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“Dance Music That Hurts” — the motto of Work of Intent.
Hurts, because it goes straight to your heart.
There’s no better way to put it.
His productions are rooted in the UK underground,
dripping with both techno and pop sensibilities.
This is “big room” like you’ve never experienced it before—
music you can’t ignore, driven by storytelling and raw emotion.
He’s found a home on labels such as Monkeytown, Turbo, and REKIDS, and continues his relationship with Laurent Garnier’s COD3 QR .
Founder of the clandestine edit factory *Emotional Weaponry*,
he continues to receive support from industry heavyweights.
Former manager of *DAYTIMERS*, the UK-based collective championing
South Asian sounds, stories, and voices,
and a highly sought-after mix engineer for some of the UK’s most exciting prospects.
We’re beyond happy to welcome Roshan Chauhan aka Works Of Intent to the family.
Feels like the beginning of a long, dramatic love story.

Credits:
Written and produced by *Works of Intent*
Distributed by *One Eye Witness*

More unknown artist business from the Only Music Matters crew and it's a case of more essential minimal across three fresh cuts. The first manages to pair the sort of drive you need to keep you locked with some swirling, heady pads that encourage letting your mind wander. After that full-sided odyssey, 'BBB001B' stars the flip with tighter, more rubbery drums and bass and alien sounds weaving in and out. 'BBB002B' shuts down with some tech-y loops and a little more menace and mischief in the clipped vocals and wispy synth modulations.

Coming in extra bloody hot is the 6th release on Disco Combine, harvested from the fields of musical gold by Mr. Dave Lee. First up the epic 'Lovin' You (Was My Mistake)' a throaty Philly-soul favourite , which has been lovingly re-worked into a beefy peak time floor filler. For those who prefer a more dubwise approach, the 'Joanna's Groove' version starts instrumentally with rippling piano, building into a big string finale. On the flip 'How I Love New York' swaggers into your ears with all the class, style & panache you would expect from a jazz-fusion connoisseur living in the big Apple. Don't miss heading to the 'Midtown Dub' if you like things more squelchy and funktified.

For their first musical outing of 2012, Dubkasm take a walk down the avenues of digital 80s reggae, showcasing the fresh vocals of Rudey Lee and Solo Banton. 8 bit sounds meet tough JA riddims, with shades of Jammy's, Gussie Clarke and Steely & Cleevie, expertly mixed by UK veteran Nick Manasseh with razor-sharp precision. A key figure in Bristol's reggae ancestry, Rudey Lee helped connect the Bristol Sound with its dub origins through collaborations with legendary pioneers Smith & Mighty during the 90's. On his first outing since his appearance on Pinch's debut album 'Underwater Dancehall', Rudey takes us back to his reggae roots with 'Emotion', a soulful dancefloor bubbler with a conscious edge. Solo Banton, ever powerful in his hard-hitting delivery, proceeds to nail the message home with 'Are You Ready', a no-compromise deejay version taking things to a higher level. This cut guarantees a rewind in any dancehall, building on Solo's hit-after-hit track record, proven through his work with Jahtari, Maffi and Reality Shock.

All-Amerikkkan Badass is the second studio album from Joey Bada$$. Originally released on April 7, 2017, the album features Schoolboy Q, J. Cole, Kirk Knight, Styles P, and more. Executive produced by Joey Bada$$ and Jonny Shipes with production contributions from Kirk Knight, Chuck Strangers, DJ Khalil, and Statik Selektah.

This is a highly limited pressing, please order your desired quantity and we’ll see what we can supply.

We are pleased to be back with the talented Groof, the experienced producer from Madrid’s legendary electronic music scene, who is responsible for our eighth release and his debut on Kontralamakina.

We welcome you to “Simulation.” This EP/LP consists of a collection of 5 tracks that explore repetition and dynamism, with structures generated by various noise sources and algorithmic sequencing with a raw and forceful sound. It consists of excellently stomping techno rawness exercises.

Plus 1 remix by the techno legend Oscar Mulero Remix; Outstanding mind bending tools, Expertly careful Drone treatments, Stunning, deep, atmospheric but energetic Techno voyage.

While brothers Simon and Robin Lee have kept themselves busy, both with EPs as Faze Action and numerous offshoot and solo projects, it's been almost 12 years since we last heard a fresh, full-length excursion from the long-serving duo - at least under their most famous moniker. Predictably, Distant Dreams was worth the wait, with the Lee siblings continuing their richly organic approach - think live bass, guitars, strings, keys, flute and percussion alongside synth sounds and drum machine beats. Musically, it draws on their now well-known influences - warming disco, jazz-funk and Balearica with nods to other musical cultures - and delivers eight impeccable tracks that undoubtedly sit amongst their classiest work to date. It's good to have them back.

Spivak & Prins Emanuel - Imogen’s Lament

Three poems, three hymns, a lament…

Imogen’s Lament is the amalgamation of a slow-burning musical correspondence between Cypriot musician and lyricist Maria Spivak and Swedish composer and producer Emanuel Sundin, recorded over two years between Malmö and Limassol.

Imbued with a rectified balearic pop sentiment, these songs drift between myrrh-washed church pop and restrained machine dub—piercing through a veil of gothic haze as they trace the dimmer edges of an imagined Balto-Mediterranean continuum.

Sven Tasnadi is Cargo Edition's longest-serving artist. His releases have shaped the sound of the label right from the start.

Hold Jah Strength

A special Spain-based collaboration between Bukkha and Boadub Music, with rich, uplifting saxophone courtesy of Jahwind, Hold Jah Strength is a powerful, sound system-ready release built to move the dance.

