, after a self-released EP and a 4 way split on Zegema Beach Records. Sublimating all the inherent potential of post-hardcore at its most sweeping into a forceful and focused delivery, 'Acetate' captures all their urgency through 13 memorable and sharpened tracks. Recorded patiently and mastered by the gifted know how of Jack Shirley - Deafheaven, Joyce Manor or Gouge Away -, the songs on 'Acetate' open sprawling vistas upon the band's recognizable sound between chaos and order, cutting back on everything that might be redundant or overly technical. Alex Domingos' vocals reach new means of expressiveness through harrowing screams and hints of melody, João Pires' sinewy guitar pulling out riffs and skewed lines that echo for posterity and the rhythmic section of Simão Simões - bass - and João Portalegre - drums - driving all this turmoil with kinetic precision and flexibility. Never before did Hetta sound as relentless, chill and melodic, tracking down life at its own pulse.

Collecting Orders For 2026 Repress

As Soul Capsule, Baby Ford and Thomas Melchior made some of minimal techno's most accomplished records. It has been many years since they stopped turning out new material - sadly - but their archive tracks are still in hot demand and undeniably relevant. While 1999's 'Lady Science' might be their most famous offering, this EP from 2001 on Aspect Music is no less vital and it will currently cost you well over L250 on second-hand markets. It is Ford's Trelik label who reissues it here in all its glory: the entirety of the a-side is taken up with 'Law Of Grace,' a delightfully deep and breezy minimal dub house roller with pensive chords draped over the frictionless drums. 'Meltdown' has a more experimental feel with brushed metal drums beneath a wordless vocal musing. The cult 'Lady Science' (Tek Mix) is also inched with the whole package being remastered by D&M to make this one utterly essential.

In his own time, in his own tone and in his own company.

‘Win and lose without losing oneself’’ This line from French rapper Oxmo Puccino greatly accompanied David Walters while composing his fourth studio album. Over the eleven tracks on ‘Ti Love’, David took his time to find the right tone and in turn, tell his truth.

‘Ti Love’, is a French-Creole abbreviation for “petite love”, meaning ‘little love’, evoking that sweet fondness found in those small gestures and little acts of kindness.

Think of things like young kids' brotherly love or a stranger lending you a helping hand, while expecting nothing in return. It’s these motions that allow this album to feel full of real life, carried by beating drums that also pull at our heart strings.

Basing himself in a small village in Martinique, where David had not long since scattered the ashes of his late mother, the multi-instrumentalist decided to remain there and let the writing of Ti Love pour out from deep inside him. Taking influence from around the island, the energy from his makeshift studio set up in Fort de France, allowing a resilient yet grieving man to recount, let go and come to terms with his recent loss.

So embracing these new circumstances, on the rugged coastal Caribbean island of Martinique, David took up an artist’s residency in the island’s capital Fort de France, located near the town’s port is the ‘Manoir des Artistes’, a bustling recording studio space. A place where the walls shake as the latest sounds being created are blasted by locals and visitors alike. Most studio doors are wide open; as music here is a huge part of everyday life, feedback from encouraging neighbouring musicians is on hand and welcomed. A contrast to the isolation often assumed with working in more traditional music studios.

It was here in this stimulating environment that David recorded Ti Love’s initial demos.

With his first collaborator onboard, Neeweed, a 25-year-old producer and gospel expert who David met at the Martinique Jazz Festival.

Of the album’s initial versions of the record David recollects: ‘It took me three years to write it, then I rewrote it, reworked it. In the end I'm really glad I stepped back and listened to myself.’ I found a great ally in GUTS, who ended up being the artistic director of the record”

David surrounded himself with the right people who helped him express himself in the best possible way. He called on other friends and musical comrades; album opener and title track, ‘Ti Love’ features the incomparable Fatoumata Diawara (World Circuit Records / Africa Express) and further along additional production came in from; Izem, Art Of Tones, and GUTS himself, who all added just the right amount of ‘little love’ to this

project. Further helping hands came from Californian producer and DJ Captain Planet, who David was introduced to a few years ago. Closer to home, here in Europe, the German producer Bluestaeb appears on two tracks: the very catchy disco funk ‘Mr Maraboo’ and ‘Kite Koule’, the latter being the first single lifted from the album, where David invited Nigerian guitarist Keziah Jones.

