Search:the voice

"Amor y libertad" (1981) is the LP recorded by an erotic disco project fronted by actress and model Susana Estrada, with Josep Llobell (Oliver's Planet, Enterprise_) serving as the visionary producer working behind the scenes. From this album, we have selected two of its finest tracks to be reissued for the first time on 7-inch format. On 'Mi chico favorito,' Susana Estrada's sensual voice rides over a musical backing clearly inspired by 'Good Times' by Chic, likely via 'Rapper's Delight' by The Sugarhill Gang, making it just as irresistible. On the B-side, we release '¡Quítate el sostén!' as a single for the first time-a funky disco-rap anthem packed with feminist statements. On "Mi chico favorito," Susana Estrada's sensual voice is set against a musical backing clearly inspired in "Good Times" by Chic, most likely via "Rapper's Delight" by The Sugarhill Gang-resulting in a track every bit as irresistibly infectious as those classics . On the B-side, we reissue "¡Quítate el sostén!" as a single for the first time, an anthem filled with feminist declarations ("the time for girls has come_") and messages of sexual liberation ("let them say what they want, it's freedom-our freedom_"), which the singer delivers in a proto-rap style over a funky disco beat.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 10

A1) GusGus - Crossfade (Maceo Plex Remix) (Original Release 2014)

Released in 2014 on the German label KOMPAKT, this remix by Maceo Plex features Ten Walls-like horns, vocals, and pumping drums, making it a true Ibiza floorkiller. The vocals are by Konstantin Sibold. This remix was only released as a white label (Kompakt Exclusive) and has yet to have an official vinyl release. Despite this, it remains a favorite among DJs and clubbers worldwide, regularly played at festivals and clubs.

A2) Plaything - Into Space (Original Release 2001)

This groovy track, released in 2001, contains a sample from Sheila & B. Devotion's Spacer, with Nile Rodgers as one of the producers. The original trackSpacer is an iconic disco hit from the 1970s, and Plaything put a contemporary spin on this classic. The track was a hit in Belgian clubs in the early 2000s, often played by prominent DJs. It has since been released on various labels and remains a timeless favorite in the electronic music scene.

B1) Ion - W.B. (Original Release 2002)

This trance classic by DJ Ion was first released in 2002 on the Belgian label B². The track quickly became a beloved classic within the trance community. Danny Casseau, the producer behind this track, is also known for other legendary works, including the trance classic Ion 98 - Tructure, which had a significant impact on the trance scene. W.B. is a pure, old-school trance track, crafted in the way only tracks from that era were!

This vinyl is extremely rare and hard to find, making it a sought-after item for collectors and trance lovers. It is still played in the sets of DJs who cherish the older trance sound, and it fits perfectly in contemporary sets as well!

B2) Subaltern - Forever (Ledge Forever Remix) (Original Release 2007)

This club banger was released in 2007 on the French label Voices Records and was a popular track in well-known Belgian clubs like Illusion and La Rocca. The Ledge Remix added an energetic, infectious vibe that made it a true hit on the dancefloor. It received an official vinyl release in 2007, but it is now difficult to obtain. Subaltern's Forever remains an unforgettable club classic still appreciated by electronic music lovers.

C1) Lykke Li - No Rest For The Wicked (Joris Voorn Remix) (Original Release 2014)

Swedish singer-songwriter Lykke Li scored a worldwide hit with I Follow Rivers, but also had great success with the powerful track No Rest For The Wicked. The Dutch producer Joris Voorn gave his own tech-house spin to the track in his known style!

Voorn's remix keeps the atmospheric mood of the original but adds a new, dancefloor-friendly dynamic that makes it suitable for the electronic music world.

This is the first time this remix is being released on vinyl since the original release in 2014, making it a rare and desirable item for both collectors and DJs. Thanks to the powerful mix of melody and rhythm, this remix of No Rest For The Wicked remains a timeless favorite that has found its place both in clubs and in vinyl collections of music enthusiasts and DJs.

C2) The Roc Project feat. Tina Arena - Never (Filterheadz Luv Tina Remix) (Original Release 2002)

This Spanish dance track hit Europe in 2003, thanks in part to the legendary remix by the Belgian techno duo Filterheadz. Brothers Bert and Maarten Wilmaers, known for their distinctive techno sound, gave the track their own twist with strong beats and an uplifting bassline, creating a timeless club hit that was heard everywhere in the early 2000s.

The vocals by Tina Arena add an emotional layer, while the Filterheadz Luv Tina Remix has stood the test of time and still gets everyone moving. At 12 Inch Lovers parties, this track never goes unnoticed and often brings the night to a high point. This track is a must-have for both collectors and DJs who love a mix of emotion, energy, and a solid techno sound.

D1) Soul Syndicate - Inside Of Me (Steel Union Remix) (Original Release 1995)

Speaking of a trance classic, this one is a true gem! Inside Of Me was released in 1995 during the golden years of Belgian trance music on the legendary Belgian label Aquatic Records. The Steel Union Remix by Zzino is an absolute favorite among trance lovers.

With its iconic sound and unmatched energy, this track is a true ode to the Belgian trance scene. It remains an unadulterated classic that still makes an irresistible impact, not only at retro trance events but also in the sets of contemporary DJs. Since its release, this remix has been hard to find, making it an even rarer piece of trance history. A track that has stood the test of time and is a must-have for collectors and fans of old-school trance.

D2) Ken Laszlo vs. Disco Dice - Hey Hey Guy (House Dub) (Original Release 2003)

Ken Laszlo, the Italian singer who became globally famous in the 1980s with the iconic Italo-disco hit Hey Hey Guy, received a re-release in 2003 on the house label Dubmental. This version was reimagined by Disco Dice, who gave the track a fresh house vibe with a more modern sound. Belgian DJ Jean, known for his influence on the Belgian nightlife scene, introduced this track into the clubs and transformed it into a club classic.

This release, although released in 2003, is now very rare and hard to find on vinyl. It's a hidden gem that continues to withstand the test of time, making it a valuable collector's item for lovers of both Italo-disco and house.

