Search:the sun

A command across genres has distinguished Yasushi Ide’s work as a DJ and producer since emerging from the multiscene spawning big bang that was Tokyo’s highly influential club milieu of the 1980s. His productions draw variously from hip-hop, dub, house, punk, jazz dance, exotica and electronic music - and at their most expressive, synthesize sensibilities within a single track. The respect Ide’s earned is well evident in the impressive roll call of collaborators he’s accrued over the years - Masters At Work, Tom Verlaine, Don Letts, James Chance, DJ Krush, Pharaoh Sanders, U-ROY, and Bongo Herman, just to name a legendary few.



Now available for worldwide distribution from Love Injection Records in both digital and 7-inch 45 vinyl formats, the Yasushi Ide “A Place In the Sun (Kaoru Inoue Remix)” is paired with the equally gorgeous “A Place In the Sun (Dub).” On the former, Inoue’s treatment largely strips away the track’s beats, anchoring it to a subtle percussion pulse that emphasizes the composition’s irresistible melodic qualities. The latter finds Yoko Ota at the controls restoring and pushing reverb-soaked drums to the forefront of the mix, accentuating Ide’s affection for the sound system aesthetic while exercising just the right amount of spacial arrangement flourishes to inject some brawn amidst the beauty.



These serendipitously rediscovered renditions of a back catalog deep cut are just the latest examples of Yasushi Ide’s artistic reach. In addition to recording such acclaimed albums as 2020’s Cosmic Suite and its 2022 sequel (for which Love Injection has remixed a track), his work has spanned music supervision of some 200+ compilations for major labels, artist management, his Grand Gallery shop/gallery proprietorship, and books showcasing the depth of his archival sensibilities, including vintage t-shirt and ephemera curation. Perhaps most inspiring, however, is that Ide is still winning new appreciators and collaborators in unexpected ways four decades into a revered career that continues to evolve and expand.

Mr. Fingers second part of the Around the Sun series of albums!!! Larry Heard's (under his most notable monniker) continuation on the path from last years "Around the Sun part 1".

Encompassing all his influences from Jazz, R&B to Techno and Ambient these lush tracks with a feel that no one else expresses quite like him. No need to further elaborate... Larry Heard at his finest.

"Flowers On Monday release their "Pirates Of The Sun” EP on In Waves."

Valley of the Sun's sixth studio LP, "The Blacklight Sessions", is a deep dive into the sonic roots of the band who continues to defy genre norms. With tracks ranging from blues jam to psychedelic desert trip to driving stoner riffage, the band continues to demonstrate that their music knows no bounds, nor should it.

Hot Pink Vinyl. Valley of the Sun's sixth studio LP, "The Blacklight Sessions", is a deep dive into the sonic roots of the band who continues to defy genre norms. With tracks ranging from blues jam to psychedelic desert trip to driving stoner riffage, the band continues to demonstrate that their music knows no bounds, nor should it.

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

2026 Repress

For the better part of two decades, the acclaimed band Calexico has crossed musical barriers, embracing a multitude of styles, variety in instrumentation, and well-cultivated signature sounds. With their forthcoming record Edge of the Sun, out April 13th via City Slang, they take inspiration from a trip to a place surprisingly unexplored by the band before in Mexico City, and with the benefit of many friends and comrades to help guide the way.

Encouraged by the experience, the guest list grew to include Ben Bridwell (Band of Horses), Nick Urata (Devotchka), Carla Morrison, Gaby Moreno, Amparo Sanchez, multi-instrumentalists from the Greek band Takim, and Neko Case. Burns' brother John Burns lent a hand to some lyrics and songwriting, and the band's keyboardist, Sergio Mendoza, stepped up to co-write and arrange certain songs, ultimately co-producing the album along with Burns, John Convertino, and longtime associate Craig Schumacher.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

