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Explicit isolation is the third album by the international collective E/I, led by composer and percussionist Szymon Pimpon Gąsiorek. The group’s seven core members came together while studying at Copenhagen’s Rhythmic Music Conservatory and the Royal Danish Academy of Music. For this latest release, they are joined by Slovenian musicians Samo Kutin (hurdy-gurdy) and Kaja Draksler (organ), alongside Danish tuba player Rasmus Svale.

The three compositions distill sound down to its essential elements, drifting freely through space. The material is minimal, moving in the geological rhythm of endless cycles of tension and release, formation and dissolution, density and lightness. Pimpon acts here more as a guide than a creator with a master plan. He is a navigator, leading us to the most crucial moments where sonic emissions merge into vibrating drones, building to an inevitable leap—an explosion after which the particles rearrange themselves once again. It feels like futuristic temple music infused with intergalactic spiritual jazz, the extensions of drone music, and acoustic ambient textures, all highlighted by the jolly grin of the navigator.

“I wrote the scores and asked each of the musicians to record their parts individually. What’s interesting for me about doing it this way is that it removes the element of immediate interaction and introduces a factor of randomness. I then edited and mixed it myself, also adding my own parts. Previously, it was strictly acoustic music, and the recordings were ‘live,’ meaning they were captured in one room at the same time, with no subsequent edits.” Pimpon has also incorporated electronics, which make the album even more airy and organically complement the sounds of the hurdy-gurdy and organ, recorded in Trboje, the small Slovenian village.

Inspired by witnessing the broken tension and renewed possibilities of a laptop breaking down at a gig – not to mention the void left behind by the sudden end of a relationship – Pentu’s latest release is a jump-cut menagerie of musical moments. Sewn together into ‘And I Saw My Devil And I Saw My Deep Blue Sea’, these fifteen tracks continue the London-based producer’s active departure from the soundscapes and song structures that dominated their previous writing style. These disparate pieces slice themselves off into sudden silence, or veer into unpredictable sidebars, hopping from hyperactive instrumentals to beautifully deconstructed YouTube samples. Described by Pentu as “emotionally intuitive to write”, this is music by and for the endlessly scrolling modern mind – “navigating the world alongside the splintered, interruptive emotional hyper realities of social media.”

The sudden silences, drones, and interruptions are perhaps less surprising than the guitar-based textures of metal & shoegaze woven into several vital passages by Pentu. The result is a collage that encapsulates the erratic feeling, not only of a relationship’s end, but simply of navigating online mediascapes.”I found myself realising that my phone, the constant interrupter of nothingness and silence, was both a cause of depression (reliving memories, dating apps) and a relief from it (creating new friendships, distractions, also dating apps)”, says Pentu.

Pentu’s attempt to overcome content overload by actively curbing his setup of laptop-guitar--synth does little to reduce the scope of this album’s sonic palette. YouTube vlog samples (from videos with next-to-no views) are an attempt to recontextualise and dramatise material that “would have otherwise been throwaway moments lost in the internet”, adding staccato moments of reality to Pentu’s beautiful and jarring album-length paean to overstimulation.

cLOUDDEAD's debut album, compiling six 10" EPs that appeared between 2000-2001, is aurally dense and obscured. A sprawling mass of miniature beat-suites and Dadaist lyrics, this strange and beautiful 3xLP would influence a myriad of sub-genres (cloud rap, hauntology, lo-fi hip-hop, etc.) in the two decades since its initial release.

Only the three members of cLOUDDEAD – Why?, Doseone and Odd Nosdam – can speak to the group's origins, but in the context of underground hip-hop towards the end of the 20th century, their arrival makes perfect sense. Cincinnati had a vital scene; home to Scribble Jam, an annual confluence of MCs, DJs, B-boys and graffiti artists. While the trio soon relocated to the Bay Area where they co-founded the Anticon collective, their Midwestern roots – in ramshackle basements of off-campus hovels, as the "cerberus of Southern Ohio" – would remain the atomic heart of their early recordings.

As Chris Martins writes in the liner notes, "The only reason we know their names today is because of how loudly and curiously they aired their insularity. They rewrote the entire world as they knew it through their own fucked perspective, and when those mysterious 10-inches started popping up in record shops, it wasn't just a puzzle to investigate: there seemed to be a whole cosmology hidden in those grooves."

Each side of the album represents one of those elusive 10-inches, each embodying a universe unto itself. Opening salvo "Apt. A" and "And All You Can Do Is Laugh" are perhaps most emblematic of the cLOUDDEAD experience. Why? and Dose create a new language through boundless non-sequiturs, sing-song non-choruses and call-and-response hooks, while Nosdam's dexterous production shifts from crackling ambience of Flying Saucer Attack to tight Ohio Players drum breaks and oblique film samples.

Taken all together, cLOUDDEAD is an original interpretation of hip-hop in the surreal Y2K glow – a bizarre meeting point between William Basinski's Disintegration Loops and MF DOOM's Operation: Doomsday. All it took was a Dr. Sample SP-202, Tascam cassette eight-track and cheap RadioShack mic. There's truly nothing like it.

This edition has been faithfully restored by Nosdam. European exclusive version comes on clear vinyl, incl. fold-out poster and liner notes insert.

When you listen to birds, they usually talk about food, sex/family, or anxiety. If they knew about the true nature of humanity's cruel and exploitative relationship with birds, they would be discussing rebellion. Humanity's current trajectory about birds is to cause the extinction of one-third of all bird species by the end of this century.

This record crystallises the borders between memory, beauty, and anxiety. At the core is an amalgam of all the birds we have met and heard, their sounds synthesised from a blend of memories. Esthetically it simulates the qualities of bird sounds, hitting similar frequential sweet spots. There is a great variety of birds captured here, from high to low frequencies, from solo voices to groups, from birds standing on their own to complex world-building, where the bird voices are part of an ecosystem, becoming one of the instruments.

You could stop there, enjoying this record on a musical level, but it invites us to do one step further, to consider reconfiguring our relationship with the Earth and its inhabitants. To question our impact, and to ask why we need synthetic bird music. Is it just a visionary endeavour or is it because we are failing at fostering a world in which organic birds and other creatures can thrive?

32 artists from the whole world, including our favourite artists from Eastern Europe, have contributed to this compilation both with new and previously released music. Their music is ordered from dawn to dusk and into the night. For many of the artists it's their first time on mappa, but some have previously released an album with us.

RASTER MEDIA 30 YEARS ANNIVERSARY EDITION REPRESS / 180 G VINYL
Ich bin meine Maschine features remixes by Boys Noize, Function and AtomTM himself.
to underline this tryptic statement (and to demonstrate the diversity) of one of atom™'s compositions that appeared on his 2013 'HD' album, raster-noton now releases a vinyl ep featuring remixes by boys noize, function and atom™ himself. 'ich bin meine maschine', in an elaborate manner, illustrates uwe schmidt´s main musical concern - the exploration of electronics in pop music. inspired by a statement of the cybernetician heinz von foerster, atom™ constructed/generated a message that is playing around with a widely-cited kraftwerk quotation, turning 'ich bin eine maschine' into 'ich bin meine maschine' (i am my machine). besides the album version of 'ich bin meine machine,' the ep features some dominantly techno infuenced versions that perfectly connect the pop attitude of 'HD' with dancefoor functionality. the boys noize remix shows off alexander ridha´s deft skills for translating atom™´s futuristic pop into his own rough and driving electronic language. on the other hand, atom™'s 'linear remix' breaks down the original structure of the song and turns it into a reduced and much straighter, forward looking composition. function - one of techno's true underground heroes - provides a remix that is breathing the air of solid and hypnotic club music, in which just the essential elements are streamlined and ondensed into perfection. all 3 remixers adapt the track to their particular universe. by doing so, they prepare the 12' vinyl for its fnal destination - the club.