D3) Icehouse - Hey Little Girl (Infusion Remix) (Original Release 2002)

The Australian band Icehouse released the iconic track Hey Little Girl in 1982 on the British label Chrysalis. This synth-pop track was a big hit and still remains one of the classics from the 1980s. The original track was later included in the remix album Meltdown in 2003, where the Australian duo Infusion created a contemporary electronic remix that gave the track a new dimension.

The Infusion Remix adds a modern, danceable twist to the original synth-pop sound. This version surprised both fans of the original hit and lovers of electronic music, remaining a sought-after track in DJ sets.

This track has been unavailable on vinyl since its original release in 2003, making it a rare collector's item.

Composer Vasco Mendonça presents his third album “Third Places”. The album brings together a collection of landmark performances and features some of the leading names in international contemporary music, including countertenor Iestyn Davies, mezzo-soprano Barbara Kozelj, the Porto Casa da Música Symphony Orchestra, the ensemble Het Muziek, and conductors Brad Lubman and Ernest Martínez Izquierdo.

More than just a record, “Third Places” stands as a space for artistic and political reflection on the present. Inspired by Ray Oldenburg’s concept of the ‘third place’ – a space beyond home and work where community life takes place – the album’s title refers to the venues where these works came to life, Casa da Música and the Muziekgebouw aan ’t IJ in Amsterdam: spaces for encounter, dialogue and cultural resistance. For Vasco Mendonça, these spaces symbolise “the ability to elevate the way we communicate with one another and to resist our most primitive and violent impulses”.

The voice lies at the heart of this work. The compositions explore the theatrical, intimate and political dimensions of vocal expression, drawing on texts of great social and emotional weight to create a shared space for listening and questioning the current state of the world.

One of the album’s central works stems from a profound contemporary concern. Inspired by the turbulent political climate in the United States following the 2016 elections and by his discovery of the poetry of Terrance Hayes and Tracy K. Smith, Vasco Mendonça composed a cycle of songs initially conceived for voice and percussion, later transposed for orchestra. The result is described by the composer as “a kind of imaginary American folklore”, where excess, transcendence, fascination and fear coexist.

The album also includes a reworking of material from the opera “Bosch Beach”, created in 2016 to mark the 500th anniversary of the death of Hieronymus Bosch, commissioned by the Dutch foundation Stichting Bosch 500. Based on a libretto by the writer Dimitri Verhulst, the work reflected on the European migration crisis through a scathing portrait of human indifference. In “Third Places”, Mendonça revisits some of this musical material to construct an incisive reflection on contemporary political discourse, transforming the opera’s numbers into archetypes of election campaigns, populism and performative communication.

Straddling contemplation and confrontation, lyricism and political tension, “Third Places” stands as one of the most ambitious recording projects in contemporary Portuguese music, offering an experience that is both aesthetic and critical, where music and thought intersect in a visceral way.

The digital version of the album will include a bonus track, “Marathon”, which explores the analogy between music and long-distance running, creating a piece in which time is transformed through breathing, the heartbeat and the ritualised repetition of movement and the body, in a constant tension between exhaustion and survival.

Sam Cooke, inventor and true King of Soul, recorded Mr. Soul in 1963, the same year as Night Beat, and seems to be its more adult counterpart, with soulful ballads taking up most of the album. A laidback tempo and rich arrangements lay the foundation for Sam's somewhat melancholy voice floats, creating an uplifting spirit that can mend anyone's broken heart.

With standards such as "Willow Weep For Me", "I Wish You Love", and "For Sentimental Reasons", Cooke shows a quiet emotive side of himself without losing his keen sense of melody, using the strength of his voice without overpowering the listener. Had Sam Cooke lived longer, we might have had more music of this rare quality. As it stands, we must make do with the treasures he left behind.

Mr. Soul is available as a limited edition of 1000 individually numbered copies on orange vinyl.

Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, Malibu served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, Malibu was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one. The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer. Beyond the infectious, dance-floor-ready energy of tracks like "Am I Wrong" and "Come Down," the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger. A decade later, Malibu stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

Melodies everywhere. Hidden ones, obvious ones, the kind that stick around long after the magic is gone. The Fulmars, Hagen’s lo-fi experimental indie outsiders, return with 13 haunting songs on their first proper full-length album. It’s filled with warm lo-fi guitar hooks, carried by Teacherface’s stripped-back Roland drum machine pulse and Fabian Dietz’s soft, delicate vocals. Modern castaways’ music, truly seeing the light, somewhere between the hazy spirit of The Velvet Underground, the playful weirdness of early Throw That Beat In The Garbagecan!, the tender shadows of Dead Moon, and the hypnotic austerity of Party of One. There is a lot of tragedy, all covered in positive agility. Hypnotic simple charmers compellingly recorded by the illusionists behind the delicate Hüüpnootsche Platen Un Kassetten cassette label. If you listen in a row, you will fall into a calm flow, time is on the go, and you so, in The Fulmars circle, disappearing in melodies, those hidden, obvious, glorious. You will fall for the voice, their “rollie” grooves carry you out there, browsing on irresistible humble guitar vibes. Be ready to watch the blue birds fly, it’s a real streetside surprise, for your pleasure, please don’t call it leisure.

Originally released in 2008 on Ezekiel Honig’s own Anticipate Recordings, Surfaces of a Broken Marching Band finds the artist refining a compositional language rooted in the methodologies of musique concrete, ambient, and beat research. Working from a palette of environmental recordings, instrumental fragments, and soft electronic treatments, Honig pushes the source material into an array of sympathetic forms ranging from pillow-soft, lowercase ambient to diffuse downtempo and minimal house. For its reissue on Keplar, the album has been remastered by Kassian Troyer (D&M), bringing a new clarity to its intricate, low-lit architectures.

Throughout the record, serving almost as audiographic guideposts, are faint but insistent gestures toward propulsion, an abiding and recurrent 4/4 pulse that guides the music laterally and instantiates a slow negotiation between its various elements. This music invites close listening precisely by not revealing itself all at once, allowing small collisions of timbre and subtle shifts in emphasis to carry the weight. The traces of lived environments that remain embedded in the mix - distant crowds, sounds of transit, the indistinct acoustics of interiors in flux - expand the frame without breaking its intimacy, creating a potent dislocation between the nearness of the sound and the scale of its sources.