Oh yes this timeless sun track is now for the first time on 7” vinyl.
Sons and Daughter of Lite first release back in 1977 on a private press release, spiritual jazz vocals Our A side Part one – Super mellow dreamy killer vibes and great vocals
B side - Part two – Opens with the bass groove and then off uplifting vocal and horny, pure sunshine Jazz. Must have 45

"Follow the Sun" are Elisa Pambianchi, Fabio "Produkkt" Sisti and Luciano Lamanna. Hailing from the Italian capital, they deliver 5 dark, enclosed, hypnotic tracks. Fast-paced, slow-burning sounds that creep forward with tension. Industrial and intimate atmospheres, like being alone on a somber dancefloor where loudness presses in and alarming figures crawl closer. Mick Wills and Blackmoon77 add a monstrous, clockwork remix of the title track, perfect for darkrooms.

With its fourteenth release, Barro continues cementing its identity as a techno label unafraid to take chances on fresh voices. This latest offering features Ari Jani —a multifaceted young producer whose unsettling soundscapes pull from a wide spectrum of influences, from EBM's mechanical pulse to harsh noise's abrasive textures.

Ari Jani's early work leaned toward rapid-fire, unrelenting techno, as heard on his SilentSøuls release. Beginning in 2022, his sound underwent a metamorphosis, shifting toward decelerated tempos laden with heavy atmospheres and industrial undertones—a transformation clearly audible in Reject Humanity, Embrace Nonexistence, his EP for Valhalla Records.

His Mass Memory project sees Ari navigating different sonic territories, centering on noise, ambience, and melody, yet never losing sight of the club's pulsing heart.

Includes Groof remix.

Nach fast 30 Jahren kehren die Legenden von Sublime am 12. Juni mit ihrem neuen Album „Until the Sun Explodes“ zurück, erstmals mit Jakob Nowell als Frontmann. Das bei Atlantic Records erscheinende Werk kombiniert den klassischen Sound der Band mit neuen Einflüssen und featured namhafte Gäste wie H.R. von den Bad Brains oder Fletcher Dragge von Pennywise. Die gleichnamige Lead-Single ist eine bewegende Hommage Jakobs an seinen verstorbenen Vater Bradley Nowell.

qu"s debut album where did the sun go? presents his sonic transformation from a producer to a producer artist in his own right, not only engineering beats, but writing songs, arranging instrumentation and directing his own vision onto a full length album. where did the sun go? features prominent artists like Jay Prince (UK) and Serious Klein (GER), emerging artists Josh Kye (UK) and Malaya (US) as well as Kabul Fire artists agajon and Ninja Kidsoul. on 15 tracks qu proves his versatility in creating an alternative sound that is inspired by the music traditions of hiphop, rnb & jazz.

Aho Ssan ist der Künstlername von Désiré Niamké, einem in Paris lebenden Komponisten und Elektronikmusiker, der sich im Laufe des letzten Jahrzehnts als zentrale Figur an der Schnittstelle zwischen experimenteller Elektronikmusik, Klangforschung und zeitgenössischer Komposition etabliert hat. Zu seiner Diskografie gehören ,Simulacrum" (Subtext, 2020), ,Limen" mit KMRU (2022) und ,Rhizomes" (Other People, 2023) mit Moor Mother, Angel Bat Dawid und clipping. Er trat bereits im Lincoln Center (NYC), im Muziekgebouw (Amsterdam), in der Krakauer Philharmonie, bei Atonal Berlin, CTM, Rewire und Sonic Acts auf - und war Support von Autechre im Le Trianon (Paris, 2024). Aho Ssans künstlerisches Schaffen lässt sich als hochpräzise Klangskulptur beschreiben, in der gewaltige Ströme digitaler Klänge in rohe Texturen zerfallen, um die Themen Identität und Chaos zu erforschen. The Sun Turned Black basiert auf field recordings, die während einer Reise nach Ghana, der angestammten Heimat von Aho Ssan, gemacht wurden. Aufgebaut um einen klanglichen Dialog mit der international gefeierten Geigerin ASIA, wobei alle perkussiven Elemente bewusst weggelassen wurden, nimmt das Album einen einzigartigen Platz zwischen Ambient, Noise und elektroakustischer Musik ein. Das Projekt wurde ursprünglich von der Maison de la Radio für das Hyperweekend-Festival in Paris in Auftrag gegeben, das Album in Coop mit Subtext Recordings aus Bristol veröffentlicht.