Tested and approved on heavyweight systems, the tunes hit with clarity, depth and that unmistakable dub energy. Jahwind's saxophone lifts the riddim beautifully, adding warmth and soul to an already infectious production.

With Heat, Société Étrange extends its work around repetition, groove and cyclic structures, shaping an instrumental music that is both hypnotic and enveloping. Without any radical shift, the Lyon-based trio subtly moves towards more melodic and more cinematic forms, revealing warmer, more textured and sometimes more luminous atmospheres.

With HEAT, Société Étrange extends its work around repetition, groove and cyclic structures, shaping an instrumental music that is both hypnotic and enveloping. Without any radical shift, the Lyon-based trio subtly moves towards more melodic and more cinematic forms, revealing warmer, more textured and sometimes more luminous atmospheres.

Serge Hirsch / LeSerge is a multi-instrumentalist based in Paris.

He plays the violin and keyboards, and composes and produces his own music.

His music blends jazz improvisation, a rhythmic approach drawn from hip-hop, and the sonic experimentation of contemporary bedroom music.
His main band, a trio featuring Noé Bénita on drums and Yungccos on electric bass, aims to create music that is social, joyful and musically demanding, yet never becomes esoteric.
His debut album is set to be released in partnership with Roche Musique in early 2026.
As well as composing and performing his own music, he has collaborated with numerous artists, either as a string arranger or as a producer and pianist. (Bonnie Banane, Shygirl, Lossapardo, Lablue, Swing, Madone...)
He notably made a name for himself during FKJ’s 2020 European tour, where he performed all the support slots alongside electronic music producer CRAYON.
As a bandleader, he has built a solid reputation by performing at numerous venues and residencies at Le Silencio des Près in 2024, at Soho House and at Le Serpent à Plume. He also served as deputy musical director at Le Serpent à Plume during the venue’s early years from 2019 to 2025.

Translated with (free version)

They Came Like Swallows is the first album-length collaboration between Thurston Moore and Kramer (now officially Bonner Kramer), two giants of alternative/ experimental music. The accomplishments and influence of these two artists in the world of independent music cannot be overstated and the result of their artistic union is a startlingly cohesive statement that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. “Kramer and I reconnected in Miami, Florida, a few years back, many many years after each of us had departed NYC on separate life adventures. It was only a matter of time before Kramer and I started making plans to record together and with his irrepressible due diligence he quickly set up a mobile recording contraption in the pad I was decamped in, the Florida sunshine flowing through the palm leaves, lithe lizards skittering across the windowsills, and we just went for it.

Kramer had the idea to cover a Joy Division tune, a left turn from the improvisations we had been tracking, though wholly in keeping with both our sensibilities of light and dark unifying in transcendent songwriting, both of us devotees of 'the song' as well as 'the freedom.’ What transpired is They Came Like Swallows, a session we immediately felt should exist as a prayer to the war-torn souls of the families of Palestine continually decimated by the brutality of genocide. We agreed beyond words to offer our music as a sonic activism and as a beneficent energy. This album is our duo exchange for human dignity, it is our soul music for any semblance of a peaceful planet.” ~ Thurston Moore “For the first time in our nearly 45 years of friendship, we had identical time windows open to make a record together,” recounts Kramer. After all this time not a moment is wasted as the duo immediately taps into the heightened core of improvisational tension across these seven offerings. Volcanic opener “Urn Burial” notches a similar historic union (John Cale and Terry Riley) to meet the circumstances of the moment, with swirling mists of organ and pounding toms over guitar that thickens the atmosphere with jagged, grimy dissonance.

Solemn strings open the second track, “The Redness In The West,” with Kramer’s cello and viola in dueling bow beneath the high tension drive and sustain of Thurston’s electric guitar, tapping out a Morse code of tension that mounts endlessly into a fog of inevitable war by the end. Moore and Kramer’s sense of experimentalism is in free and full grandeur throughout They Came Like Swallows, though the duo keep a strong and constant sideways eye on melody, composition and architecture, to the ends that any strict lines between song and improvisation are blurred beyond qualification.

As if to punctuate this point, Swallows closes with a nightwork cover of Joy Division’s “Insight,” a doleful coda that breathes out with a solemn inner grace under Thurston’s instantly stylistically recognizable guitar melodies as they weave into he and Kramer’s unison voices. As the lone vocal piece and only traditional ‘song’ form on the album, “Insight” is unique to this set and as a closing statement draws connective lines back to the kind of dynamic, electrified melodicism that wove deep, melancholy patterns into the untamed fire of Sonic Youth’s Sister and Daydream Nation. In the album’s final moments, the two voices repeat the lyric “I’m not afraid anymore” as mantra, underscoring the heavy, unsettled themes and methods that preceded it. Kramer describes the creative process of They Came Like Swallows: “I had composed and recorded a few pieces at my home studio over the course of a couple weeks. Thurston was spending the winter in South Florida, so I flew down and spent a few days recording his guitar parts in his home there. Watching him spontaneously compose his parts was pretty astonishing, to say the least. Once we'd finished working on those pieces, we began improvising and following wherever the music pointed us, and another few pieces were born. We got straight to it, without anything driving us other than the joy of finally working together.

My personal goal was to remain present and catch as many surprises as I could from Thurston's guitar work, and there were plenty during those few days. We had a fucking blast.” Thurston’s contributions here will be readily familiar to any acolytes of his other works, the through-line between his inspired playing, cradled in Kramer’s meticulous, solid arrangements. “If I had to make this record again, I'd do it all exactly the same way,” Kramer says. “It’s like jazz, you don't think about it. You just do it. It was miraculous, and you don't fuck with a miracle.”