Rather than foregrounding any single voice, this is music that distributes attention equally across its materials, allowing background details to assert their presence as much as melody or rhythm. Honig presents listeners with an astute practice that’s concerned less with building from the ground up than with uncovering what happens when disparate textures and structures are brought into close contact with one another. (Alex Cobb, 2026)

A conjuration between our favourite dreamweaver Spencer Clark and Italian psychic traveller Mondo Riviera, Lorenzo's Oil present an oracle of aural travelogues between seen and unseen worlds on 'Paperopolis'.
Two likeminded individuals on their distinct but complementary quest for the netherworld, Clark and Riviera's meeting of the minds projects sonic artefacts assembled from lucid dreaming keyboard pads, narcotic late night TV rhythms, spiralling sequences and mangled voices.
The 10+ minutes 'Neo-Paperopolis Jump Suite' makes these intentions quite clear right from the start, veering from no frills keyboard runs to a mid tempo bounce and on towards the house of mirrors synth stabs and driving rarefied percussion that close the suite and open the pathway to such "places" as 'Central Jungle, Paperopolis' and "visions" as 'The Neverending Skylines of Taipei'. Ride on.  

'Prince of Failure' marks a significant shift in Daniel Tompkins' creative world Written & developed over several years with Paul Ortiz (Chimp Spanner), the album traces a long internal process rather than a single moment of inspiration. The material reflects on neurodivergence, masking, & the psychological weight of living out of alignment with expectation - themes that shape both the narrative & the sound of the record. The Prince is presented as an archetype rather than a persona: a name given to the internal voice formed through self- doubt, perfectionism, & misinterpretation. By defining it, Tompkins reframes it. The songs move through states of disorientation, isolation, & repetition before arriving at a quieter form of acceptance. The emphasis is on observation rather than resolution.

'Prince of Failure' marks a significant shift in Daniel Tompkins' creative world Written & developed over several years with Paul Ortiz (Chimp Spanner), the album traces a long internal process rather than a single moment of inspiration. The material reflects on neurodivergence, masking, & the psychological weight of living out of alignment with expectation - themes that shape both the narrative & the sound of the record. The Prince is presented as an archetype rather than a persona: a name given to the internal voice formed through self- doubt, perfectionism, & misinterpretation. By defining it, Tompkins reframes it. The songs move through states of disorientation, isolation, & repetition before arriving at a quieter form of acceptance. The emphasis is on observation rather than resolution.

Matias Aguayo returns with Anenoa, a vibrant and imaginative new album arriving May 29, 2026. Known for continually redefining the possibilities of electronic music, Aguayo’s latest work expands his exploration of voice, rhythm, and collective experience — creating songs that invite participation as much as they reward listening.

Across more than two decades, Aguayo has remained one of the most inventive figures in contemporary electronic music. From co-founding the influential duo Closer Musik, to his long-standing creative relationship with Kompakt, and the creation of the genre-defying C meme label, Aguayo has consistently pushed dance music beyond convention — blending raw electronics, storytelling, humor, and performance into something deeply human and alive.

Now based in Mexico, Aguayo’s music has absorbed the vibrant energy of community-driven dance culture. Much of Anenoa is sung in Spanish and shaped by a spirit o collaboration that runs throughout the record. Long known for building creative communities through his label and performances, Aguayo brings together a diverse group o artists across Latin America, Europe, and beyond, turning the album into a constellation of voices and perspectiveS

Earning early support from BBC Radio 6 Music and BBC Introducing Sussex, Soft Top have been marked as a compelling new voice. Across the full span of 'Gathering Dust', Goodall utilises the ensemble's orchestral breadth to transform the album's concept into a vivid, widescreen dreamscape. While the subject matter flows between heavy themes, the arrangements remain lush and buoyant, ensuring the record never sinks into melodrama. 'Gathering Dust' is a strange, shimmering beauty; pairing the harmonic complexity of 70s jazz-pop with a raw, modern vulnerability that feels strikingly personal.

Sucata Tapes present the debut album by I'A'V, a conjuration born from an invitation extended by gnration in Braga to Inês Malheiro, completed Violeta Azevedo. Three inescapable figures amidst the portuguese scene, whose precious body of work resonates here in ineffable style.

A blessed triangulation of artists, each with a fully formed vision and a path forged across multiple fronts, I'A'V trace a course of dreamlike songs that blend into a long and volatile poem, where a rarefied electronic landscape of arpeggios, glassy textures, and ruptures seeps into the lyricism of Casellas's cello lines and Azevedo's flute breaths, guided by the Voice.

At times stripped bare, at others soaked in a torrent of post-human effects, settled on Malheiro's expressiveness and elevated by the Azevedo. Volatile Poem, recorded during the mentioned residency, unveils mysteries and conceals realities in a fluid sequence of communal ascension moment

Vince Staples is one of the most revered voices of his generation. Though he's a celebrated multi-hyphenate, making an impact in TV, film, & contemporary culture, music is where he most naturally pushes boundaries as an artist, storyteller, & creative force. Following a string of acclaimed introspective projects, Ramona Park (a melancholic tribute to his hometown) & Dark Times (deeper, more personal themes), Cry Baby is a more outwardly facing artistic statement and piece of social commentary.

This new album compiles several songs made in the years following Black To Comm's classic "Alphabet 1968" album. Originally released on the seminal Type label in 2009 (and to be reissued on Cellule 75 this year) "Alphabet 1968" combined the sound of vintage shellac and vinyl loops with broken electronics and field recordings, the press release mentioning disparate influences "ranging from Moondog to Basic Channel by way of Bernard Herrmann". In a beautiful one-page review in The Wire magazine (later reprinted in his book Ghosts Of My Life) Mark Fisher compared Richter's music to JF Sebastian’s miniature automata in Blade Runner ("with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister"), ETA Hoffmann's inventor-magicians and Auguste Villiers de l'Isle-Adam's 1886 tale of Thomas Edison's (fictitious) construction of an artificial human.