Stern Records is proud to announce the first-time reissue of the self-perpetuating plunderphonic classic, Right Into The Sun by Pol Maló.

Originally released on CD-R in 1999 by Cha-Bashira Records Tokyo under the alias "Orange Head," this new 2xLP edition features fully remastered audio and new cover art by Pol. The release also includes a special riso print edition of the original artwork.

Recorded using 3-6 portable record players, plus one MD player on tracks 2 and 4. All records used were melted, warped or broken by briefly placing them on a gas heater. The records were randomly altered this way to allow the styluses to find and stay in their own loops themselves on the wavy record surfaces. No samplers or editing - live aleatoric playback recordings only.

Raw, cacophonous kinetic sound!

Pol's thoughts on the making of the album:

"Difficult to say what it was that made me interested in making music or actually audio art. In comparison, making visual art had always been there for me. But meeting several now generally known musicians as a student certainly left a very deep impact on me. While doing a DIY label and later kind of music store too, I became fascinated in accidental music, experimental sounds and all kinds of improvisations and bricolages. I think I wanted to try to make sound pieces from scratch, with the bare minimum and resulting in a way in found music. Rhythm and repetition seemed to go well with random audio coming from broken things. This way, I thought, I could create new meaning out of something existing by letting it come apart and back together again anew almost by itself. The album "Right into the Sun", I feel, can be listened to and read on various levels and I hope playback of it in all kinds of environments now will add to the original "spark" of it."

The third release on Children of the Sun welcomes Argentinian mastermind Dani Labb.

We are delighted to present this EP, a body of work that perfectly captures Dani Labb’s sonic wizardry. Through a collection of versatile tracks that engage the mind while retaining a deep emotional undercurrent, the record resonates deeply with the ethos behind the COTS aesthetic.

Each piece unfolds with its own character, blending hypnotic rhythms and emotive textures into a journey that reflects both the artist’s vision and the spirit of the label.

Iris Paralysis are a London / Bielefeld based synth duo. Recorded 2025 at Psyche Simulator, Bielefeld & Terminated Envy, London.

Orange emerged from Antwerp's vibrant art and music scene in 1966, evolving through lineup changes to become one of Belgium's most compelling underground rock bands. By 1969, the band had solidified its identity and made their national television debut, showcasing a blend of psychedelic and melodic rock.
Later that year, with Hugo Van Camp joining Marc Van Geystelen (lead guitar), Norbert De Lange (guitar/vocals), and Swa De Houwer (bass), the band recorded their debut single "The Sun" b/w "Wait Until Sunrise" at Decca Studios in Brussels - a dark, brooding masterpiece that has since earned cult status.