Elsewhere on the album, fellow Heavenly Sweetness recording artist Blundetto contributed two tracks; the reggae ‘Voodoo Love’, which is David's tribute to Studio One, and the very sweet and resilient ‘Bon Voyage’, which closes the album... "It's gold, it doesn't need anything changing.” remarked David - ‘Bon Voyage’ is a goodbye to his mother, whose voice called him from the bottom of the sea one night while he was surfing during the full Moon.

Released almost 20 years after his debut album ‘AWA’ released on French imprint Ya Basta, home to Gotan Project and many others, David boasts a long list of radio supporters including; Gilles Peterson, Cerys Matthews and Don Letts at the BBC, while further field Cosmo Radio in Germany, and KCRW in Los Angeles.

On this new record, David has shown sincerity and vulnerability, while still honouring the infectious groove that he is known for the world over. Despite the upsets, a little love can indeed go a long way.

CREDITS:
Produced by Bluestaeb / Blundetto / Captain Planet / Izem / Art of Tones
A&R : Guts
Mixed by Mr Gib @ Onetwopassit
Except "Bon Voyage” and "Voodoo Love" mixed by Jerome “Blackjoy” Carron
Mastered by Benjamin Joubert @ Biduloscope
Art by Elliott Walters

A rising and genre-defying figure in the French electronic scene, Goldie B continues her ascent with Who Says Night’s For Sleeping?, a five-track EP that asserts her distinctive signature: an instinctive blend of club energy, cinematic storytelling and UK rave influences. Conceived as the soundtrack to a night lived in full intensity, the record moves through the fire of the dancefloor, the collective trance, and those suspended moments where one floats between dream and wakefulness.

“I imagined this EP as the soundtrack to a night experienced in its entirety. From the first rush of adrenaline on the dancefloor to that floating walk home, still carried by the music. My influences range from Moby and Air to Floating Points and Joy Orbison, artists who know how to combine power and emotion. I love connecting the raw energy of the club with more dreamlike textures, because you can absolutely dream while dancing. Each track is an instinctive snapshot of my inner world.” Goldie B The EP’s opening act, “The Space Between” blends ethereal pads, organic strings and a steady crescendo, recalling the elegance of Air or Moby. It opens a suspended space, equally suited to inner drift or physical release. “I wanted it to feel like a threshold, a gentle hand pulling you into a trance state.”

On “U Make Me Feel So Good”, a sensual and narrative breakbeat track, a flowing bassline gradually tightens into trancier energy. Seductive female vocals weave through broken rhythms, creating a piece that is as tactile as it is hypnotic. “It’s about contrast, the softness and caress at the start, then a tension that rises and electrifies.”
Instagram | Youtube | TikTok | SoundCloudAt the heart of the project, “Rêve de Rave” channels 90’s breakbeat spirit with old-school samples, an euphoric central break and voices urging to move your feet. Urgent and liberating, it embodies the dreamlike essence of the rave. “It’s how I imagine the rave: a lucid dream where joy and collective energy feel almost unreal.”

Next comes the most incisive cut of the EP, “Purple FX”, driven by a grating central bassline that evolves relentlessly until its explosive drop. Minimalist yet implacable, it captures the sheer force of a peak-time track. “I wanted a track purely designed for the club, where the tension just keeps rising until it explodes.”

Closing in chiaroscuro, “Snake Waves” shifts from breakbeat into a half-house, half-techno 4/4 groove, carried by a sinuous, hypnotic bassline. The track plays on tension and release, with a rich harmonic break before fading like a suspended farewell, where the party recedes but the energy lingers. “It’s a farewell piece that keeps the intoxication alive, like a final vertigo before slipping back into the night.”