They Came Like Swallows is the first album-length collaboration between Thurston Moore and Kramer (now officially Bonner Kramer), two giants of alternative/ experimental music. The accomplishments and influence of these two artists in the world of independent music cannot be overstated and the result of their artistic union is a startlingly cohesive statement that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. “Kramer and I reconnected in Miami, Florida, a few years back, many many years after each of us had departed NYC on separate life adventures. It was only a matter of time before Kramer and I started making plans to record together and with his irrepressible due diligence he quickly set up a mobile recording contraption in the pad I was decamped in, the Florida sunshine flowing through the palm leaves, lithe lizards skittering across the windowsills, and we just went for it.

Kramer had the idea to cover a Joy Division tune, a left turn from the improvisations we had been tracking, though wholly in keeping with both our sensibilities of light and dark unifying in transcendent songwriting, both of us devotees of 'the song' as well as 'the freedom.’ What transpired is They Came Like Swallows, a session we immediately felt should exist as a prayer to the war-torn souls of the families of Palestine continually decimated by the brutality of genocide. We agreed beyond words to offer our music as a sonic activism and as a beneficent energy. This album is our duo exchange for human dignity, it is our soul music for any semblance of a peaceful planet.” ~ Thurston Moore “For the first time in our nearly 45 years of friendship, we had identical time windows open to make a record together,” recounts Kramer. After all this time not a moment is wasted as the duo immediately taps into the heightened core of improvisational tension across these seven offerings. Volcanic opener “Urn Burial” notches a similar historic union (John Cale and Terry Riley) to meet the circumstances of the moment, with swirling mists of organ and pounding toms over guitar that thickens the atmosphere with jagged, grimy dissonance.

Solemn strings open the second track, “The Redness In The West,” with Kramer’s cello and viola in dueling bow beneath the high tension drive and sustain of Thurston’s electric guitar, tapping out a Morse code of tension that mounts endlessly into a fog of inevitable war by the end. Moore and Kramer’s sense of experimentalism is in free and full grandeur throughout They Came Like Swallows, though the duo keep a strong and constant sideways eye on melody, composition and architecture, to the ends that any strict lines between song and improvisation are blurred beyond qualification.

As if to punctuate this point, Swallows closes with a nightwork cover of Joy Division’s “Insight,” a doleful coda that breathes out with a solemn inner grace under Thurston’s instantly stylistically recognizable guitar melodies as they weave into he and Kramer’s unison voices. As the lone vocal piece and only traditional ‘song’ form on the album, “Insight” is unique to this set and as a closing statement draws connective lines back to the kind of dynamic, electrified melodicism that wove deep, melancholy patterns into the untamed fire of Sonic Youth’s Sister and Daydream Nation. In the album’s final moments, the two voices repeat the lyric “I’m not afraid anymore” as mantra, underscoring the heavy, unsettled themes and methods that preceded it. Kramer describes the creative process of They Came Like Swallows: “I had composed and recorded a few pieces at my home studio over the course of a couple weeks. Thurston was spending the winter in South Florida, so I flew down and spent a few days recording his guitar parts in his home there. Watching him spontaneously compose his parts was pretty astonishing, to say the least. Once we'd finished working on those pieces, we began improvising and following wherever the music pointed us, and another few pieces were born. We got straight to it, without anything driving us other than the joy of finally working together.

My personal goal was to remain present and catch as many surprises as I could from Thurston's guitar work, and there were plenty during those few days. We had a fucking blast.” Thurston’s contributions here will be readily familiar to any acolytes of his other works, the through-line between his inspired playing, cradled in Kramer’s meticulous, solid arrangements. “If I had to make this record again, I'd do it all exactly the same way,” Kramer says. “It’s like jazz, you don't think about it. You just do it. It was miraculous, and you don't fuck with a miracle.”

“Tako” means “octopus”, “kite”, and even “bunion” in Japanese. Bald men or men with shaven heads, as well as red-faced, staggering drunks, are also referred to as “tako”. It’s a word that appears in a lot of slang and sayings. Taco is also the name of an 80s music and performance collective whose performances were like nothing before or since. The Japanese band Taco, formed at the beginning of the 80s, is a loose group/collective of varying members that belongs to the post-punk alternative music movement. The network of members were all friends and acquaintances of Harumi Yamazaki, ex-member of Gaseneta and Taco’s central member.

Taco can be described as a band of guerrillas who, over the years, continued to connect, collect, interrupt, and scatter while sending out into the world music and sounds that can best be described as transient. Taco also performed without Harumi, and so it is as though the band is an anonymous group of mercenaries. Taco’s first album was released in 1983 and had a huge impact on Japan’s underground music scene as an anomalous and collaborative album involving various participating artists (the stars of Japan’s underground music scene!) and Harumi, who provided the lyrics. Although each track represents a reverberating conglomeration of sounds created by this transient local network, common to all the tracks are Harumi’s expressive lyrics. This has the effect of transforming all the tracks into a single powerful force which, in turn, spawns an “incident” which spreads like a giant ripple. However, because of another incident in which the records were recalled due to the scandal caused by some of the lyrics, only a limited number of people actually own a copy of the album. Taco’s second album (a 12” EP), released in 1984, features a live recording of a performance that was held at the end of 1982. Taco is a band of indeterminate members which only ever played one-off performances, but this is an album that reveals a unit whose performance was unusually musically coherent. This is an album which effectively conveys the power of Taco’s astounding and legendary live performances, as well as Harumi’s inflammatory, sensational, and masochistic presence on stage. Her mutterings and screams, which practically ignore the detached beat, confront the audience like an overwhelming groundswell.

The following is a description of Taco by one of its members following one of its live performances: “Taco’s like a project where the indeterminate participants fan each other’s heightened emotions of wanting to wreak personal revenge and retribution. It’s an ecosystem of tangible and intangible mouldy slime which accumulates in order for emotions to be acted out, both indoors in the studio, or outdoors on stage. That’s why the avenger can often end up being the victim.”