A year and a half has passed since Slovak-Hungarian artist Adela Mede self-released her debut album ‘Szabadság’. Its liner notes described it as “a navigation”, a search through “the personal, familial, cultural, folkloric and geographic of her past and present.” Her second album, ‘Ne Lépj a Virágra’ no longer searches; here, she puts down roots and delves deeper into the earthy reality of her home, Central Europe. Mede sings in three languages with newfound conviction and grace – this is an album of profound faith and confidence in the potential of this fertile soil.

Composed and recorded during the last 18 months in Bratislava, Slovakia – a city where three countries meet, where the East and the West collide – 'Ne Lépj a Virárga' translates to “don't step on the flower”. Its themes – budding potential, recognizing the beauty in the ordinary, solidarity, turning despair into hope – emerged through Mede's wholehearted involvement with her community, teaching singing to both children and adults, and various grassroots volunteering initiatives. It features collaborations with local artists, Mede's singing students, as well as fellow Eastern European contemporary artists Martyna Basta and Wojciech Rusin.

Adela Mede embellishes carefully crafted songs with minimalist and folklore influences, but also embraces more experimental approaches. The result is a collection of quite varied yet consistent pieces which highlight Mede's proficiency as a singer, arranger, producer and improviser. It is a grounded, confident next step for the Bratislava-based artist. Whether her vocals are naked, heavily processed, warped and reversed, or looped and layered; whether the production is sparse and minimalist or overwhelming and swampy; none of that changes the fact that the gentle tentativeness of her debut is gone. This is “Central European music”, at its most striking and meaningful: patient, determined, embracing both complexity and possibility.

“Crazy Funky” marks the official debut of Tommy Soul as a producer — a track born from the desire to blend the groove of 80s funk and disco with a contemporary sonic approach. A warm, dominant funky bassline drives the track alongside a vintage-flavoured, punchy drum groove, supported by modern electronic synths and sound details that firmly place it in the present.The lyrics and vocal melody sung by Tommy Soul, reveal an unexpected falsetto, especially in the harmonic tension of the hook “make me crazy!” The goal was to reinterpret the spirit of original disco productions and bring it into a modern, more electronic and club-oriented dimension, while preserving the analogue soul and authentic warmth of the sound. The result is a track with a strong character: a relentless bassline, gritty vocals, an infectious groove, and an energy built for the dancefloor.

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.

»Ka ora te awa. Ka ora te iwi. The river is well, so the people are well«, says artist and writer Hana Pera Aoake. »In a Māori worldview, everything is connected and contains mauri, the life spark or essence inherent in all things, as they contain the residue of ancestors through whakapapa, or genealogy. Within Western environmental histories, there is a gap in knowledge around what we can learn through an act of listening.«

Hana Pera Aoake’s words resonated with Hinako Omori when they were invited by the Serpentine Gallery to write a piece of music for their »Serpentine Reader« publication on the theme of circulation. Aoake’s essay about listening to the river and other bodies of water parallels Omori’s own Japanese cultural view of water as a sacred source.

»studies on a river« places these two notions side by side, with Omori’s recordings of water sources and elegant 3/4 synth compositions matched to extracts from Aoake’s writing. The first side presents the music alone, while the second is where the project really clicks, with Aoake’s themes and Omori’s gentle, washing sounds completely in sync.

blickwinkel releases WILDERNESS, the fifth instalment in Ameel Brecht’s cassette series exploring the theme of sleep. This closing volume delves into the world of dreaming and what it does to our minds, and for the first time in Brecht’s oeuvre features newly composed parts for (bass) clarinet.

"Sleeping and dreaming in your childhood: the first dreams you remember, the whole wildness of it;
dreams of flying, and of disappearing,
the strangeness of blue twilight,
worrying about the nightmares of a sibling, listening to the dreams of your parents,
struggling with falling asleep,
writing dreams on postcards
dreams that feel so true they linger for days -
sleep is wilderness."

To decay is also to transform. Rusting metal is the visible traces of passing time, as the oxidation process accumulates dampness in our atmosphere and imprints it as unpredictable patterns onto hard iron and steel. Working in construction for a year now, Kensho Nakamura sees rust all the time, clambering up ageing chunks of material. Normally discarded as waste, Nakamura began discerning beauty in the phenomenon, organically spiralling around and consuming some of the very hardest of manufacturing stuffs into unique new forms.

‘Electric Rust’ continues the conceptual electronic composition mode of Nakamura’s previous works with a series of fractured musical dioramas. These scurrying notes, sparse hums, and quivering bleeps explore the topics of rust and the accumulation of time. The music ticks like a clock, drips like a tap, and manifests unknowable inorganic shapes. Recognisable musical snippets of bells, pianos, or murmured voices are buried inside counterintuitive synthetic rhythms and tension.

On ‘wet air’ piano notes tinkle and pipes gargle, digital detritus tap dances and arpeggios stumble. On ‘unique faces’, idle marimbas and malfunctioning animalistic squeaks flounder. This is music from the promethean space between being forgotten and being conceived. ‘Electric Rust’ is a topography of a world of rust, where corroding structures evolve into new — and beautiful — patterns of life.

At 19, Helviofox adds his signature to the batida template that by now seems to have been in existence since forever. Such is the strength of this primordial fountain, a source of rejuvenation. Also within the literal family: Helvio cites brothers Dadifox and Erycox as main influences.

Curiosity for the sound made him go into production by the time he was 13. A couple of years later (2020) he became co-founder of TLS with E8Prod, Alberfox, DiionyG and other mates. His talent fully developed since then, opening a slight detour that became a new path parallel to the main road.

Lively basslines anchor the beat directly lifted from tradition and clearly channeled to the dancefloor. Strong, well rounded grooves, a spot-on sense of timing and tempo, elegant atmospheres, all part of Helvio's notion of arrangement and his perception of dance music boundaries, stretching them just enough to present a challenge but not as far as to disconnect head and feet and risk losing the floor.

This liminal space between experimentation and popularity is both dangerous and attractive. There is no one formula. Precisely why it still retains plenty of fuel for current and future generations to contribute personal visions.

Lisboa, 2025

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.

“Short Story” is the new album by Restive Plaggona. Eight new tracks of industrial techno beats and raw atmospheres. Over the course of 40 minutes the album takes us through different territories and landscapes of immense bass weight sound, sometimes dark and raw, sometimes droning and minimal, always energic.

Restive Plaggona is the music project of the Corfu-based artist Dimitris Doukas, known for his heavy and deep industrial soundscapes with subtle traces of darker forms of techno music. Dimitris is a particularly productive musician, having released more than a dozen records including his own imprint Several Minor Promises.

Operating at the intersection of club functionality and cerebral sound design, London-based artist Anoesis has steadily built a reputation for forward-thinking electronic music that feels as at home in the warehouse as it does in the headphones.

He’s back for the third time on Cyphon Recordings with the Idle Kosmos EP, another stunner from a master of the craft!

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.

Smoove returns with two unstoppable dancefloor heaters on this explosive new 45!

On the A-side, Push It Good delivers a brilliant rework of the iconic Push It, powered by heavy breakbeat drums and infused with vintage ’60s soul flavor — a guaranteed crowd-mover.

Flip it over and Smoove keeps the momentum going with Scandalized Lifetime — a masterful fusion that rebuilds sampled layers from Sugar Bear’s 1989 classic, interwoven with multitrack elements from Talking Heads. The result? Pure dancefloor gold — a certified champion!