Goldie B is a multifaceted force on the French electronic scene. A producer, multi-instrumentalist, singer, MC, DJ, and co-founder of the label Omakase Recordings, her sets blend bass, jungle, UKG, and breakbeat, captivating audiences with their contagious energy. Based in Marseille, she has released music on renowned labels such as D.KO, Banoffee Pies, and YUKU, and has performed on some of the biggest French stages and festivals: Peacock Society, Astropolis, NDK, Marsatac, Delta, Le Bon Air, and even the Festival d’Avignon. In 2024, she was selected by Apple Music for its Women In Electronic series. Her new Who Says Night’s For Sleeping? EP confirms her status as an instinctive and distinctive artist to watch on the French electronic scene.

ince its opening in spring 2021, JUBG, a still young Cologne gallery for contemporary art, has specialized in the broad field of artists and collaborations working along artistic interfaces, especially those between visual art and experimental and/or electronic music. For example, JUBG has already hosted exhibitions by Markus Oehlen, Kim Gordon, Wolfgang Voigt, Matthias and Aksel "Superpitcher" Schaufler, Sven-Åke Johansson, and Emil Schult. Albert Oehlen, who is a kind of mentor and supporter of the gallery, was also a guest at Albertusstraße this summer, where he presented the exhibition D-I-E ORPHEUSMASCHINE together with Michael Wertmüller, Thomas Stammer and the poet Rainald Goetz.

It is only logical that the gallery now expands its sphere of activity to include its own label, on which music appears that comes from similar contexts as the artists listed above already suggest.

As catalog number 1, JUBG is now releasing the official soundtrack to "The Painter" from 2021. The film, German title "Der Maler", is a mixture of feature film and documentary and a collaboration between German director Oliver Hirschbiegel, best known for his Oscar-nominated film "Downfall", and Albert Oehlen, with whom Hirschbiegel has a long friendship, as they both once studied together at the Hochschule der Bildenden Künste in Hamburg.

The docu-fiction shows Oehlen struggling with a painting and pondering the meaning of his work. Oehlen is played by German actor and musician Ben Becker, accompanied by the off-screen voice of Charlotte Rampling. In the film, Becker makes a painting that Oehlen himself creates step by step behind the camera, while the actor improvises the process in front of the camera.

The wonderful music for this film comes from no less than two outstanding personalities whose individual biographies and musical signatures could hardly be better suited to this project. On the A-side it is Gudrun Gut, icon not only of the German electronic music scene since at least the 90's, singer, composer, DJ, label owner (Monika Enterprise) and of course founding member of the legendary 80's New Wave band Malaria. On the B-side it’s the world famous and award winning US avant-garde trumpeter and improvisational musician Nathan "Nate" Wooley, who has played with Fred Frith and John Zorn among others.

Gudrun Gut's tracks bear such beautiful titles as "Bewegung", "Küste" or "Weinen" and she once again pulls out all the stops of her great skills and decades of experience as a producer of the most diverse electronic music genres. These are unusual and much more experimental musical paintings that she creates here than on her recent solo works. Edgy, angular, raw and unpolished, yet always elegant and clever, she subverts the male artist madness depicted extensively in the film in her own unique way.

Nathan Wooley answers with the instrument he has been familiar with since childhood, the trumpet, with which he is able to create a ravishingly virtuosic noise. His pieces are more like sketches, often only 90 seconds or a few minutes long, but in all their abstractness underpin the narrative of the film almost perfectly.

A limited edition of 20 copies in total, painted and signed by Ben Becker, can be purchased directly through JUBG.

JUBG, eine noch junge Kölner Galerie für zeitgenössische Kunst, hat sich seit ihrer Eröffnung im Frühjahr 2021 auf das weite Feld von Künstler:innen und Kollaborationen spezialisiert, die entlang künstlerischer Schnittstellen tätig sind, insbesondere an denen zwischen bildender Kunst und experimenteller und/oder elektronischer Musik. So hat JUBG bereits Ausstellungen von Markus Oehlen, Kim Gordon, Wolfgang Voigt, Matthias und Aksel "Superpitcher" Schaufler, Sven-Åke Johansson und Emil Schult gezeigt. Auch Albert Oehlen, der eine Art Mentor und stiller Unterstützer der Galerie ist, war im Sommer dieses Jahres zu Gast in der Albertusstraße, wo er zusammen mit Michael Wertmüller, Thomas Stammer und dem Dichter Rainald Goetz die Ausstellung D•I•E ORPHEUSMASCHINE präsentierte.