Nameless, March 1985

Rosita is a cheerful, well-liked woman with a fiery desire to have children. Those around her find it irresponsible because she can barely take care of herself. When Rosita does manage to become pregnant, she chooses to keep her pregnancy a secret.

David Martijn, guitarist and synth player in the electro-rock band GOOSE, wrote the music for the full-length album 'Holy Rosita'. His experience as a composer for projects such as 'De Dag', 'War of the Worlds', 'De Twaalf', and '1985' contributed to Martijn's desire to challenge himself again to come up with a fresh, distinctive sound, as he does with every project.

"My initial feeling was that I would have to step far out of my comfort zone to let the music tell this delicate story. I soon felt that the music needed to be light and open, in contrast to the uncertain and complex reality in which Rosita finds herself. Therefore, it seemed like a good plan to keep the score very close to Rosita and much less focused on her surroundings or reality. The music had to be, as it were, a reflection of the thoughts and feelings playing out in Rosita's mind. That is often hopeful, determined, lively, sometimes a bit naive, and at other times very lonely, sad, and uncertain." - David Martijn

Preston duo White Flowers announce new album, Dreams For Somebody Else - due for release 1st May 2026 via The state51 Conspiracy.
White Flowers, the long-running collaboration between Joey Cobb and Katie Drew, exists within what they call “the realm” – a shared creative space, wherein time, rather than being a restrictive force, is fluid and boundless, and music exists as an endless conversation with their past and present selves. Adopting what the band describe as a “sketchbook” approach to writing, White Flowers is the product of a decade’s worth of recordings - snippets nestled away on hard drives, only to truly make sense years later.
On Dreams For Somebody Else, the band expand upon the dark-hued dream pop of their debut, channeling the catharsis of dance music via repetitive structures and “sad, euphoric sounds”. Working alongside LCD Soundsystem and Hot Chip’s Al Doyle on production, the album maps out a mosaic of soaring choruses that swirl around imposing arrays of synths, guitars, and percussion.
Through this new lens, the band explore themes of isolation, dissociation and identity - drawing inspiration from Annie Ernaux’s The Years. “Whilst recording the songs for ‘Dreams For Somebody Else’, we really connected with the concept of Annie Ernaux’s book, ‘The Years’ - a ‘collective autobiography’ pieced together from mismatched fragments from her past, conjuring the effect that she’s merely an observer of her own life. This concept merges into the White Flowers world, where time, rather than being restrictive, is fluid and boundless, with our music existing as an endless conversation with versions of ourselves at different stages of our lives.”
“The album has that same feeling of disassociating from your own life, because you’re just blending into everyone else”, the band explains. “There’s a sadness there, because it’s as if you’re looking back on things that happened to you, and they feel like they don’t belong to you anymore”. It’s the dull ache of nostalgia intertwined with a sense of wonder at what could lie ahead - the hopeful optimism and endless loss that defines the human experience. “It’s this idea of identity not being a fixed thing, but something that’s always changing. It’s a fluid thing, similar to time. Things aren’t really fixed, but rather in a constant state of change. It’s important to remember that we’re all going through that.”

The Official Vinyl Release from The Dreamworks Animated Feature Film
Deluxe 2xLP Crystal Clear with Blue Orb & Green, Mint, Blue, and Black Splatter
Heavyweight Gatefold Packaging with Matte Satin Coating
Exclusive Director and Composer Liner Notes
12 Page Booklet with Artwork from The Film

In partnership with Back Lot Music, Waxwork Records is thrilled to release THE WILD ROBOT Original Motion Picture Soundtrack Music by Kris Bowers.
The soundtrack also features two songs performed by Maren Morris titled Kiss The Sky and Even When I'm Not.
Waxwork Records is ecstatic to release THE WILD ROBOT Original Motion Picture Soundtrack Music by Kris Bowers as a deluxe double LP
featuring crystal clear vinyl with blue orb and green, mint, and black splatter housed in a heavyweight gatefold jacket with matte satin coating.
Also included is a 12-page booklet with exclusive liner notes by director Chris Sanders and composer Kris Bowers alongside artwork from the film.

Lander Gyselinck and Adriaan Van de Velde created the soundtracks for the Dries Van Noten autumn/winter 2023-2024 runway shows. The result is a double live performance recorded during the shows in Paris.

The release, exactly 1 year after the presentation of last season's men's collection, is available from January 19th on a 180 gram vinyl and on all digital streaming platforms. On one side you will find the music for the men's collection by Lander & Adriaan, on the other the music for the women's collection, Lander Gyselinck solo.

"The women's collection is all about construct:deconstruct, intimacy, botanical figurative elements and gold in its raw form. Dries asked me to try to translate these elements into a drum piece performed live. I decided to focus on detailed intimate sounds, acoustic elements and improvisation. Besides this piece, there is a second composition that I brought together with Adriaan for the men's show where we mainly took into account the venue, Dries' collection, certain keywords we were given, our world of 90s music, rave and improvisation and we tried to make a nice blend of that." - Lander

WRWTFWW Records is very excited to announce the first release from its new City Pop Series with Japanese singer, actress, entertainer, scholar and all-around legend Momoko Kikuchi’s sun-drenched classic Ocean Side album, available now as a limited-edition transparent vinyl LP in a heavyweight sleeve with obi.

A cult classic among Japanese music collectors, Ocean Side was originally released in 1984 by mythical label VAP and features lush compositions and arrangements by J-Pop icon Tetsuji Hayashi (Mariya Takeuchi, Miki Matsubara, Omega Tribe, Junichi Inagaki, Urusei Yatsura anime, soundtrack…). Momoko Kikuchi’s city pop gem is a flawless mix of heartwarming beachside funk, breezy grooves, and silky-smooth vocals - the feel-good music we all need in our life right now.