Vinylneuauflage von Mobys Sampler "Early Underground" (1993), einer Zusammenstellung seiner Frühwerke unter zahlreichen zusätzlichen Pseudonymen wie Barracuda, Brainstorm, UHF oder Voodoo Child. Mit Ausnahme einer limitierten Vinylausgabe 2022 gab es diese Kollektion nur als CD, nie flächendeckend auf Vinyl. "Early Underground" enthält auch seinen Techno-Klassiker "Go" in der Original Version, laut Rolling Stone "einer der besten Tracks aller Zeiten". Moby hat die Techno/Electronic-Szene massgeblich beeinflusst, später den Popmarkt erobert und Acts wie David Bowie, Public Enemy, Ozzy Osbourne, die Beastie Boys und Daft Punk produziert und geremixt.

Smoove pulls out two classic Hip Hop joints from 1987 & 1990 and gives them a fresh reworking utilising original multitrack parts while adding new samples and blunted head snapping beats.

Paid In Pounds - lovingly recreated with additional parts , slapping bass, 80,s synth pads and vocal cut and paste snippets aplenty

Ghetto - Using multitrack elements from the original 1973 score, Smoove flips the beat and strips back the track to its groove while showing off production techniques

Nina Wilson, better known as Ninajirachi, is a 26-year-old Australian electronic producer who released her debut album I Love My Computer earlier this year via NLV Records. A concept record built on her connection with her PC, swiping between genres of EDM, tech-house, speed garage, dubstep, and hyperpop. Wilson builds on the legacy of early-2000s and 2010s Australian electronic artists like PNAU and Flume using technology as a medium, a motif, and a mirror for reflection. Between remixing Princess Nokia, Deadmau5 & The Neptunes, releasing on Nina Las V egas’ NLV Records and RL Grime’s Sable V alley, Ninajirachi has performed at Lollapalooza, EDC, Laneway, Listen Out, Splendour, Falls Festival, and more and toured with Mallrat, Charli XCX, Porter Robinson and Cashmere Cat.

No Strings Attached
Your Boys Are Biters (Dubman Version)
A.I. Double Crossed
The G.O.A.T
Daughters of Star Dust

The House OG comes thru with 5 brand new cuts of slippery 303 acid. These seriously infectous ear worm acid lines will have listeners bleep-blooping along, while hard hitting 909 drums make their feet and necks work.

Quite out-of-the-blue, a stunning debut album from Movement And Soul's Nonna Fab...
An exceptional musicality permeates the cuts here, from Claussell / Trent style Deep House meditations, to tripped-out Jazz influenced electronica akin to Mills' recent Spiral Deluxe output.
We're also immersed in Minimal Vision type early 90's dream-House vibes, a dash of Broken Beat and a beautiful beatless piece to wrap it all up.
Incredibly accomplished work from this young new talent !!

We are super excited to have the legend that is DJ Seduction on Vinyl Fanatiks. We have managed to secure his Obscure Records releases for repress, so make sure you check for the other release if you are buying this one.

This listing is for DJ Seduction - Feel So Good / Solid Bass.

Do I need to say much about Seduction really... part of the scene since the start and still banging out the tunes. You all know how influential he was to the direction of the music we love.

We are super excited to have the legend that is DJ Seduction on Vinyl Fanatiks. We have managed to secure his Obscure Records releases for repress, so make sure you check for the other release if you are buying this one.

This listing is for DJ Seduction - Pure Delight / Tonight.

Do I need to say much about Seduction really... part of the scene since the start and still banging out the tunes. You all know how influential he was to the direction of the music we love.

Mutable Ground is an album created through an exchange of recordings between Anna and Yannis. The project is rooted in the idea of sudden shifts in current events and the ever-growing emotions tied to loss, change, and tension. Each track title is inspired by unstable phenomena and objects, reflecting the potential for unexpected movement and the transitions of both nature and humanity. Repetitive, chaotic drum patterns, vocals that echo sounds of wounded or lost animals, hollow soundscapes reveal a sonic world where creation and destruction coexist—where people dance around fires, caught between fragility and resilience.

Mount Zulema is the debut release from Zulema Records. This 7-inch vinyl is limited to 200 copies.

The A side features the original mix of Mount Zulema, driven by the deep melodies of traverse flute performed by Óscar López (a.k.a. Marlo Skär), known for work with Lion Sitte, DJ Shayman, Aaron Nigel Smith, Makka Dubba, and Pelikan Hook. The B side delivers a dub version, where flute fragments echo through a syncopated steppas riddim.

Julius Papp’s “Excursions" series returns with six hot edits for the dance floor! An Integral part of the scene since the mid 90’s, Julius's “PappEdits” digs deeper into Disco, Afro and Jazz-Funk to rework them into DJ friendly gems. Essential!

If there is a year zero for the introduction of reggae music to Japan, you’d be forgiven for thinking it was 1979 when Bob Marley and the Wailers toured the country, trailed by an entourage of journalists, photographers and fans ready to spread the message of the music into all corners of Japanese society.

But the story of Japanese reggae is not a linear one, and the music that is collected on Tokyo Riddim 1976-1985 captures the moment J-reggae entered the broader public consciousness, merging commercial city pop style with an infectious backbeat, that has drawn comparisons with the emergence of Lovers Rock in the UK.

Rather than look directly to Jamaica, many producers and artists in Japan were inspired instead by the more approachable sounds of The Police and UB40, their reggae fix arriving pre-filtered through the lens of new wave pop from the UK. Playful and groovy, these album deep cuts have been overlooked for too long.

Among them are Miki Hirayama, the idol singer who borrowed the bassline from Bob Marley’s Natural Mystic on ‘Denshi Lenzi’, Chu Kosaka, who headed to Hawaii to cut the Jimmy Cliff-inspired ‘Music’ and Marlene, the Philippine songstress whose cover of Roberta Flack’s ‘Hittin’ Me Wear It Hurts’ owed much to her producer’s obsession with Sly & Robbie’s Compass Point sound.

Then there was Izumi “Mimi” Kobayashi, who enlisted the Babylon Warriors to perform on a dubbed-out version of her own track ‘Lazy Love’, the city pop-meets-new wave reggae sound of Miharu Koshi’s ‘Coffee Break’, Junko Yagami’s anti-apartheid deep cut ‘Johannesburg’ and Lily, whose ‘Tenkini Naare’ was produced by Ryuichi Sakamoto and closes out the compilation with a flourish.

While these stories may not always conform to neat narratives, they do provide a more accurate reflection of the indirect ways in which styles infiltrate one another and, in their naivety, have the potential to create something beautifully strange and entirely new. Previously only available in Japan, the tracks on this compilation are a testament to that curious alchemy.

Tokyo Riddim 1976-1985 is released on vinyl and as a full album download (no streaming), featuring original artwork by Japanese Fukuoka-based artist Noncheleee, whose cover pays homage to the iconic dancehall album art of Wilfred Limonious.

Released on 1st September, Tokyo Riddim 1976-1985 is part of Time Capsule's Nippon Series, a loose series of compilations exploring different musical scenes from Japan between the 1960s and 2010s.

Released by Fair Weather Friends Records, "Woven" marks a new chapter for the acclaimed Thessaloniki-based ensemble, featuring special guests Harris Lambrakis on ney and James Wylie on saxophone. Their collaboration expands the trio’s sound with new colors and textures, weaving together tradition and modern expression.

Its cover art is designed by the internationally celebrated and award-winning design studio Beetroot, giving the project a distinctive visual identity that mirrors its sonic depth.