Now titled "Coh Bâle" (inspired by a strange dream) these recordings were supposed to become a follow-up to said album but for reasons unknown it never materialized and the album seemed forever lost. At the time Richter started to dive deeper into several strains of (so-called) world music aka the folk music of Southeast Asia and Eastern Europe as well as liturgical and medieval music, the Kraut-Electronica of Harmonia and several certain Mediterranean experimentalists from the 1980's who started to merge their mostly electronic and field recording based compositions with traditional musics from all over the world by way of new sampling technology.

Many of the songs for the album were recorded while travelling and at various residencies around Europe: a detuned piano in a Thessaloniki basement (Richter played at a children's birthday party there), vintage synthesizers in the GRM studios in Paris, decaying acoustic instruments found in an old Black Forest mansion, childrens' voices at a workshop in Karlsruhe's ZKM Institute; then mixed on headphones in the ICE trains running between these places and his hometown Hamburg.

"Coh Bâle" is taking inspirations from old Nonesuch Explorer and Ocora LP's, Crammed Records, 80s Mediterranean Ambient (Nuno Canavarro, Roberto Musci) combined with the DIY spirit of Deux Filles and Flaming Tunes and the playfulness of Asa Chang & Junray. The songs are both mysterious and transparent, intricate and frugal, vibrant and patient. One of the album's unexpected climaxes is a gorgeous (artificial) berimbau version of the Welsh traditional "Iechyd o Gylch".

No two songs feature the same instrumentation and many acoustic sources (pianos, flutes, wood percussion, viola, tablas, autoharp) were disassembled and later coalesced into new configurations or used as virtual instruments; later combined with samples, field recordings, electronics and (on a few tracks) autotuned vocals reminding of recent works by the likes of Claire Rousay or More Eaze.

We had to wait for a worldwide pandemic for Richter to dig deep into the vaults and finally bring these recordings to light. This is the 2nd release from his archives after the "Diode, Triode" LP which presented Musique Concrète/Acousmatic recordings made at INA/GRM and ZKM. Another massive Double-CD (MM∞XX Vol. 1 & 2) was released last year featuring collaborations with 33 artists such as Andrew Pekler, Richard Youngs, Eric Chenaux, Maja Ratkje, Radwan Ghazi Moumneh of Jerusalem In my Heart, GRM boss François Bonnet (Kassel Jaeger), Felix Kubin, Timo van Luijk (In Camera, Af Ursin), Luke Fowler and many others, showing Richter's versatility and his willingness to reinvent himself for every new release.

Marc Richter is widely known under his Black To Comm moniker, having released (at least) 12 albums under this alias in the last 20 years. He is currently signed to the Thrill Jockey label. Richter composes soundtracks for film and has worked with visual artists such as Mike Kelley and Ho Tzu Nyen. He also records as Jemh Circs and Mouchoir Étanche for his own Cellule 75 label (named in tribute to the late Luc Ferrari).

‘Confession' is an album of quiet upheaval. An album about closeness that arrives late and unexpectedly. About stability rubbing up against desire. About the way friendship can suddenly tilt into something charged — and how that charge unsettles everything around it. Where earlier work often observed from a distance, Confession turns inward. The voice is closer, warmer, less shielded. “This wasn’t the album I intended to make,” says Carla dal Forno. “I originally wanted something veiled and abstract, but I realised I couldn’t hide behind abstraction — the songs only worked when I leaned into emotional truth.”

This is dal Forno’s fourth LP, written and recorded over several years in a small country town, in a studio housed inside a partially abandoned hospital. Long corridors, humming lights, emptied rooms — a place built for care and waiting, now quiet enough for thoughts to echo. That stillness shapes the record: intimate, watchful, unadorned. “I live in a small country town that offers a stillness my life didn’t previously have,” she explains. “In that quiet, feelings I might’ve ignored in a busy city grew loud.” Dal Forno sings plainly and conversationally, with an emotional precision that sharpens the everyday into something quietly unsettling.

The album moves through paired states: going out and staying in, wanting and withholding, devotion and distraction. Domestic calm set against private unrest. A long-held relationship offers safety and routine, while a newer connection opens emotional fault lines — longing, jealousy, fantasy, self-exposure. “At the heart of the album is a friendship that became emotionally charged in an unexpected way,” dal Forno says. “That shift brought daydreaming, jealousy, tenderness, confusion, self-awareness — and eventually acceptance.”

The drama here is internal, incremental, lived. Musically, Confession feels lighter on its feet than its subject matter suggests. Melodic basslines anchor the songs while guitars, harmonies, and gently off-kilter rhythms move around them. There’s a looseness, even a playfulness — “like the sensation of tension lifting once you finally admit something to yourself,” as dal Forno puts it. The album traces a subtle arc: attraction blooming where it shouldn’t; obsession quietly taking hold; fantasy overtaking reality; clarity arriving slowly, sometimes painfully. Visually and emotionally, Confession returns to modest spaces: backyards, beds, night streets, overgrown paths. “The record exists in that contrast,” dal Forno reflects. “Peaceful surroundings, unsettled interior.”

Like all of dal Forno’s work, Confession resists clean conclusions. It doesn’t moralise desire or romanticise restraint. Instead, it lingers in the in-between — where love is stable but not total, where yearning teaches as much as it hurts, where solitude becomes a form of care. Plain-spoken but emotionally complex. Rooted and restless. Held together by bass, breath, routine, weather. An album about admitting what you feel —and living with what that admission changes.

Pon is Tujiko Noriko’s sixth album for Editions Mego and a further extension of her already significant body of work as both a solo and collaborative artist. Dedicated to her cat who she adopted as an infant and passed away due an accident having been born deaf, Pon is imbued with abstraction, tenderness and a deep emotional resonance.

Noriko’s palette of electronics, romantic melodies and surprising sonic details are all fully present here, and like her last full length, 2023’s Crépuscule this is an epic work, released as a 2LP by Editions Mego alongside a Japanese CD release.

The unmistakable hue of Japan hovers throughout this emotional rich landscape. Subtle field recordings and fragile, abstract motifs drift through the album, all cloaked in a warmth and humanity that only Noriko seems able to conjure.