The 9-track summer-is-forever adventure notably includes the ultra-funky megahit “Blind Curve”, the fan-favorite title song, and the insanely romantic ballad “Futari No Night Drive”. A vibrant reflection of summer in 1980s Japan, Ocean Side masterfully balances nostalgia and elegance, and provides part of the origin story for revered modern music genres such as chillwave, and future funk, and vaporwave.

The official reissue licensed from VAP, Inc. is sourced from the original masters with an audiophile-cut by Sidney Meyer at Emil Berliner Studios.

WRWTFWW’s City Pop Series and its Lopetz/Büro Destruct-designed logo also includes jazz-fusion-AOR-mellow-funk treasure Safari (1984), a limited capsule collection of merch, and much more to come in the near future.

Critically acclaimed American producer Tomu DJ (Pitchfork, Dazed, NPR++) debuts on sound as language with her fourth album, 'antagonist.' Recorded in the artist’s Oakland, California home throughout 2025 using only a digital piano, her intention for the album was to “free myself from conventional notions of electronic music”. This is perhaps seen clearly on standout tracks “loose interpretation” and “careful deliberation”, which in their cinematic splendor evoke the beauty and thoughtfulness of classical music. Even so, 'antagonist' is “not intended to be like classical music, rather a stream of consciousness akin to spoken word poetry”. It is easy to see what she means on tracks like “antagonist” and “dance” which weave familiar elements into personal narratives of loneliness, perseverance and redemption. Despite its specific sonic palette, 'antagonist' fits right in with Tomu DJ’s discography, continuing to build on the musical ecosystem she has thoughtfully tended to over the course of the last decade.

Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.

“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”
Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.

The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”

What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.

Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.

“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”
Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.

The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”

What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.

When five-time Grammy award winner Taj Mahal intersects with The Phantom Blues Band, it’s one of those rare joints that hits you before you even know you’ve been hit. They walk in, plug in, and the whole room shifts. Studio assassins, road lifers, groove keepers and somehow still hungry. They are an internationally renowned Two-Time Grammy Award winning group. Taj Mahal’s fearless, open-hearted spirit still shadows the whole thing with that genre-hopping joy. He leads you down the road with a history lesson and the Phantoms carry it with honor to the Griot.

Mahal sings and plays harp as he fronts an all-star lineup of legendary musicians with the three ringleaders for the Phantoms--Johnny Lee Schell, the soulful gunslinger with tone for days, Tony Braunagel keeps the whole ship steered straight and on time, every time, and Larry Fulcher, the anchor, the heartbeat, the quiet storm on bass. Additionally, Jon Cleary, with that unmistakable New Orleans piano swagger, Mick Weaver, a session master who’s playing slides in with an undeniable velvet magic, and in the horn section, Joe Sublett on sax and Les Lovitt on trumpet bring the orchestration into the full view of this genre. This band doesn’t ‘back” anybody. They lift you up, carry you, and dare you to rise higher. On this record they slide through blues, soul, R&B, and island color with the ease of men who’ve lived every bit of it. This is deep-groove, grown-folks music from a band that still plays like the night is young. ‘Time’ is their new release on Resonatin’ Records / Thirty Tigers and celebrates over thirty years of making this uplifting inspiring and aspiring music together.

After their last album six years ago, "Primal Forms," the new album by Phantom Horse, finally arrives. The German duo of Ulf Schütte and Niklas Dommaschk have long established a reputation for expertly crafted, hypnotically slow-burning electronic music, and we do not hesitate to say that "Primal Forms" stands among the epitomes of their discography.

The sequencing of "Primal Forms" cannot be underestimated. It is an album in the classic sense. It demands to be listened to in its entirety, which also points to a closer affinity with Krautrock. Likewise, a touch of dub is perceptible, wafting around the songs, which, as usual, bear clandestine titles. It is not unreasonable to see in these compact compositions a clear statement against multitasking.

Phantom Horse are not trumpeters of dystopia. They present themselves resolutely, almost stoically, turned away from the world. This turning away is clearly a statement that can be contemplated in the Mariana Trench as well as in comet belts. In any case, it is best experienced in a space without any human beings. This does not mean that grumpy hermits are tinkering with synths behind closed shutters, armed with wooden walking sticks. This is still open minded music with a connection to current developments. The approach itself is what is audible, and with it, Phantom Horse proves once again that their main connection to time is timelessness.

In an age of all-encompassing distraction on every sensory, thematic, and semantic level, Phantom Horse explores the possibilities of reduction, searching for simplified melodic arcs without resorting to the vocabulary of classical minimalism. The overall impression is more electronic; the slowly shifting, polyrhythmic compositions repeatedly lead to a peculiar danceability. However, these are perhaps the dances of mechanical birds, undeterred by anything.

Written and produced in Hamburg, Nijmegen and Ojén by Niklas Dommaschk & Ulf Schütte
Mastering by Rafael Anton Irisarri at Black Knoll
Artwork by Daniel Castrejón

This is the age of post-factual lies, which is reflected in MESH's album title "The Truth Doesn't Matter" and a dark undertone that occasionally seeps into their new songs. What remains entirely true is the fact that the UK duo has a nearly uncanny knack for writing electronic hits that are as elegant as they are captivating. "The Truth Doesn't Matter" bursts out like a sparkling firework while subtly referencing three decades of electronic music spanning from GIORGIO MORODER, YAZOO, and DEPECHE MODE via GARBAGE and MASSIVE ATTACK to more contemporary artists. At the same time, MESH always maintain their easily recognisable and unique musical identity as well as the trademark sounds that they have cultivated since their beginnings in the early nineties. With "The Truth Doesn't Matter", MESH climb yet another rung on the ladder leading to electronic music heaven. Each song wriggles its way happily into the brain and sticks around leading to spontaneous whistling of melodies and the public singing of extremely catchy chorus lines. You have been warned: "The Truth Doesn't Matter" is highly infectious and leads to a happier life!"