This new quintet formation is a vision that Yako Trio have long aspired to bring to life. The collaboration with Lambrakis and Wylie adds new layers of texture and expression to the band’s music. The mystical, meditative tone of the ney intertwines with the emotive voice of the saxophone, expanding the trio’s sound into new territories. The result is a dialogue full of color, energy, and imagination — connecting tradition with modernism, East with West, and collective memory with contemporary creation.

The Meece are back! On this EP we have head honchos Stu & Nee on production alongside the Finnish duo Nervous & Anxious and also Darkus.

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.

Somewhere between jazz, progressive rock and cinematic soundscapes, Kabasse unfolds a world of intricate arrangements, bold sonic textures and heartfelt improvisation. The brainchild of Munich-based musician Sigmund Perner (also member of Carpet), this sextet blends composed structure with free exploration, layering lush harmonies, unexpected rhythms and a rich palette of wind, mallet and keyboard instruments. What began as decades of musical ideas-gathered quietly, never written down-found its shape through a group of close-knit musicians from Munich and Augsburg, including Perner's own son on drums. Together, they recorded in a live studio session, embracing risk and spontaneity. The result: a deeply personal debut album that feels both mature and raw, contemplative and gripping. Rather than demanding attention, the pieces invite it: About Sitting on Fences captures the art of waiting-for ideas to grow, evolve and resonate. Just like the name Kabasse, inspired by the calabash: a vessel, a resonator, a home for sound.

All football teams for some reason or other adopt a song and make it their own. In many ways to sing along to or chant over, as their team roll out onto the football pitch. Mal-one a big fan of the instrumental track, likes the way they can set and capture the mood. He has adapted one of his tunes ‘Rude Boy Shuffle’ to help push up West London’s finest team ‘Queens Park Rangers’. In true reggae style he has added the version dub excursion to its B-Side, for further
enhancement. We hope this reggae inspired ditty hits the mark and hopefully the back of the net.

Interdimensional exotica in the form of eccentric space jazz, sonic experimentation, Afro-centric rhythms, and ostinato electronic freakouts! Includes three platters worth of tunes pressed on orange vinyl, all curated by Irwin Chusid - who also co-wrote the liners with Brother Cleve - for all those with cocktail in hand and ready for a slice of Ra’s jetpack jetset recorded legacy!

American singer, songwriter and guitarist Boz Scaggs rose to fame in the 1970s with several top 20 hit singles in the United States. In 1976, he teamed up with a group of session musicians who would later form Toto and recorded his seventh album, Silk Degrees, which became a huge hit. The album reached #2 on the US Billboard 200, #1 in a number of countries around the world, and spawned three hit singles: “Lowdown,” “Lido Shuffle,” and “What Can I Say,” as well as the MOR standard “We’re All Alone,” which was later recorded by Rita Coolidge and Frankie Valli.

Silk Degrees is available as a limited edition of 750 copies on translucent blue coloured vinyl and includes an insert.

Inspired by Thomas Hardy"s poem Transformations, ETERNAL BIRTH is Eliza Marshall"s debut solo album and a powerful statement on connection, ancestry and renewal. The album traces the cycles of life from conception to death, revering the natural world as a living archive of our ancestors and exploring the unseen bonds that connect past, present and future generations. Across the record, Marshall creates a rich, cinematic soundscape blending classical, folk and world traditions with flutes, whistles, bansuri, spoken word, percussion and electronics. Produced by Ivor Novello Award recipient Graeme Pleeth, the album features an international line-up of world-class musicians including Ady Thioune and Ansumana Suso (Senegal / The Gambia), Drew Morgan and Donal Rogers (USA / UK), Johnny Kalsi (UK) and Lena Jonsson (Sweden). Influences range from Steve Reich to Paul Simon, while remaining rooted in Marshall"s distinctive compositional voice.

Born in East London to Jamaican parents, 28 year old Tiana Major9 was immersed in music from an early age, influenced by jazz, praise and worship, and the neo-soul sounds of Erykah Badu and Lauryn Hill. Their journey into music saw debut releases establishing their soulful voice as one of the UK's most enticing, featuring with Stormzy, Bryson Tiller, Smino and Unknown T, support slots with Victoria Monet, Jazmine Sullivan and Adele as well as a GRAMMY nomination for "Collide" from the Queen & Slim soundtrack. After two years of self-discovery, Tiana is set to release their long-awaited debut album in 2025; a rich tapestry of love, loss, and growth, recorded in LA, the UK, and Jamaica, filled with luxurious melodies, featherlight floating production and raw, grounded storytelling. As a queer Black femme artist, Tiana reclaims the term "diva" on the project, embracing it with pride in the spirit of icons like Beyoncé and Whitney Houston, and approaches this next chapter with a focus on classic artistry, longevity, and self-expression

Chris Liberator & Sterling Moss have produced some classics of the Acid Techno genre and now hope to add to that roster with this their first LP 'Culture Of Acid' on the seminal Stay Up Forever label. 8 banging tracks covering a multitude of Acid Techno/Techno styles including their collaboration with punk performing arts legend Doghouse on 'The Freaks' which has already been causing havoc on underground dancefloors.

Refracting beatifically through realities and mirages flickering along his aural parade route, Animal Collective"s Geologist rides the high country on a hurdy gurdy of many colours. Via the mystery science of musical engagement, we take his sonic kaleidoscope of encounters into our own experience as we listen. That"s the beauty of Can I Get a Pack of Camel Lights?, the debut solo transmission of the heart and soul and life and times of Geologist.

"What If" ist das neue Album von MAIIJA - eine eindringliche Auseinandersetzung mit Verletzlichkeit, Mut und den Emotionen, die uns verbinden. Marilies Jagschs Stimme bewegt sich zwischen Stärke und Zerbrechlichkeit und steht im Zentrum eines Sounds, der elektronische und organische Elemente fein miteinander verwebt.
Persönliche Erfahrungen, geprägt vom Leben mit Endometriose, treffen auf die Unsicherheiten unserer Zeit. Produziert von Peter Paul Aufreiter mit Gernot Scheithauer, Lukas Lauermann und Gästen wie The Zew, Oskar Mayböck und Paul Szelegowitz, ist ein Album entstanden, das berührt, tröstet und verbindet.
"What If" erinnert daran: Was auch kommt, wir sind nicht allein.

EN

"What If" is the new album by MAIIJA - a powerful exploration of vulnerability, courage, and the emotions that connect us. At its heart is Marilies Jagsch's voice, moving between strength and fragility, framed by a sound that blends electronic and organic elements.
Personal experiences shaped by living with endometriosis meet the uncertainties of our time. Produced by Peter Paul Aufreiter with Gernot Scheithauer, Lukas Lauermann, and guests including The Zew, Oskar Mayböck, and Paul Szelegowitz, the album is both moving and comforting.
"What If" is a reminder: whatever comes next, we are in this together.

2026 Repress

Nick Bike hops aboard his groove machine again for another tidy two tracker that does disco differently., The A-side is 'Yabba Dabba', which is an edit of a classic Scandi-pop gem with plenty of the original melodies reworked into a fatter groove with disco claps. It's full of fun but also nice chunky drums and subtle effects that draw out the magic and up the funk. On the flip side is a dub that is a little more airy and light, with a dreamier edge for the zoned-out moments, but also a reverb-drenched vocal. Two effective and charming cuts for grown-up floors and magic moments.

With her highly anticipated CiCi (Deluxe) album, Grammy Award-winning icon Ciara steps fully into her power; reclaiming her narrative with clarity, confidence, and the most dynamic soundscape of her career. A celebration of freedom, femininity, and evolution, CiCi is more than a return — it’s a full-on reinvention.