Es ist nur logisch und folgerichtig, dass die Galerie ihren Wirkungskreis nun um ein eigenes Label erweitert, auf dem Musik erscheint, die aus ähnlichen Zusammenhängen und Sphären stammt, wie es die oben aufgezählten Künstler:innen bereits vermuten lassen.

Als Katalog-Nummer 1 veröffentlicht JUBG nun den offiziellen Soundtrack zu "The Painter" aus dem Jahr 2021. Der Film, deutscher Titel “Der Maler”, ist eine Mischung aus Spiel- und Dokumentarfilm und eine Zusammenarbeit zwischen dem deutschen Regisseur Oliver Hirschbiegel, vor allem bekannt für seinen Oscar-nominierten Film "Der Untergang", und Albert Oehlen, mit dem Hirschbiegel eine lange Freundschaft verbindet, studierten sie doch beide zusammen einst an der Hochschule der Bildenden Künste in Hamburg.

Die Doku-Fiktion zeigt Oehlen, wie er mit einem Gemälde kämpft und über die Bedeutung seines Werks nachdenkt. Oehlen wird vom deutschen Schauspieler und Musiker Ben Becker gespielt und von der Stimme von Charlotte Rampling aus dem Off begleitet. Im Film erstellt Becker ein Gemälde, das Oehlen selbst hinter der Kamera Schritt für Schritt anfertigt, während der Schauspieler den Prozess wiederum vor der Kamera improvisiert.

Die wunderbare Musik zu diesem Film kommt von gleich zwei herausragenden Persönlichkeiten, die mit ihren individuellen Biographien und musikalischen Handschriften kaum besser zu diesem Projekt passen könnten. Auf der A-Seite ist dies Gudrun Gut, Ikone nicht nur der deutschen elektronischen Musikszene seit mindestens den 90er Jahren, Sängerin, Komponistin, DJ, Label-Betreiberin (Monika Enterprise) und natürlich Gründungsmitglied der legendären 80er Jahre New Wave-Band Malaria, auf der B-Seite der weltberühmte und Preisgekrönte US-amerikanische Avantgarde-Trompeter und Improvisationsmusiker Nathan “Nate” Wooley, der u.a. mit Fred Frith und John Zorn zusammengespielt hat.

Gudrun Gut’s Tracks tragen so schöne Titeln wie “Bewegung”, “Küste” oder “Weinen” und sie zieht hier einmal alle Register ihres großen Könnens und ihrer jahrzehntelangen Erfahrung als Produzentin der verschiedensten elektronischen Musikspielarten. Es sind ungewöhnliche und sehr viel experimentellere musikalische Gemälde, die sie hier entwirft als auf ihren jüngsten Solo-Werken. Kantig, eckig, roh und ungeschliffen und dabei immer elegant und schlau, unterläuft sie den im Film ausgiebig dargestellten männlichen Künstlerwahnsinn auf ihre ganz eigene Art und Weise.

Nathan Wooley antwortet mit dem ihm seit Kindesbeinen vertrauten Instrument, der Trompete, mit der er in der Lage ist, einen hinreißend virtuosen Lärm zu erzeugen. Seine Stücke sind eher Skizzen, oft nur 90 Sekunden oder ein paar wenige Minuten lang, die in all ihrer Abstraktheit das Narrativ des Films nahezu perfekt untermalen.

Eine auf insgesamt 20 Exemplare limitierte Edition, bemalt und signiert von Ben Becker, ist direkt über die JUBG zu erwerben.