Are U Mad At Me marks a huge, cowboy boot-wearing step for the Brooklyn-based songwriter. Fields proves that genre is as fluid as sexuality, as the album saunters across country, pop, disco, grunge, and classical with ease. Across 12 tracks, Fields traverses bangers like power pop lead single “Party Girl” and two-stepping second single “Hands Off The Hat” (co-written with Grammy award-winning songwriter Melody Walker) all the way to tragic ballads like “Apalachicola to Tallahassee” (co-written with Karen Pittelman of Karen & The Sorrows) and the closing “Uncle Charlie’s.” He makes light of gender-neutral bathrooms marked with unicorns instead of stick figures in the guitar-driven “Pronoun Meltdown” and calls out a husband cheating on his wife with another man in the tragicomic ballad of “You Should Tell Your Wife.”

Are U Mad At Me arrives at a pivotal time in the roots music scene and the world at large. Fields, who is now rapidly becoming one of New York City’s queer country leaders — through his East Village residency at Lucinda Williams’ new honky tonk and dive bar and through his musical mentorship work through The Recording Academy — has been working tirelessly for this moment for more than a decade. Performing under this moniker since 2013, Fields has released three LPs and two EPs. He’s recorded on queer country pioneers Lavender Country’s 2022 reunion album, Blackberry Rose, and served as the band’s touring pianist. Additionally, his 2023 protest song duet with Mya Byrne, “Burn This Statehouse Down,” made it onto NPR music critic Ann Powers’ list of favorite songs of the year.

Masterful composer- improviser DoYeon Kim is an unparalleled practitioner of the Korean gayageum (a silk-string zither), and is also in possession of a purposeful vocal intensity. This is her debut album as a bandleader, featuring fellow master musicians Tyshawn Sorey (drums), Mat Maneri (viola), Henry Fraser (bass). Armed with an unlikely traditional instrument, flanked by three extraordinary improvisers, radiating a brash, acoustic strategy that simultaneously invokes folk universalism and a No Wave battle- stance, the Brooklyn- based virtuoso will drop a volcanic sonic statement with grand humanist goals on May 1. Kim mingles Korean lullabies, fervent interactions between drums and strings, and pure instrumental expressions of musical self. At times, she sounds like she can halt armies. Wellspring is a call for society to come together.

How the Seoul, South Korea- born 34- year- old came to be the centuries- old zither's leading (only?) practitioner of contemporary improvised music, reflects an expansive embrace of her own culture, her place in modern society, and her ascending recognition of music's liberatory power. DoYeon Kim 's teachers at Seoul National University recognized that her roving musical mind - less interested in ancient repertoire than in speaking to the modern world - needed challenges. America beckoned, with the New England Conservatory offering a non- ethnomusicological pathway via its Contemporary Improvisation department. It set off a process of analysing, absorbing, digesting, and, most of all, listening. Under the guidance of NEC instructor and legendary guitarist Joe Morris, in came the methodologies of Ornette, Braxton and Derek Bailey, to name a few.

2026 Repress

Anenon's tenor saxophone breathes an emotive contemplation on loss, meshed with sustained piano and field recordings. 'Moons Melt Milk Light' is a hyper-personal statement contained in a visceral beauty.

LA native Anenon returns with a highly anticipated new album 'Moons Melt Milk Light' on Tonal Union, bearing his most personal, expressive, and arresting works to date. Anenon is the ongoing solo studio and live project of Brian Allen Simon, whom since 2010 has released multiple albums and EPs to critical acclaim, including the highly revered 'Tongue' (2018) and 'Petrol' (2016).

'Moons Melt Milk Light' is direct, efficient, and unwavering in its immediacy. Anenon departs from the electronics of previous works, and embarks on a reductive, almost entirely acoustic approach consisting of piano, tenor saxophone, bass clarinet, and field recordings. All of the music was improvised with everything recorded as either a first or second take with no edits. Any layering happened fast and in the moment, and yet the sonic architecture of the whole feels both planned and refined.

"I feel a kinetic and messy honesty that doesn't exist in any of the other music I've ever made. There is also a sense of being settled, of calm. There is no faking it here."

Stick To Your Guns hold a mirror up to society’s ills without blurring its ugliness. In an attempt to unapologetically trumpet real change, the Southern California quintet—Jesse Barnett vocals,Andrew Rose bass,Adam Galindo[drums], Chris Rawson [guitar], and Josh James [guitar]—never shy away from speaking or screaming unpopular truths from the purest place. Founded in2003, Stick To Your Guns have always written and performed with a sense of urgency, their socially conscious message hitting as hard as their signature hybrid of hardcore, punk, and metal. Over the course of their career, they’ve amassed over 50 million total streams, performed on four continents, and shared stages with the likes of Parkway Drive, Architects, and Every Time I Die. Most recently, Alternative Press praised 2017’s True View as “the result of a long time spent on self-reflection and realization.” The band’s latest release ‘Invisible Rain’ incorporates two new songs that remain quintessentially Stick To Your Guns while incorporating fresh elements. The band’s relentless pursuit of a better world and their critique of societal injustices continues to drive their music and message. In 2024, Stick To Your Guns signed with SharpTone Records, marking a new chapter in their storied career. This partnership promises to bring their potent blend of activism and music to an even broader audience, amplifying their call for change and social justice.