Pon moves effortlessly between the childlike and the obscure. There are moments of deceptive simplicity where unexpected elements suddenly surface — strange voices emerge on Boku Wa Obaka, Knife of Yonder is a standout: a startling ten-minute unfolding that begins with a warm, almost Eno-esque drift before launching into a soaring mid-section and finally landing somewhere unexpectedly blues-adjacent.

Kikoeru Pon is brimming with childlike wonder — a heartfelt ballad that dissolves into domestic field recordings, including sounds of the feline for whom both the album and track are named. A quietly devastating ending that brings the personal nature of the record into sharp focus.

There is a deep sense of the human in the way Noriko embraces technology. This is far from cold abstraction; rather, Ponfeels like a colourful photo album, documenting Noriko’s inner world and instincts with remarkable intimacy. Hovering in liminal states between pop, ambient and abstraction, this is a deeply affective and moving release that reveals new surprises with each listen.

The emotional range of Noriko’s latest offering inspires hope in a world in disarray. It is both gentle and epic and one which we feel embodies the work of an artist fully at the height of her powers.

Incest Songs is the final chapter of the Murder Ballads trilogy, and its most fully realized expression. Where Drift and Passages explored the post-isolationist frame through voice and single instrument, this third volume dispenses with that approach entirely, opening instead onto a more labyrinthine sonic architecture - one built from overlapping, saturating, blurring voices, all of them Martyn Bates'. The decision feels both inevitable and quietly inspired. Bates' vocalizations unfold as layered calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resolving into a mesmeric conversation of musical inferences and correspondences. There is a mellifluous, dream-like quality to the whole - infused with that characteristic stillness that slow, hypnotic unfolding of gossamer subtlety - yet never quite losing a certain drugged, disquieting beauty beneath its surface.

Incest Songs pushes the post-isolationist form further out than either of its predecessors, innovating and extemporising with a dazzling assurance. And yet, remarkably, this remains a territory still almost entirely unexplored by other artists - the sole province, it seems, of M.J. Harris and Martyn Bates.

As Bates himself reflects: "I feel, in personal terms listening to it, I think it's easy to detect that the whole thing has been a truly exhilarating experience for the both of us, realising and developing this strange, sublime creature of ours and now I guess it's up to others to take up the challenge, to build on what we've done and I think that there are still SO MANY fantastic possibilities "

In the early 1990s, at the intersection of New Beat, early techno and EBM, a wave of raw, experimental club music emerged from Germany—dark, mechanical and often strangely playful. Among its most distinctive voices was Scrot, the project of producer Lars Janzik (Base Scan, Decade V, Technoline).

Originally released on ZYX Records, Scrot’s three seminal singles—“Teufelsrhythmus”, “Der Rhythmusmensch” and “Der Amokläufer”—captured a unique moment in early European techno. Built on hypnotic drum machine patterns, lo-fi sequencing and spoken-word German samples, these tracks combined industrial textures and unconventional vocal treatments with early techno production techniques and a peculiar sense of humor.

Limited to 300 copies on black vinyl and 200 copies on orange vinyl, and accompanied by an exclusive postcard, “Teufel & Mensch” brings together some of the project’s most iconic tracks and remixes, alongside the previously unreleased Knauer Remix of “Teufelsrhythmus”.

More than a retrospective, “Teufel & Mensch” stands as a document of a transitional era—when techno was still forming its identity, and artists like Scrot were pushing its boundaries into strange and uncompromising territory.

Few producers age into deep house with this level of ease. From Switzerland, Shaka's latest EP feels authentic and lived-in rather than retro while drawing on 90s jazz-inflected house without leaning on pastiche. The opener main vocal mix drifts in on flutes, soft keys and Eve's voice, setting a loose, late-night mood that favours feel over flash. The instrumental flute version pares things back, letting swing and detail breathe. Flip it and 'As If Eternity Belonged To Us', featuring Cate Acupar, locks into a warmer, early-2000s pulse, while 'Life Is Brighter With You' cools the room with sax, piano and patient restraint. Dancefloor-ready but also nice and reflective.

Belgian violinist and composer Elisabeth Klinck announces the debut album of her ensemble, Klinck Trio, on VIERNULVIER Records. My Hair is Everywhere will be released on November 7, 2025 on vinyl LP and through all digital platforms.

Rooted in improvisation and guided by openness, the Klinck Trio — Adia Vanheerentals (saxophone, voice), Maya Dhondt (piano, voice), and Elisabeth Klinck (violin, voice) —crafts music where sound and silence are equally vital.

Their debut album is an exploration of fragility, unfolding like a delicate conversation in which each note is chosen with intention and every pause carries presence.

Recorded in the summer of 2024 at Studio Ledeberg, My Hair Is Everywhere captures a moment in time: three musicians meeting in sound, each bringing their own timbre, language and natural state of being into dialogue. Klinck offers seeds of material —metaphors, sketches, sonic ideas — that the ensemble shapes into fully formed pieces. The result is an album that stands complete, yet carries within it the openness to unfold further in live performance, where new layers and resonances can emerge.

In the spirit of American composer and pianist Meredith Monk, the trio embraces lightness andvulnerability, crafting soundscapes that feel both childlike in their intimacy and expansive in their emotional reach. My Hair is Everywhere balances melancholy, tenderness, and harmonic interplay with silence, breath, and resonance—the subtle negative space where music continues beyond the notes themselves. By recording in close proximity, every detail emerges: the strike of piano pedals, the clicking of saxophone keys, the intake of breath, and the faint displacement of air. Textures of dragging violin, whispered fragments, and soft humming become almost tangible, drawing the listener fully into this intimate, enveloping present
moment.

Above all, this compelling debut is an invitation to listen differently: to enter a transformative space where three distinct musical voices find each other in fragility.
The artwork, created by French artist Annabelle Guetatra, reflects the album’s sense of lightness through color and playful collage work.

LP + insert. A cosmically poetic duo playing Afro-Roots-Electro with a clear nod to spiritual jazz. Esinam Dogbatse (flute, synths, vocals, fx, percussion) | Sibusile Xaba (guitar, vocals, percussion).