The Deluxe Edition expands her sonic universe even further — introducing four new songs that fuse sensuality, rhythm, and empowerment with global influences—featuring standout singles like the globally acclaimed “Low” (with Diamond Platnumz), “Ecstasy” (featuring Normani & Teyana Taylor), “How We Roll” (with Chris Brown), amongst other hits, the project seamlessly blends Ciara’s R&B and pop legacy with futuristic production, cross-continental energy, and unfiltered storytelling. Among them, “Low” stands as a defining moment — an electrifying fusion of Afrobeats and R&B that bridges Atlanta and East Africa in one hypnotic groove. The visual, rich with dance-floor heat and unapologetic sensuality, showcases Ciara’s signature choreography and global reach, earning millions of views and sparking an international dance challenge.

For over two decades, Ciara has defined what it means to be a cultural force — from trendsetting choreography to genre-shaping hits. With CiCi (Deluxe), she bridges generations, reignites her core, and welcomes a new wave of fans into her world. It’s bold. It’s intimate. It’s CiCi. Behind the scenes, CiCi also marks a powerful chapter in Ciara’s entrepreneurial journey. Through her self-founded, female-led Beauty Marks Entertainment, Ciara has created a home for her music, media, film, fashion, tech, and philanthropic ventures. BME empowers her to own her narrative, lead with vision, and build legacy — on her terms.

It's a wild tribute to the chain- smoking Moto- Man from 1938 -- a character with so much hubris, he makes HAL 9000 look like a bundle of anxious circuits. On the A- side, "Elektro Returns" blasts off as a Clavioline- driven stomper with a bouncy beat and feverish chord changes. Think JEAN JACQUES PERREY on a bad LSD trip. On the other side, "I Am Elektro '25", reinvents their 2019 track of the same name. This fuzz- drenched pounder could have made THE VENTURES' Nokie Edwards wish he'd been built as a robot! Back from the future and outta space - LES ROBOTS return from their intergalactic journey! Moog on!

Banda Black Rio is a Brazilian musical group from Rio de Janeiro that was formed in 1976. They were one of the first to undertake the fusion of Essential Brazilian Music with International Black Music. The songs are based on funk but also including samba, jazz and Brazilian rhythms. Compared to other soul-funk groups, such as Kool & the Gang and Earth, Wind and Fire, Banda Black Rio developed a particular style of instrumental soul music fusing together elements from a number of genres. With saxophonist Oberdan Magalhães, trumpet player Barrosinho, Cristovão Bastos on keyboards, Claudio Stevenson on guitars, Jamil Joanes on bass and Lucio Silva on trombone. Arrangements are from Cristovão Bastos and Claudio Stevenson. The album “Saci Pererê” was originally released in 1980.

2026 Repress

Shep' is a new project from respected UK veteran Jay Shepheard. He debuted it with the inaugural release on his People Pleasers label last year and backs it up with more heady fusions of dub, minimal and house. 'Smiling Beaver' has tight drum patterns and dusty hi-hats but nice woozy vocal smears and jangling synths that keep things organic. 'Honey By The Pound' is a perfectly aged tech house cut that throws it back to the 90s and hits like Fresh & Low, while 'Fur Burger' gets a little more direct but keeps a playful charm with tin-pot percussion, cheeky whirring motifs, bleeps and balmy vocals. The closer, 'Good Schit,' is another colourfully infused late-night tech house sound that balances motion and emotion perfectly.

Acoustic Bass: Nobuyoshi Ino
Acoustic Piccolo Bass: Isao Suzuki
Alto Saxophone: Sadao Watanabe
Arranged, Conducted, and Piano: Masahiko Satoh
Drums: Motohiko Hino
Guitar: Sadanori Nakamure

The beautiful new world that master bassist Isao Suzuki built with the support of a diverse group of musicians finally returns to life after nearly 50 years!

With his deep musical insight and collaboration among some of Japan’s finest jazz artists, Isao Suzuki created a work of timeless beauty that now resonates
once again in the modern era.

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.

A moonstone glow infuses Boy Golden’s Best of Our Possible Lives, an album that finds its flow state. A pensive, questioning collection, Best of Our Possible Lives is informed by the artist’s intuitive, observational worldview, beaming honesty and levity in its quest for emotional balance. Buoyant, smooth and disarming, the music of singer-songwriter/producer Boy Golden is charmingly undefinable, drawing lines from the Tulsa sound to North Carolina indie, New Jersey DIY to swampy New Orleans folk. From opening riff to swirling final notes, Best of Our Possible Lives ripples like sun on the lake, an invitation to seek each our own bliss. Produced by Robbie Lackritz (Feist, Bahamas, Weather Station), Best of Our Possible Lives brought Boy Golden to Lucy’s Meat Market in Los Angeles with Pino Palladino (D’Angelo), Gabe Noel (Father John Misty), Joseph Shabason (Destroyer) and Abe Rounds (Meshell Ndegeocello) alongside Church of Better Daze founding members FONTINE and Austin Parachoniak. RIYL - Mk.gee, Waxahatchee, MJ Lenderman, Plant & Krauss’ Raising Sand, Paul Simon

The fourth and final album by The Faces, originally released in 1973 was their only effort to top the UK albums chart and featured some of the band’s most popular tracks including the title track ‘Ooh La La’, ‘Cindy Incidentally’, ‘Glad and Sorry’ and ‘Just Another Honky’

Fred Ventura & S-Tone Inc. presents seventeen years after its original CD release, the STATE OF ART collection is back in print, this time on vinyl. It features all the demos recorded by the first line-up of the band between 1981 and 1982. Funky flashes with pop touches, somewhere between A Certain Ratio, Talking Heads, early ABC and Spandau Ballet, all self-produced with limited resources yet filled with the band’s unmistakable energy.

Seventeen years after its original CD release, the ART BOULEVARD collection returns on vinyl. This edition brings together all the demos and the tracks from their EP, recorded between 1985 and 1987. Creators of a distinctly New-Wave sound with a soft, graceful touch of Psychedelic Pop, they delivered a dark, hypnotic atmosphere shaped by influences such as The Sound and The Teardrop Explodes. Compiled by Fred Ventura for REtroACTive.

wHIMSY finds DESTIN CONRAD at his most free, playful, and musically adventurous yet. Blending smooth R&B with touches of jazz, neo-soul, and laid-back groove, the project feels like a late-night jam session with friends—loose, soulful, and full of feeling. Across the tracklist, Destin lets his voice glide effortlessly over warm production, exploring themes of love, curiosity, and self-discovery with a wink of humor and a lot of heart. Following the success of LOVE ON DIGITAL, wHIMSY shows Destin leaning deeper into his artistry, embracing imperfections, and finding beauty in the in-between moments. It’s intimate, imaginative, and unmistakably him. 1xLP, black vinyl, housed in a gatefold jacket and cut at 45 RPM.

In celebration of Arrow Films' new 4K restoration of the seminal hip hop film Wild Style, Azorean-Canadian producer and DJ Jorun Bombay steps up with a specially commissioned megamix cut across two sides of a 7”. Featuring recently discovered unreleased material, cut up with sections of the remastered soundtrack, expert turntablism, and added live instrumentation, Jorun shines a new light on this pioneering piece of hip hop history.

Having released music since the mid-‘80s on labels such as Soundweight, Diggers With Gratitude, and JBOR Records, Jorun also produces and scores music for film and television in the USA. He’s been hosting his influential DJ podcast ‘Funkbox Reload’ for over a decade, regularly showcasing his DJ and remixing skills, which have landed him several key production jobs, including for the documentary ‘Mixtape’ directed by Omar Acosta on Paramount Plus.