The series, written and directed by Flo Van Deuren and Kato De Boeck, tells the story of Bibi and Ama, two lesbian girlfriends in their twenties.

Hoping to become a better version of themselves, they move in together at a flat in Brussels. Each in their own way, but under the same roof, they come to new insights: life has no manual, love even less and themselves even less so. The result is an intimate series full of humour and familiarity.

Musically the series is coloured by an exclusive soundtrack and homegrown songs: 7 female or non-binary artists from Belgium were asked to write a song. Lara Chedraoui & Patrix, Juicy, Miss Angel, Tessa Dixson, Oriana Ikoma, Ana Diaz, SPACEBABYMADCHA and Mick Lemaire crept into their musical pen. The series also features existing songs by artists such as Martha Da’ro, Aili, B1980 and Fatal Error to showcase a maximum of local musical talent.

Oceanine, Jolanda Moletta’s third album and her first for Beacon Sound, is a powerful and ethereal statement of artistic community. Expanding on her previous work, each track represents a collaboration with a different female vocalist, with the foundational elements being generated entirely by her own voice. By turns haunting, enchanting, and inspiring, you won’t want to come up for air once you’ve been pulled under. Representing a
musical practice that is distinctly feminist, this is an album with a longer view in mind, to an age when the altars were to goddesses and women were centered as powerful beings representing the earth’s cycles of regeneration and renewal. Oceanine then, in all its beauty, can be viewed as an album of survival. It is deeply transportive, accessing something that lies within all of us. As the late, great Lithuanian folklorist and archaeologist Marija Gimbutas noted, “We must refocus our collective memory. The necessity for this has never been greater as we discover that the path of 'progress' is extinguishing the very conditions for life on earth.”

Jolanda Moletta is a multimedia artist and one-woman electronic choir. She creates wordless compositions through extended vocal techniques, integrating wearable-controlled live processing, alongside symbolic visuals. Moletta considers her performances to be a collective ritual and creates her Sonic & Visual Spells following the cycles of nature and the moon. Jolanda's 2022 critically acclaimed album Nine Spells was released on the Ambientologist label, followed by Night Caves on Whitelabrecs in 2025. Moletta’s artistic practice is a radical and spiritual journey through sound art, ritual, and the symbolic archaeology of the feminine.

Oceanine is inspired by sirens, water nymphs, and the timeless call of the sea. At its core lies Jolanda’s deep, lifelong connection to the Mediterranean Sea and to the ancient and modern myths and folklore that have emerged from its waters. Growing up by the Mar Ligure, Jolanda was surrounded by stories carried by salt, wind, and waves: legends of sirens, echoes of ancient voices, and the sea as both origin and oracle. This intimate relationship with the Mediterranean is not merely a backdrop, but a living source that shapes Oceanine’s emotional, symbolic, and sonic world.

Each track features a different female vocalist, creating a rich tapestry of voices, styles, and perspectives. This artistic choice not only broadens the album’s sonic palette, but also deepens its narrative core: celebrating the power, beauty, and mystique of feminine energy through myth, history, and sound.

The entire album is built exclusively from the human voice, processed and layered, yet always remaining voice, and nothing else. For each piece, Jolanda invited every vocalist involved to contribute a raw stem: a short, unedited melodic fragment of just a few seconds, inspired by the album’s themes. These intimate vocal seeds became the foundation of each track: the guest artists’ voices appear as brief, melodic stems, while the entire surrounding “orchestral” fabric is created solely from Jolanda’s own layered and processed voice. In this way, Jolanda’s voice becomes the Ocean itself, embracing, absorbing, and carrying the sirens’ calls within a vast, immersive soundscape. Every song is a unique expression of the feminine experience, revealing its depth, complexity, and emotional range, echoing the call of the sea and the many faces of the siren archetype.

The figure of the siren has transformed across centuries. In myths of Ancient Greece and Rome, sirens were hybrid beings, part woman, part bird, whose irresistible songs lured sailors to their doom. During the Middle Ages, the image shifted toward the half-woman, half-fish figure, often associated with temptation and danger. Historically, the voice of women has often been feared. Sirens were considered harbingers of misfortune not simply because they seduced or destroyed, but because they were powerful liminal beings.

In Ancient Greek, sirens functioned as psychopomps: figures who existed between worlds and guided souls, especially between life and death. Their songs were believed to carry forbidden knowledge, including prophetic insight and the ability to reveal truths about fate and the future. The danger of the sirens lay in what they revealed: knowledge that humans were not meant, or ready, to hear.

Oceanine confronts this legacy head-on. The voices heard throughout the album are not merely beautiful: they are dark and luminous, wild and enchanting, magical, soothing, dreamy, and at times fractured or distorted. They whisper, lament, beckon, and enchant. Like sirens, they skim the surface of the water and sink into its depths, hovering on the edge between tenderness and danger, vulnerability and power. They rise toward the sky, dissolve into mist, and return as echoes charged with raw, elemental emotion: voices that seduce, warn, mourn, and remember. They refuse to be reduced to decoration.

Alongside the album’s release in May, Oceanine will also unfold as a visual and performative work through a short art film. The film includes a live session recorded inside a sea cave facing the Mar Ligure, the very coastline where Jolanda spent her childhood, dreaming of sirens and listening to the sea as if it were speaking directly to her. This site-specific performance reconnects the music to its place of origin, allowing the voice to resonate within stone, water, and air, and transforming the cave into both a sanctuary and a threshold between myth and reality.

What if the sirens’ songs were considered dangerous because they carried another truth, an ancient truth long forgotten?