ESINAM & Sibusile Xaba is a meeting of nomadic, wandering and kindred spirits in music. Both artists draw upon their ancestry: Belgian-Ghanaian(ESINAM) and Kwazulu Natal-South Africa (Sibusile Xaba) through a unique connection, a deep artistic and spiritual level, they use rhythms and grooves to translate stories to the audience. Their vocal chanting enhances trance to rhythmic patterns that grace us by melodies of the future and past.

On April 25th 2025, ESINAM & Sibsile Xaba will release their first joint album entitled 'Healing Voices'.

This album is a reflection of the kaleidoscopic multitude of musical inspirations running through the veins of two very talented solo artists. Both multi-instrumentalists, they provide many different layers to their music. Each track is a reflection of their cross-pollination. Musically inspired by Ghanaian Highlife and traditional songs from Zulu and Ewe culture, but with a distinct contemporary interpretation where their acoustic sound is enhanced by electronic gadgets.

As multi-instrumentalists, the two artists translate messages from their ancestors through rhythms and grooves. Their vocal chanting enhances trance to rhythmic patterns that grace us by melodies of the future and past.

Thanks to their Belgian-Ghanaian and South-African roots, they are unique in their being, strong in their union and connected on deep artistic and spiritual levels. The collaboration between ESINAM and Sibusile Xaba is bringing healing to body and soul.

In 2018 Esinam discovered Sibusile Xaba during his European (solo)tour. She was enchanted by his musical energy and craftsmanship and invited him as a vocal guest feature on the track 'Flowing River', from her debut album 'Shapes in Twilights of infinity'. When she was asked at the first edition of WOMAD Festival in South Africa if she wanted to collaborate with a 'local artist', she didn't have to think twice.

So in October 2022, Esinam and Sibusile seized this opportunity to dive into the rehearsal and recording studio, and discover and combine each other's musical universes to shape up new music together.

In May 2023 this collaboration continued with rehearsals, recordings and a first European tour with performances in Belgium, The Netherlands, France, Germany and Slovenia.

In March 2024 they released the first single 'Africa Wola' out of the fothcoming album. In November 2024, they released a remix of their first single by South-African DJ and producer DaCapo and played at Visa for Music in Morocco.

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.

Cinna Peyghamy unveils new album fusing Persian tombak and modular synthesis Five years in the making, "Music For Tombak & Synth" bridges heritage, technology, and personal identity. The project, initiated in 2019 during Peyghamy's master's thesis research on contact microphones, was conceived as a means to reconnect with his Persian roots while exploringexperimental sound design. In the album, Peyghamy seamlessly blends the traditional Persian tombak with modular synthesis and digital signal processing, creating a distinctive musical landscape that bridges live improvisation and studio production. The album’s genesis traces back to Peyghamy’s exploration of improvised electronic music and his desire to craft a performance-ready setup. Over
several years, the project evolved from capturing the energy of his live shows into a fully composed studio work.

"Music For Tombak & Synth" stands as the first record where Peyghamy unites his dual identities as a live performer and producer, resulting in a body of work that reflects his deep connection to family, memory, and cultural heritage. The album features personal elements such as his father’s voice reciting the poetry of Ahmad Shamlo on the track Dar Shab ,?? ??collaborations with long-time friend Quelque Bourdon on clarinet, and the evocative sounds of the Persian setar, all anchored by the physicality and rhythms of the tombak. A sentiment further reflected in the album cover; a photograph taken by his father, Khosrow ‘Payram’ Peyghamy, picturing both his parents and grandparents.

With this release, Peyghamy moves beyond conventional boundaries of "traditional versus contemporary" or "acoustic versus electronic," instead offering a nuanced exploration of identity through sound. Each track serves as a keepsake, referencing cherished memories, emotions, and musical influences that define his experience as a French-born artist of Iranian descent, unable to visit his home country. "Music For Tombak & Synth" invites listeners to engage with a deeply personal narrative, rooted in both cultural history and sonic innovation.

Original Funk Band from Paris

With just three years on the scene, Jéroboam is already considered as one of the most exciting and essential new voices in contemporary soul funk.

A true manifesto for live music and the dancefloor, this 11-piece live machine hits the stage like a juggernaut and doesn’t just play funk, they live and breathe it.

After a slew of certified underground classic releases on Space Grapes and Chuwanaga which have been supported worldwide by tastemakers and connoisseurs, Jéroboam is now presenting its long awaited first LP on Favorite Recordings.

From boogie-funk to 2-step soul crossover, Jéroboam delivers 8 heartelf songs, combining razor-sharp compositions with genuine and relatable lyrics.

Achieving such an exciting and challenging piece of work is the outcome of a long and inspiring process started more than 10 years ago in Paris.

From their early beginnings on the local scene, the core musicians of Jéroboam thrived on their mutual love for funk music under the name and concept of Echoes Of.

Building on these successful experiences and expanding its line up over the years, the band has been able to sharpen its sound, craft a distinctive crossover identity and create its own original music under a brand new entity : Jéroboam.

This momentum culminates in their debut full-length album, set for release in june 2026 on Favorite Recordings, a defining moment for one of Europe’s most vital modern funk acts.

Crash is a debut EP of Abel Dalum, aka KennyKrazyWorld. Often appearing on tracklists of many, now breaking through with his highly anticipated 4 piece solo, no-remix EP. Across four movements, KennyKrazyWorld sketches a system in flux: fragments of noise, texture, and space dissolving into one another. As he likes to say himself, "its all about the percussions".

Petrichor opens with the residue of a storm — metallic air, wet circuitry, the pulse of machines breathing beneath the rain and a broken up kick. Like a scene from Blade Runner or a concert hall opening somewhere deep in the megalopolis. The 10-minute track is there to pull in and not let go. Dust follows, bone-dry and disintegrating, rhythm shedding its structure until only motion remains, hooking the listener to lose himself in its enchanting wormhole of evolving percussions and atmospheres.

At its core, the 3rd "backbone" track of the same-named EP, Crash, is already breaking apart: percussive tension folding in on itself, and a memorable voice over to seal the deal. Divergent closes the loop — but doesn't leave the listener with breadcrumbs, rather with a feeling like a party in full effect being closed at 3AM due to some scumbag cops…
Crash is techno as erosion, but also a study of groove and flow — repetition worn into form, emotion distilled through pressure.