KIK is the new project of two core strategists of sonic enigma HHY & The Macumbas: Jonathan Uliel Saldanha & João Pais Filipe. Ditching acoustic instruments in favour of drum synthetics & tightly controlled sound design, the duo's debut album NIGHTSHIFT focuses on off-kilter club tracks that thwart 4-on-the-floor flavours whilst maintaining trance-inducing extended cycles. If the devil is in the details, this is all about the spectromophology of the details.
Beginning with moving morse code blips in an odd time signature We Can't Dance announces the characteristic unlife of the album's pulse. Once the kick enters, syncopations progressively accumulate into a weave of interacting rhythmic lines. Smoke Machine's groove is reminiscent of the riddims Saldanha explores in his HHY & The Kampala Unit, adding scintillating pads and snippets of blitzed out laughter.

The album's third track, Proff, hearkens back to the initial pulse, displaced and pitched down in register. Here's a more meditative temperament on display, where the regular geometries of the club have been moved into higher-order structures. Segments rise & fall into earshot. Deepening the meditative mood, Back Room explores a short melodic leitmotif anchoring the track's wander- lust.

The rhythmic assault continues in Tactical Gear, bringing further experiments into polyrhythmic contours exacerbated by preci- sion movements of echo & delay. Limping can be heard as a what-if sonic fiction taking Autechre-inspired abstractions through Durbanoid Gqom terrains. The album closes with its longest track, Night Shift, that segments into shifting sound worlds.

Drawing from industrial grit, cybernetic percussion and the eerie fluorescence of after-hours energy, NIGHTSHIFT exists in the liminal space between body music and abstraction——a soundtrack for phantom warehouses and malfunctioning machines. This isn’t just music; it’s an immersive sonic environment, a journey into the heart of deconstructed dancefloors.
For fans of Rian Treanor, Proc Fiskal, Jlin and Lorenzo Senni.

Most recently, HHY has been collaborating with Nyege Nyege through projects such as Kampala Unit and Arsenal Mikebe, performing live with the ensemble alongside Valentina Magaletti, and producing records for artists like Fulu Miziki, as well as collaborations with Phelimucasi, Rey Sapiens, Kingdom Choir and others. He also released Camouflage Vector: Edits From Live Actions 2017–2019 on the label, a live album featuring two tracks with Adrian Sherwood.

Previous collaborations include Tunnel Vision with Badawi (released on Tzadik), the HHY & The Macumbas album Beheaded Totem on House of Mythology, and Fujako (Wordsound, with MC Sensational), along with double-bill shows with acts such as Clipping and Death Grips.

“The blueprint was simple: Hot Chocolate rhythms, George Murray bass lines, classical music instruments with pop sensibilities. We, the architects, however, were complicated.” Paul Simpson, 2025 Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the release of the much-mythologised ‘lost’ album by CARE – the group made up of IAN BROUDIE and PAUL SIMPSON Prior to forming Care, Ian and Paul had been very active in the Liverpool post-punk scene. Ian played alongside Holly Johnson, Jayne Casey, Budgie and Bill Drummond in Big In Japan, before joining the Original Mirrors. He also produced several early records by Echo and the Bunnymen, most notably the albums Crocodiles and Porcupine. Paul had played with school friend and future Bunnyman Will Sergeant in Industrial Domestic and the founding line-up of The Teardrop Explodes, before going on to form The Wild Swans. CARE were brought together late in 1982 by mutual friend Will Sergeant, when Paul was looking for someone to play a guitar part for a new song he had written. Ian obliged and asked him to return the favour by singing on one of his songs Tall Ships. When Bunnymen manager Bill Drummond heard the result, now retitled My Boyish Days (Drink To Me), he secured the pair a deal with Arista on the back of it. Care would go on to release three acclaimed singles over the course of a twelve-month period between 1983 and 1984 – My Boyish Days (Drink To Me), Flaming Sword and Whatever Possessed You – before Simpson, still struggling to come to terms with the break-up of his previous band decided not to continue. Although top 40 success eluded Care in the UK, the group quickly found an adoring fanbase in the Philippines, where all three singles became huge hits. Love Crowns and Crucifies marks the first vinyl release of the previously unheard songs gathered together on 1997’s Diamonds and Emeralds CD. Working closely with Paul Simpson and with the approval of Ian Broudie, Needle Mythology has been given access to the original quarter-inch tapes which housed everything that Broudie and Simpson recorded together.