Kanyon (John) is a NYC based producer/dj who has cut his teeth in the underground US techno scene through raw live sets, and dynamic djing. Keeping the quality high with his signature no-bs style of production and performing, he has played live supporting legends like Steve Poindexter, DJ Hyperactive, and Francois K. His productions have garnered support from Ben Sims, Akua, Ron Like Hell, Kush Jones and many others.

The Duplex EP is a split record featuring John's house alias DJ John Brooklyn on the A side (A1, A2, locked groove) & techno alias Kanyon on the B side (B1, B2). Exploring NY house and trippy, dubby minimal techno respectively, Duplex EP is a heady start to 2026.

"At Your Pace" is the second full-length album from Berlin-based duo Modha - drummer/producer Dhanya Langer and multi-instrumentalist Max Scholl. Following their acclaimed 2023 debut "Through The Cycle", which tackled mental health and vulnerability through soulful, genre-blurring compositions, "At Your Pace" doubles down on their signature approach: raw textures, emotional honesty, and deep collaboration.

*2026 repress**

30 yrs (!) since it's initial release in '97... absolutely loaded EP of dancefloor heat from a true Disco romantic, Daniel Wang. Certified treasure from past, and one that won't leave the record bag.

Remastered with love and respect of the originals, and the originators.

HUGE TIP!

Bass: Sam Jones
Cello, Bass: Isao Suzuki
Drums: Billy Higgins
Electric Guitar: Kazumi Watanabe, Kazumasa Akiyama
Recording & Remix Engineer: Yoshikane Okada
Executive Producer: Toshinari Koinuma
Piano, Electric Piano, Fender Rhodes: Cedar Walton

A gem of a crossover album from Isao Suzuki, who has continued to lead the Japanese jazz scene as a bassist.
Capturing the vibrant energy of the 1970s, this record has been rediscovered by club music aficionados and rare groove collectors alike.
The album fuses Van Morrison–like bluesy grooves with deep funk and jazz sensibilities, along with a uniquely Japanese melodic sense.

David Zé - Mutudi Ua Ufolo / Viúva da Liberdade is a major milestone in Angolan music, intensely blendingsemba, rumba, and bolero, recordedat the height of the country"s liberation struggle. Both soulful and political, the album resonates far beyond Luanda, carrying a universal spirit akin to that of Bob Marley. Originally released on CDA with Conjunto Merengue, it captures David Zé at his creative peak. Sung in Portuguese and local dialects, it combines rhythmic elegance with deep commitment, weaving links between Afro-Brazilian and Latin American traditions. After his assassination in 1977, the album was banned for several years, before being reborn as an essential work of resistance and beauty. In 2008, his legacy found a new echo when Damian Marley and Nas sampled "Undenge Uami" on Distant Relatives.

Straight into 2026 with a new slab of heavyweight DUB in a sound system style. Two new tracks, one side featuring uplifting vocals from Nia Songbird, the other side is classic Vibronics style undiluted instrumental dub. This one one for all lovers of Iration Steppas, OBF, Channel One and all the Bass-heavy sound systems out there.
This release is pressed on 10” vinyl and presented in a full-colour printed SCOOPS label sleeve, making it a collector’s item as much as a sound system weapon.

Vibronics is one of the most established names in UK Dub/Reggae music achieving millions of views on YouTube, millions of Spotify streams and many tens of thousands of vinyl record sales. Collaborators include Michael prophet, Macka B, Iration Steppas, Soom T, Aba-Shanti and more.
Nia Songbird is a Leicester born UK vocalist, a rising star known for her work with Vibronics as well as the likes of OBF, Mr.Zebre and a host of worldwide Dub producers.

Kezia Gill hat sich schnell zu einer der renommiertesten Country-Künstlerinnen Großbritanniens entwickelt und wird für ihre kraftvolle Stimme sowie die Qualität und Ehrlichkeit ihrer Songtexte gefeiert. Sie ist bereits ausgiebig in ganz Großbritannien aufgetreten und hat bei Festivals in Europa, den USA und Australien gespielt. Dabei setzt sie weiterhin neue Maßstäbe und vertritt stolz die britische Country- und Roots-Musik auf der internationalen Bühne.

Allein im Jahr 2025 trat sie beim renommierten Country 2 Country Festival in London und Glasgow auf, gefolgt von weiteren großen Festivals (Splendour, The Long Road). Außerdem besuchte sie Frankreich, Dänemark und die Niederlande und war zuletzt Co-Headliner einer Tournee mit Imogen Clark in Australien. Die vorherige Single „Dublin's Outta Whiskey“ wurde von Bob Harris in der Country Show auf BBC Radio 2 vorgestellt und sofort bei Planet Rock und Absolute Radio Country in die A-Liste aufgenommen. Sie markierte auch den Beginn einer neuen Zusammenarbeit mit Snakefarm, der weltweiten Heimat von Marty Stuart, Mark Morton und Austin Meade und dem britischen Label für einige der größten Namen der Country-Musik in den USA und Kanada (Eric Church, Brothers Osborne, Darius Rucker, Josh Ross usw.). Die Single „If Heaven Has A Honkytonk”, eine von Kezia’s Lieblingskompositionen wurde von der US-Künstlerin Alyssa Bonagura mitgeschrieben, produziert und gemischt und ist eine von Herzen kommende Hommage an das reiche Erbe der Country-Musik. Kezia wird im Februar 2026 auch eine Headliner-Tournee durch Großbritannien starten, unterstützt von Bonagura.

„All On Red“ ist ein mutiger Neuanfang in der Karriere einer Künstlerin, die bereits Auszeichnungen und Nominierungen der British Country Music Association („Entertainer of the Year“ / „UK Female Artist of the Year“) erhalten hat und sich für ein Musikgenre einsetzt, das vor allem in Großbritannien stark im Kommen ist.