2x GRAMMY® Award winning R&B powerhouse Kehlani releases her highly anticipated self-titled fifth studio album, KEHLANI, today on her birthday, April 24, 2026. The project captures her at her most honest, blending soul-baring storytelling with the lush, genre-bending sound that has made her one of modern R&B’s most influential voices. The album was anchored by a trio of defining singles, beginning with “Folded,” a breakout anthem that has become one of the defining R&B records of the decade. “Folded” delivered major award recognition, including 2x GRAMMY® wins for Best R&B Song and Best R&B Performance, an iHeartRadio Music Award for R&B Song of the Year (where she made her debut award show performance), NAACP Image Awards nominations, and three American Music Award nominations, including Song of the Year. The momentum continued with “Out The Window,” which further showcased Kehlani’s emotional transparency and sonic direction. Most recently, Kehlani released “Back and Forth” featuring Missy Elliott. The track pairs Kehlani’s signature vulnerability with Missy Elliott’s unmistakable innovation and energy, serving as the final preview before the album’s release. Kehlani celebrates a landmark year of cultural impact, including a surprise appearance during Giveon’s mainstage set at Coachella in addition to her solo performance at Revolve Festival. With over 20 RIAA certifications, more than 5 billion global streams, and status as a 7x GRAMMY® nominated songwriter and artist, Kehlani continues to solidify her place as one of contemporary R&B’s most essential voices. This year she was also honored at the Femme It Forward 2025 “Give Her FlowHERS” Awards Gala, receiving the Alchemist Award, and recognized as an ASCAP Women Behind the Music Honoree. Kehlani will also be honored with the Impact Award at the upcoming Billboard Women in Music, where she will deliver a special performance in celebration of her influence on music and culture. Kehlani will bring the album to global stages with upcoming festival performances at Essence Festival, Afronation Portugal, Roots Picnic, and more

Natasha Watts Announces Limited Edition 7” Vinyl Release Featuring “Good Love” & “Feels Like Sunshine” in a special LRK sleeve

Soul powerhouse Natasha Watts returns with a must-have release for collectors and music lovers alike a limited edition 45 vinyl featuring two of her most beloved original recordings.

On one side, the timeless “Good Love”, taken from Natasha’s self-titled debut album released in 2012 a track that helped define her signature sound and introduce her unmistakable voice to the soul scene. On the flip side, the uplifting and vibrant “Feels Like Sunshine”, lifted from her acclaimed album Music Is My Life, showcasing her evolution as both a songwriter and performer.

Released via LRK Records, the label behind every one of Natasha Watts’ highly sought-after 7-inch releases, this latest pressing is set to continue a tradition of fast selling, collector’s favourites. Known for their quality and exclusivity, Natasha’s vinyl releases have consistently generated huge demand and this one will be no exception.

This special edition celebrates not only Natasha’s journey as an artist but also her commitment to authentic, original soul music. With both tracks written by Natasha herself, the record is a true reflection of her artistry rich in emotion, groove, and timeless appeal.

Fans and vinyl collectors are encouraged to act quickly. With limited quantities available, this release is expected to sell out fast.

Pre-orders are now live secure your copy today via LRK Records.

Don’t miss your chance to own a piece of Natasha Watts’ musical legacy.

Renowned for her powerful voice, captivating live performances, and deeply personal songwriting, Natasha Watts has become a standout name in the UK soul scene. With a loyal global fanbase and a catalogue of acclaimed releases, she continues to inspire through music that speaks from the heart.

et for release on June 12, Silence marks the return of Lucie Antunes following Carnaval (2023). The album was born from a desire to clear space — and to rediscover, through dance and collective creation, a renewed artistic momentum.

Developed from a text by poet Laura Vazquez and co-produced with Canblaster, Silence exists at the intersection of record, performance, and immersive experience, in connection with a work created alongside choreographer Mathilde Monnier.

Through an organic and hypnotic sound palette — transformed voices, percussion, vibraphones, and synthesizers — the album explores altered states of consciousness, offering a sensory journey between shadow and light. Surrounded by artists such as Clara Ysé, Halo Maud, and Rebecca Chaillon, Lucie Antunes delivers a collective work that is both intense and deeply inhabited.

Silence is a passage — a crossing between bodies, voices, and worlds — where music becomes a space to feel, to disappear, and to be reborn.

Jeffrey Alexander and the Heavy Lidders return with their best album yet, and a UK tour this August. Press by Silver PR
‘’On the alternate timeline where the Meat Puppets inherited the bulk of the Grateful Dead’s tourheads when Jerry Garcia died in 1995, none of this would be necessary, because Jeffrey Alexander and the Heavy Lidders are a household name for evolving their own musical space that overlays dusty folk, cosmic jazz, deep psych, free improv, and even (gasp!) indie rock, building an audience that ranges from open-eared curiosity seekers to deep committed music weirdos that’s also yielded the Heavy Lidders, an infamous sub-cult of concert tapers that you’re already sick of hearing about. A lot of other things are better over on that timeline, too.
But in this consensus reality (and probably the other one, too), Liquid Donnon catches the Lidders at their heaviest, “heavy” in the Lidderverse being far from a monolithic musical idea. There’s heavy like the album-opening “From Loch Raven to Fells Point,” one of several tracks with elegant and gnarled conversational jams featuring the core Lidders lineup of Alexander alongside guitarist Drew Gardner and bassist Jesse Sheppard (both of Elkhorn) and drummer Scott Verrastro. But there’s heavy, too, like “Calliope Walker” and “Tightroping,” featuring Gardner shifted to dream-space vibraphone, the former with saxophonist Tacuma Bradley, the latter with Christina Carter of Texas noise-psych legends Charalambides on veil-crossing wordless vocals, her first collaboration with Alexander in some 20 years.
But then there’s also heavy like the cover photo of Alexander’s late friend and album namesake Donnon, taken at a Dead show at Rich Stadium in Buffalo in 1989, a spirit threading through the songs and weaving unexpectedly into Alexander’s life decades later, emerging especially when Alexander passed through a near-death experience of his own. But, taken together, the different heavies of Liquid Donnon add up into a state of musical grace, where all the Heavy Lidders from all the universes come together as one. Just, like, imagine.
Convened in 2019 on Alexander’s relocation back to his native east coast, the Heavy Lidders are the latest hard-touring expression for the guitarist’s music, joining a vast and tangled discography (and tape list) that includes the beloved long-running west coast Dire Wolves Just Exactly Perfect Sisters Band and, before them, the Iditarod and Black Forest/Black Sea, as well as a bushel of solo play-all-the-instruments projects, a stint with Jackie-O Motherfucker, sessions with Kemialliset Ystävät and Avarus and others, and you’ll have to keep digging for the rest.
And while it’s not hard to find tapers at Lidders gigs (and they encourage you to be one), or to track themes and songs over Alexander’s many live releases, Liquid Donnon makes a new primary text, the original versions of six new pieces for the repertoire. The album closes with a devastating pairing of “Reservoir Drop” into “The Summer Song,” floating into a duo between Alexander’s guitar and Carter’s voice. Catch a half-dozen Lidders shows this summer, and you might not ever catch them playing it like that again, but you just might open the doorway back to that better place." - Jesse Jarnow (writer, WFMU DJ, producer and host of The Good Ol’ Grateful Deadcast)