Calvin Love is a Canadian singer-songwriter, composer, and producer from Edmonton, Alberta, now based between Edmonton and Los Angeles. With a sound that blends noir-tinged folk‑pop, crooning rock ’n’ roll, and cinematic storytelling, Love has become a distinctive voice in the international indie landscape. His music has drawn comparisons to Roy Orbison, Leonard Cohen, and Bryan Ferry, with Aquarium Drunkard describing his work as “a crestfallen soundtrack of near‑escape… like Chris Isaak trapped in a David Lynch film.”
Since his debut New Radar (2012), Love has released a run of acclaimed records including Super Future (Arts & Crafts, 2015), Highway Dancer (2018), Night Songs (2020), and Lavender (2021). Along the way, he has collaborated with renowned producers and artists such as Gus Seyffert (Beck, Roger Waters, Black Keys) and the late Richard Swift (The Shins, Damien Jurado), while earning coverage from outlets including SPIN, The Fader, Interview Magazine, and Stereogum.
A seasoned live performer, Love has toured extensively across North America, Europe, and Asia, appearing at festivals such as SXSW, Pop Montréal, Strawberry Festival (China), Endless Daze (South Africa), and Sled Island. He has shared stages with Morrissey, Mac DeMarco, Courtney Barnett, Jonathan Wilson, The Divine Fits, and Jim James, performing in iconic venues like Carnegie Hall, The Troubadour, and Hollywood Forever Cemetery.
In early February 2026, Love releases his seventh studio album, Throw My Shadow To The Sun — a bold, visceral statement that captures him at a new creative peak. Self‑produced and recorded by Reverend Baron at The Ladder Factory in East Los Angeles, the album channels raw, unfiltered energy into a late‑night rock ’n’ roll atmosphere built on moody grooves, gritty textures, and Love’s unmistakable croon.
The sessions brought together a formidable live band: Josh Da Costa (Drugdealer) on drums, Brent Randall (Vanity Mirror) on bass, Davey Chegwidden (De La Soul, Ghostface Killah, Raekwon, Too Short) on percussion, Jeremy Brian Gill (Curtis Harding) on tenor saxophone and flutes, Daniel E. Garcia (Reverend Baron) on lead guitars, and multi‑instrumentalist Laena Myers (White Fence, Orville Peck, El Mariachi Bronx) on violin.
From the hypnotic sway of “Underneath It All,” to the reverb‑drenched sax of “Forever Feels,” to the heavy sludge‑rock crush of “Setting Sun,” Throw My Shadow To The Sun draws from the lyrical storytelling of Dire Straits, the laid‑back blues of JJ Cale, and the timeless melodic drama of Roy Orbison. The result is a cohesive, lived‑in record that transforms fleeting moments and late‑night impressions into something enduring and cinematic.

‘Under The Sun’ is the new album from The Wanton Bishops, a band by every definition of the word, but primarily the vision of one eclectic man – Nader Mansour. The album is an exploration of identity and ultimately a love letter to his hometown Beirut, capturing Nader’s kaleidoscopic life journey through a melting pot of musical influence; primarily gutsy blues-rock but with tinges of psychedelia, surf-rock, dance, as well as the Lebanese influences of Nadar’s hometown. “It’s Lebanese Rock”, adds Nader, “a new genre, a blueprint for future music. It’s not fusion, it’s confusion, it’s not world music, it’s rock music from the world, for the world”.

Following the release of The Wanton Bishops’ debut album ‘Sleep With The Lights On’, a Delta blues record inspired by the likes of RL Burnside and Muddy Waters, Nader journeyed to America’s deep south to experience the roots of Mississippi blues. The experience spawned a musical epiphany for Nader, as he returned home to Lebanon a changed man with a newly inspired musical vision. Nader’s music slowly emerged from the Delta swamps into the Lebanese mountains, and the music of The Wanton Bishops began to reflect Nader’s homeland, his people, and his personal journey. To quote Nader, "I’m finally getting to the core of the music I want to create, and that core is scarily confused, yet uniquely special, much like our own identity as Lebanese people living in Beirut, that eternal cultural crossroad."

Hotel Fiction is an indie rock band from Athens, Georgia comprised of Jade Long (vocals, keys, guitar), Jessica Thompson (vocals, lead guitar), Aaron Daugherty (lead guitar, synth), Aidan Hill (bass), and Gideon Johnston (drums). Their sound has often been described as genre-fluid, with indie, pop, folk, and rock influences. They have become known for their honest lyricism, haunting harmonies, and electric live shows.

Deluxe edition of Hotel Fiction's 2023 release Staring At The Sun. Features two new songs as well as alternate versions of album tracks, including a guest appearance from Hey, Nothing. LP pressed on limited edition coke bottle clear vinyl.

Single Coke Bottle Clear Color LP w/ printed inner sleeve + insert and updated artwork