2LP-Erstauflage auf farbigem Loser-Vinyl: "BIO PETROL" Disk 1 und "MAGENTA" Disk 2. "¡Simpatico! (Remastered and Expanded)" bringt das lange vergriffene zweite Album von Velocity Girl aus dem Jahr 1994, "¡Simpatico!", mit einem superfrischen Mastering und einer Menge Bonus-Tracks aus der "¡Simpatico!"-Zeit endlich wieder raus. Das Originalalbum klingt besser als je zuvor und wird durch ein komplettes Album mit B-Seiten und Raritäten ergänzt. Velocity Girl wurde um 1989 an der University of Maryland außerhalb von Washington DC gegründet, mit dem Gitarristen Archie Moore (Black Tambourine), dem Gitarristen Brian Nelson (Black Tambourine), dem Schlagzeuger Jim Spellman (Starry Eyes, Foxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), dem Bassisten Kelly Riles (Starry Eyes) und der Sängerin Sarah Shannon (Starry Eyes, The Not Its). Die Band kombinierte englisch inspirierten, lauten Shoegaze-Fuzz mit rauem US-Indie-Rock und klassischem Pop-Songwriting im Stil der 60er Jahre. Eine Killer-Single auf Slumberland und ununterbrochene Tourneen erregten die Aufmerksamkeit der Indie-Rock-Kenner, und bald darauf unterschrieb Velocity Girl einen Vertrag mit Sub Pop auf einer Motorhaube in Hoboken, New Jersey. Nach der Tournee zur Unterstützung ihres Debüts ,Copacetic" verbrachte die Band den größten Teil des Jahres damit, eine Reihe von Songs für ein zweites Album zu schreiben. So hatten sie noch nie gearbeitet - es war eine neue Erfahrung, Zeit und Budget (vom Label!) darauf zu verwenden, ein Album zu produzieren, das kein selbst produziertes Punkrock-Studioalbum war. Nachdem sie ihr neues Material monatelang im lauten Stil von ,Copacetic" gespielt hatten, waren die Bandmitglieder von den Songs begeistert, wollten sich aber von der rauen, amateurhaften Atmosphäre ihrer früheren Alben lösen. Und ihre Einflüsse waren diesmal etwas anders: weniger My Bloody Valentine und Wedding Present, mehr New Order. Jemand bei Sub Pop brachte die Band mit John Porter zusammen, dem ehemaligen Mitglied von Roxy Music, der The Smiths, Billy Bragg, The Alarm und eine Reihe anderer Acts der 80er Jahre produziert hatte. Sie trafen sich während einer Tournee in Los Angeles. Er erklärte sich bereit, das Album in einer dreiwöchigen Session in den Cue Studios in Falls Church, Virginia, zu produzieren. Er war genau das, was die Band brauchte: ein Redakteur, Arrangeur und Zuchtmeister. Als er gnadenlos jeden unnötig wiederholten Takt herausschnitt, merkte die Band, dass sie sich zu einem klareren Sound hingezogen fühlte und fast komplett auf die laute Gitarre verzichtete, zweifellos beeinflusst durch Porters Präsenz. Velocity Girl waren super zufrieden mit dem Ergebnis, und ,¡Simpatico!" kam im Juni 1994 raus. Diese erweiterte Neuauflage enthält eine Reihe von Songs, die einige Monate nach den Albumaufnahmen in den Inner Ear Studios in Arlington, Virginia, aufgenommen wurden. Die Sessions lieferten spielerisch-experimentelle B-Seiten für die Singles des Albums, zwei Cover-Songs (das New-Order-Cover ,Your Silent Face" und ein Beach-Boys-Cover) für eine Single auf Merge Records und einen Compilation-Track.

Nachdem Ásgeir jahrelang mit Übersetzern wie John Grant zusammengearbeitet und die Poesie seines Vaters, Einar Georg Einarsson, vertont hat, betritt er nun neues Terrain: Zum ersten Mal in seiner langen und gefeierten Karriere hat er die Texte komplett selbst verfasst.

Ásgeir wird seit Langem für seinen detailreichen Folk-Pop, die opulente Produktion und sein sehnsüchtiges, gefühlvolles Falsett gefeiert. „Julia“ markiert eine Wende – nicht nur hin zu lyrischer Eigenständigkeit, sondern auch zu kathartischer Direktheit, mit Songs, die nicht nur meisterhaft vorgetragen, sondern auch durchlebt wirken. „Das war irgendwie das erste Mal, dass ich die Texte völlig allein geschrieben habe“, erzählt er. „Es war beängstigend. Ich versuche immer noch, mich darin zu finden. Aber ich habe versucht, mich zu öffnen, und habe in diesem Prozess viel gelernt. Es war auf jeden Fall therapeutisch für mich.“

Dieses neue Gefühl der Verletzlichkeit zieht sich durch die zehn Stücke des Albums, die über einen Zeitraum von fast zwei Jahren geschrieben und aufgenommen wurden. Viele der Songs entstanden zunächst auf der Gitarre, wobei Ásgeir auf Schlichtheit setzte und Melodie, Klarheit und Bedeutung in den Vordergrund stellte. Die Produktion, gemeinsam mit seinem langjährigen Weggefährten Guðm. „Kiddi“ Kristinn Jónsson entwickelt, bleibt organisch und zurückhaltend – und gibt so Ásgeirs Stimme, und vor allem seiner Stimme als Songwriter, den nötigen Raum.

Der aus Nashville stammende Cellist Nathaniel Smith, den Ásgeir als „Zauberer“ beschreibt, steuert hier und im gesamten Album atmosphärische Klangteppiche bei. Mit improvisierten Melodien verleiht er den Stücken Leben und Tiefe – auf eine Weise, die Ásgeir sich zuvor nicht vorgestellt hatte.

Belgian electronic duo schntzl, known for their fearless live improvisation and playful fusion of jazz, Dada, and ’90s trance kitsch, invite listeners to hear sound anew with their latest album.



On their new album Fata Morgana, an illusory trip of emotion and confrontation, Belgian duo schntzl conjure mirages of fleeting realities while diving headfirst into a trance-driven, confrontational digital sound.



Fata Morgana unfolds like a hyper-visual journey, constructing enveloping dreamworlds through trance-infused live electronica. Yet trance here is present not in form but in essence—an intensity, a state of being. It may stir the same emotions as club music, but schntzl express them in a language entirely their own. Kitsch loops, improvisation, and distortion bend their music into illusions that dissolve and reappear, creating sonic worlds that never settle into habitual patterns.

Als Alter Ego der Punkrock-Helden The Bronx verkörpert Mariachi El Bronx weiterhin denselben Ethos, der ihre Gründung inspirierte – kreative Grenzen zu erweitern und gleichzeitig die reiche hispanische Musik und Kultur zu würdigen, die sie in Los Angeles seit jeher umgibt.
Die Themen des Albums sind geprägt von widersprüchlichen Emotionen wie tiefem Verlust und überwältigender Liebe.
Mit drei gefeierten Alben hat die achtköpfige Band bereits mit den Foo Fighters und den Killers die Bühne geteilt, ist überall aufgetreten, von Letterman bis NPRs Tiny Desk, und hat Festivals von Coachella bis Glastonbury zum Kochen gebracht. Sie haben auch Titelsongs für Weeds („Little Boxes“) und Aqua Teen Hunger Force („Aqua Something You Know Whatever“) aufgenommen.

Trotz fast zwei Jahrzehnten Erfolg betrachten sich Mariachi El Bronx immer noch als lebenslange Schüler dieser Kunstform. Diese Ehrfurcht überträgt sich auch auf ihre ikonischen Charro-Anzüge, die oft fast genauso viel Aufmerksamkeit auf sich ziehen wie die Musik selbst.

The two distinct faces of the vinyl trace the boundary between life on earth and what lies beyond.

Written, performed, recorded, and mixed by Sissi Rada,

with cherished appearances and collaborations from Charis Karantzas, Jay Glass Dubs, Oï les Ox, and Theodor Milkov.

The final instalment in Clergy's 10 year series featuring Function, VSK, Roll Dann, Abstract Division, Felicie and Cleric.






f B3 Cleric - Unwritten Future Cleric 10/10 Remix

The album begins with the title track (Blossom) a light and immediate song composed by Besson. Also composed by Besson are 'Kyoto dans la brume', inspired by a stay in Japan's imperial city, and 'La Course', originally written for three slapstick short films by Fatty Arbuckle starring Buster Keaton. Suarez's composition ' Sans laisser d'adresse' , was initially written for a stage play titled ' Ici Nougaro' , and his ' Le jour J a l'heure H' for a film by director Jean- Henri Meunier. 'Les Tuiles Bleues' is a nod to Suarez's late friend, Malagasy accordionist and singer, Regis Gizavo.

There are also three covers on the album, 'Answer Me' by Gerhard Winkler and Fred Rauch, a composition recorded by Keith Jarrett during his 2016 European tour; Besson cites Jarrett as a major influence. There is also Carla Bley's ' Ida Lupino' and Pat Metheny and Lyle Mays' ' Au Lait'. These and their own compositions result is Blossom' ', a highly accomplished album on which trumpet and accordion shine in equal measure.