Oceanine embraces the idea that we are still deeply woven into myth. Though we may see ourselves as rational and modern beings, our world is saturated with ancient symbols and archetypes, often distorted, simplified, or stripped of their original meaning. And if those symbols are allowed to shift, if the mirror once held by the siren becomes an invitation to look beyond appearances and into what has been obscured, then we may finally uncover a deeper truth and reclaim the voice that was always ours.

Oceanine is not just an album. It is a reclamation, a spell, and a call from the depths.

Barely six months after the debut, the paths of the label and the artist converge once more — at their intersection, TECH039 emerges. This work significantly expands the musical language of Andy Martin: evolution is audible within every single recording. Tonally, rhythmically, and accent-wise, the release becomes a deep exploration of how personal experience transforms artistic signature, turning it into a new legacy for the local and global scene.

We see the author in a moment of artistic self-determination, on his path to international recognition. This is the sound of a master who cares about context, yet fundamentally refuses to meet outside expectations. At the core of TECH039 lies the concept of techno-futurism — sound projected forward, yet anchored in the fundamental laws of nature.

On the record: a transit from atmospheric harmonies and complex percussive structures to near-ambient variations, followed by gripping, mind-piercing sounds set against a functional bassline. This is a story of five distinct states, conceptually unified by a shared relation to the outer world, rather than the rigid boundaries of style.

- Mechanical Vals — fully positions the spirit of the record, referencing the incomparable signature of Andy Martin.
- The Paths of Rhythm — creates a rhythmic hypnotic structure, inviting DJs to uncover additional layers.
- Toltequidad – serves as a reminder that even the darkest night has its limits, and lighter hours inevitably arrive.

The integrity of the statement is completed by two interpretations:
- Vardae Reinterpretation — a reinterpretation deepening the original's hypnotic component.- Feral Reshape — a structural transformation emphasizing natural, organic power.

A substantial record for the collector’s archive and home listening, as well as a functional tool for the club night.

No-one could have predicted the success of The 88, the first album from Minuit
(minwee), or how warmly it would be received. Equally no-one could have predicted that the band would return to the live arena a decade after their final fling or consider pressing their debut on vinyl for the first time.

Formed in Nelson, NZ in 1997, the trio cut their teeth playing regularly around the South Island’s underground club and festival scene. After a hiatus overseas, they began recording The 88 in 2002 in Ryan’s home studio. The lyrics were influenced by their travels around Europe and Ruth's time working for the UN in Kosovo and East Timor; the beats by The Prodigy, Portishead and the UK’s trip-hop and breakbeat scenes.

Signed to indie label Tardus, their tunes were eagerly picked up by the bNet student radio network, which then ballooned into high rotates on TV station C4, helped along by Alyx Duncan’s stunning video for Except You. A busy summer playing live every weekend for three months and seemingly universal praise from the music press led to them swiftly gaining gold sales.

Now 22 years later, with live shows looming, the trio have decided to revisit their debut, completing two previously unfinished tracks from the period to add a bonus to this inaugural vinyl release.

Another Country is the fifth full-length album by Cindy, the San Francisco-based group built around the songwriting of Karina Gill. Recorded, like all of its predecessors, in their hometown and with a consistent line-up held over from their previous record (the Swan Lake EP from 2024), it is replete with the poetry of private vistas, eavesdropped dramas and confusing winds. These are classic Cindy concerns, and yet, as always, contain new mystery and charm to somehow feel like quiet revelations each time. Another Country is both opaque in its intentions and specific in its presentation, and as such presents the kind of truth that keeps the listener on the search for answers just out of reach.
"The title of this record, Another Country, refers to the James Baldwin novel of that name. The book has a kind of drama that makes sense to me. When I look around, the obvious explanations are not enough. The miasma of feelings and ideas that is supposed to account for it all, doesn't. Baldwin washes past that to longings that begin to explain. Cindy songs come out of the x-rays my particular brain makes out of what I see and experience. What you hear on this record is the result of collaboration with the members of Cindy that transforms that shadowy thing into full color, fully fleshed. Each of them, in music, is sure-footed and unblinking, and making this record together felt like, yes, yes, you see what I mean."
Cindy is Karina, Staizsh, Will & Oli. Another Country will be released on 1st May 2026 via Tough Love.

The brand- new album from Hiss Golden Messenger and the first release with Chrysalis Records. I'm People is a vivid, deeply human album born from a period of rupture, renewal, and vast American wandering. Written across Bolinas, the North Carolina Piedmont, and a Santa Fe motel room, the record traces the artist's search for clarity through landscapes both external and internal. These songs move through heartbreak, aging, fatherhood, desire, disillusionment, and the hard- won hope that remains after the spirit has been scraped bare.

Produced with Josh Kaufman at Dreamland, a decommissioned church outside Woodstock, the album carries the warmth of musicians playing live in a circle, stained- glass light filtering across guitars, drums, and upright bass. Contributions from Bruce Hornsby, Sam Beam, Marcus King, Sara Watkins, Amy Helm, Eric D. Johnson, and members of Dawes enrich a sound world that feels immediate, vulnerable, and fully alive. "I'm People is an intensely human record, and so one that needed to feel immediate, vulnerable, and fully dancing; something you could touch, sing along to, know about, recognize, relate with. I know what the record is to me and I bet it's not so dissimilar from what it's about to you, at least in the broad strokes: The heartbreak and exhilaration, the absolute black comedy of being a person on this razor's edge that is America circa 2025. What other choice do we have than to be hopeful?" - MC Taylor on I'm People. Hiss Golden Messenger is a Grammy nominated artist based in North Carolina, with multiple Album Of The Year and Best Americana Album awards, reaching #2 in the Americana Charts and performances and tours across the world, including the UK and Europe + performances on US TV; Late Night With Seth Myers.