“The blueprint was simple: Hot Chocolate rhythms, George Murray bass lines, classical music instruments with pop sensibilities. We, the architects, however, were complicated.” Paul Simpson, 2025 Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the release of the much-mythologised ‘lost’ album by CARE – the group made up of IAN BROUDIE and PAUL SIMPSON Prior to forming Care, Ian and Paul had been very active in the Liverpool post-punk scene. Ian played alongside Holly Johnson, Jayne Casey, Budgie and Bill Drummond in Big In Japan, before joining the Original Mirrors. He also produced several early records by Echo and the Bunnymen, most notably the albums Crocodiles and Porcupine. Paul had played with school friend and future Bunnyman Will Sergeant in Industrial Domestic and the founding line-up of The Teardrop Explodes, before going on to form The Wild Swans. CARE were brought together late in 1982 by mutual friend Will Sergeant, when Paul was looking for someone to play a guitar part for a new song he had written. Ian obliged and asked him to return the favour by singing on one of his songs Tall Ships. When Bunnymen manager Bill Drummond heard the result, now retitled My Boyish Days (Drink To Me), he secured the pair a deal with Arista on the back of it. Care would go on to release three acclaimed singles over the course of a twelve-month period between 1983 and 1984 – My Boyish Days (Drink To Me), Flaming Sword and Whatever Possessed You – before Simpson, still struggling to come to terms with the break-up of his previous band decided not to continue. Although top 40 success eluded Care in the UK, the group quickly found an adoring fanbase in the Philippines, where all three singles became huge hits. Love Crowns and Crucifies marks the first vinyl release of the previously unheard songs gathered together on 1997’s Diamonds and Emeralds CD. Working closely with Paul Simpson and with the approval of Ian Broudie, Needle Mythology has been given access to the original quarter-inch tapes which housed everything that Broudie and Simpson recorded together.

Wigwam's previously unreleased rare live recording from 1976 out in February via Svart Records In the summer of 1976, Wigwam performed not only in Finland but also in Sweden, Denmark, the Netherlands, and Germany. However, the pace slowed down afterward. The early autumn tours planned for European countries were cancelled, and even the replacement shows in Finland had to be postponed due to bassist Måns “Måsse” Groundstroem's sick leave. In October 1976 an opening appeared in the schedule for a studio session, during which Jim Pembroke’s third solo album, Corporal Cauliflower’s Mental Function, was recorded. After that, Wigwam played five gigs in Denmark at the end of November, followed by an equal number in Sweden. No exact information has survived about the concert setlists, but the band was in a stable phase, and certain songs had become staples in their live repertoire. Albums from Wigwam's deep-pop era, which began in autumn 1974, as well as Pembroke’s first solo records had already been released, and rehearsals were underway for what would become the Dark Album, released in 1977. It can be said that this concert, recorded for Danish Radio, is a strong representation of the band’s era at the time. The recording took place in northern Denmark, in a district called Lundtofte in Lyngby. Before this, Wigwam had performed in Køge and Århus, and after Lundtofte, gigs in Ballerup and Copenhagen awaited. Lundtofte was home to the Danish Technical University (DTU), where a student venue called “Studenterhuset” (Building 101) hosted a one- to two-day music events known as Polyjoint during the 1970’s. The events typically featured Danish bands, but also visiting acts like Wigwam. Most importantly, Danish Radio was sometimes present at these events. Wigwam had performed a studio concert for Danish Radio the previous year, but this particular recording is considered the more energetic of the two. Details have faded with time — for example, the identity of the second act at the concert is unknown. In any case, both guitarist Pekka “Rekku” Rechardt and keyboardist Pedro Hietanen remember the band being in high spirits, in top form, and highly motivated.