Gemastert und restauriert von den Original-Master-Transfers durch Patrick W. Engel bei TEMPLE OF DISHARMONY im Dezember 2021. Geschnitten von SST Germany auf Neumann-Maschinen für optimale Qualität auf allen Ebenen. Die ultimative audiophile Neuauflage dieses zeitlosen Thrash-Klassikers! Infernäl Mäjesty aus Toronto, Kanada, formierten sich 1986 zunächst unter dem Namen Overlord; ihr erstes Demo brachte ihnen im Underground und bei der einschlägigen Presse gleich genug Bekanntheit ein, um einen Deal mit Roadrunner Records an Land zu ziehen. Das selbstproduzierte Debüt „None Shall Defy“ wurde 1987 veröffentlicht und hat sich seitdem zu einem veritablen Kultklassiker gemausert. Thrasher in der ganzen Welt betrachten „None Shall Defy“ als eines der besten Thrash-Alben überhaupt, und als die beste Kanadische Scheibe auf ihrem Gebiet – sengend, aggressiv und ultra-heavy; trotzdem hat der Infernäl Mäjesty-Erstling bisher nie die gebührende Aufmerksamkeit erfahren. Das muss sich ändern, und dank des Re-release auf High Roller Records gibt es nun die Chance, dieses Stück Thrash-Geschichte (wieder) zu entdecken. Wenn man sich vor Augen hält, dass Infernäl Mäjesty sich nur ein Jahr vor Erscheinen des Albums gegründet hatten, werden seine hohe Qualität, das große musikalische Können und die extrem durchdachten Songstrukturen noch ein Stück beeindruckender. Während der Sound das Albums vielleicht schon auf vorbildliche Weise das Harte, das Klare und das Finstere ausbalanciert, wurde es von Patrick W. Engel (Temple of Disharmony) noch einmal sorgfältig remastered, um das Beste aus “None Shall Defy” herauszuholen. Was Reviewer niemals zu erwähnen vergessen ist, wie unglaublich evil das Album ist; nicht nur was den Sound angeht, sondern auch in der Art und Weise, wie die Band ihre Songs rüberbringt – es ist technisch, aber die Technik ist stets songdienlich; die Riffs werden ohne Ende variiert, es herrscht definitiv kein Mangel an brillanten Ideen, an komplexen Tempiwechseln und an starken Soli.

Darüber hinaus sind die Lyrics schön finster und streckenweise extrem blasphemisch – was will man mehr?

Bass: Takashi Mizuhashi, Teruo Nakamura
Drums: Bruno Carr
Piano, Electric Piano: Herbie Hancock

Recorded on February 22, 1977, in New York, this rare session captures Japan’s proud bassist Takashi Mizuhashi performing alongside Herbie Hancock.
Throughout the album, Mizuhashi’s deeply resonant bass tone and melodious phrasing shine, making this a quintessential “international” Japanese jazz classic.

Shake Stew ist mehr als eine Band - sie ist ein Ereignis. Seit ihrer Gründung durch Bassist und Komponist Lukas Kranzelbinder umweht die Formation ein Hauch von Magie und Energie, der sich live in eine hypnotische Kraft verwandelt. Zwei Schlagzeuge, zwei Bässe und drei Bläser erzeugen einen Sound, der zwischen tranceartigen Basslinien, eruptiven Grooves und fragilen Klanggebilden oszilliert. Die Jury des Preises der deutschen Schallplattenkritik sprach von "etwas Kultischem", das den Jazz bereichert, während MOJO begeistert: "Shake Stew twists, blisters and burns like a fevered dream!" Ob im Club oder im Wiener Konzerthaus - die Band zieht alle in ihren Bann. Mit dem Jubiläumsprojekt TEN ONE TWO öffnet sich Shake Stew noch weiter: neue Klangfarben, freie Improvisationen, Kooperationen und eine Besetzung, die mit Yvonne Moriel eine aufregende Stimme integriert. Nach zehn Jahren, zahllosen Konzerten und internationalen Auszeichnungen ist klar: Shake Stew definiert Jazz als lebendige Kunstform - kompromisslos, visionär und voller Dynamit.

With Spam Vol.2, KVR - Niels Broos, Dries Laheye & Lander Gyselinck - delivers its second statement.



Recorded in a beautiful studio tucked beneath a bridge in Rotterdam, the album distills a week of free improvisation into vivid, shape-shifting pieces. A beautiful chaos of bass guitars, synths stacked on clavs, drums and machines to get lost in, in between coincidence and intention. Jungle rhythms, elastic time, open structures and organic textures come together in a lively sound that feels playful as well as restless and deeply intuitive.



KVR is Niels Broos (Jameszoo, Binkbeats) on keys, Dries Laheye (STUFF., Selah Sue) on bass and Lander Gyselinck (STUFF., Lander & Adriaan, BeraadGeslagen) on drums.



For fans of Thundercat, Hudson Mohawke, The Comet Is Coming, Jameszoo, etc.

Bat For Lashes’ faszinierendes Debütalbum „Fur and Gold“ erscheint 2026 neu gemastert in den Abbey
Road Studios. Das Album, das 2006 erstmals veröffentlicht wurde, präsentierte Natasha Khans visionäre
Mischung aus Mythos, Emotion und cineastischem Pop und erntete breite Anerkennung sowie eine Mercury
Music Prize-Nominierung. Mit Hits wie „What’s a Girl to Do?“, „Horse and I“ und „Trophy“ ist „Fur and
Gold“ bis heute ein wegweisendes Zeugnis von Fantasie und Kunstfertigkeit.
Diese Neuauflage ist als schwere 180g schwarze Vinyl-LP des Originalalbums, sowie als Deluxe-DoppelCD-Set erhältlich. Die Doppel-CD enthält neben der remasterten Version eine Bonus-CD mit bisher unveröffentlichten Demos und Live-Aufnahmen der BBC. Ein zeitloses Debüt, wunderschön neu interpretiert
für eine neue Generation von Hörern.

High Roller Records, reissue 2026, multi-splatter vinyl, ltd 500, revised & corrected back cover, 425gsm heavy cardboard cover, insert printed on uncoated paper, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

Es ist durchaus eine kleine Sensation, dass dieser Tage ein weiteres MORBID SAINT-Album erscheint, also mehr als 30 Jahre, nachdem ihre zweite LP „Destruction System“ aufgenommen, aber bis zu ihrer offiziellen Veröffentlichung vor kurzem nicht fertiggestellt worden war. Allerdings war die Aussicht, neue Musik in ihrem einzigartigen Death/Thrash-Metal-Stil zu schreiben, einer der Hauptgründe dafür, dass sich die Kernmitglieder 2010 überhaupt wieder vereinten. Während ihrer ersten aktiven Phase von 1984 bis ’94 konnte die Band ihr Potenzial längst nicht ausschöpfen, insbesondere im Hinblick auf ihre bahnbrechende erste Platte „Spectrum of Death“ (1990). Das neue Werk entstand im kreativen Fernaustausch, wobei sich alle Mitglieder gegenseitig Ideen zuspielten, um ein Breitseite aus zehn Extrem-Metal-Tracks abzufeuern, wie man sie heute kaum mehr hört – absolut verheerend und doch musikalisch anspruchsvoll, Grenzen überschreitend, aber nicht auf Teufel komm raus, und abgerundet von einem Artwork des legendären Ed Repka (Death, Megadeth). „Swallowed By Hell“ wurde von Chris Djuricic (Num Skull, Disinter) im The Belle City Sound Company aufgenommen und erhielt den letzten Schliff von Scott Elliott in den Chernobyl Studios. Es riecht nach alter Schule, steht aber mit beiden Beinen im Hier und Jetzt.