Few artists arrive as compellingly yet elusively as did Stuart Moxham upon the startling debut of Young Marble Giant's sole studio album, Colossal Youth. Initial excitement was thrust upon the young Alison Statton, who sang songs written by Stuart with a couple of exceptions. The unaffected tone of her voice was in steep contrast to the typical goings-on in that still quite punky time, but it was what she sang that fully sold it. Moxham's lyrics were both intensely personal and woefully oblique. There seemed to be a sort of story in there. Confusingly, that story often felt like it was Alison's rather than the fellow who'd penned it. The unexpected miracle a deal with Rough Trade and the album's subsequent success had the band stymied for a second act and it wasn't long before the group disintegrated, although circumstances often brought members and a few of their peers - among them Debbie Pritchard, Spike Williams, and a third Moxham brother, Drew. - Phil Moxham was the band's bassist - together in odd combinations and pairings. None of the three YMG members have been especially prolific, but it's Stuart's career that has seemed the least straightforward, as if he'd wondered, "What to do when your debut is a nearly perfect artefact?" In the case of his first "solo" full-length in thirty years, Stuart took the unusual step of entering an alien studio with American producer Dave Trumfio (who's also the leader of Pulsars and bassist for Mekons) and allowing him to decide what tracks (of a large number submitted by Stuart) to record, and how they'd be orchestrated. Or not. In this case - save for the writing and composing - it's really Dave's album as much as Stuart's. The tracks went with Dave back to LA, where they were mixed, a few parts added (including subtle backing vocals from the incredible Linda Smith) . . . then later unmixed and reworked by John Henderson and Roni Ayala back in Valencia. Both versions will be made available, and both have a compelling cohesion missing from some of Stuart's work since YMG. Stuart's minimalism is quite intact, the range of emotions quite wide. There are few artists operating today like Stuart Moxham, a composer of the upper echelon of innate talent who combines avant-garde ideas with deceptively forthright personal lyrics, solid hooks, ambience and vaguely off-centre instrumentation which defies the casual marketplace as confoundingly as it ever did to the underground, whatever that is these days. His songs have been admired and / covered by everyone from Lush to Kurt Cobain, adaptations in Japanese and even a French-language hit by Etienne Daho, adaptations by Hole, Galaxie 500, Magnetic Fields, Belle And Sebastian and many others - but a new Stuart Moxham album is a special kind of joy.

The second in a series of releases from Digi Dub’s archives, this 10” serves, as the title suggests, as a tribute to the late, great Julian Fairshare.

On the A-side, Julian vocalises, in his unique style, his crazy finger flicking lyrics over a slinky Digidub riddim that was always a favourite on his sound system. Repent, the (only) slightly more traditional flipside, finds him commenting on the politricks and lies of those in charge, asking them to change their ways, with backing vocals by Helen Macdonald.

A true rasta with firm principles and a heart of gold, Julian was brought up by his Windrush generation parents in a Brixton house that hosted blues parties, and as a result became deeply involved in sound system culture from an early age. For years he ran the Fairshare Unity Sound, working with people from all cultures and walks of life, always maintaining an inclusive attitude while also favouring the more experimental side of dub. In later years he used the name ‘Unruly Julian’, which suited him somehow.

He toured widely around Europe and was one of the first to take a roots and culture sound system to the USSR. Nearer to home he played regularly on the London underground scene, which is where Lee Digidub and Julian first met, leading to a steady supply of dubplates for his sound. On a memorable visit to the studio, Julian announced that he wanted to voice a dub that Lee was working on, which led to them releasing I Scream and No Way on David Records.

“Sadly missed, it’s such a shame that the great man isn’t here to enjoy this release in person, but it’s wonderful that people get a chance to listen to Julian Fairshare: a unique vocalist, soundman and mentor to so many” Lee Digidub Berwick

Night at the Opera’, the EP by Emei, on Red Marble vinyl. The 1LP, single pocket jacket includes a 10x8 print and 12x24 poster.

A little drama never hurt anybody. Emei knows how to bring it too. With a bold voice that’s as vibrant as her personality, the New Jersey-born Chinese-American songstress delivers clever and catchy anthems meant to be blasted out loud. Emei made major waves with 2022’s “Late to the Party,” surging on TikTok and igniting her End of an Era EP.

However, she reached critical mass with the release of her single, Scatterbrain. Touted as one of Spotify’s “Best Pop Songs of 2023,” the title track eclipsed 71 million Spotify streams followed by “Irresponsible” with 31 million Spotify streams. OnesToWatch christened her, “one of the most promising alt-pop artists to watch.” Plus, she has incited the applause of Billboard, People, Wonderland., and Lyrical Lemonade in addition to BBC Radio 1 in the UK and Triple J in Australia.

Spotify handpicked her as one of Pop Rising’s “Artists To Watch” for 2024. After gathering over a quarter-of-a-billion streams, selling out shows, and attracting multi-GRAMMY® Award-winning mega-producer Ricky Reed to her corner, she embraces her theatricality on her Night At The Opera EP

On her second EP "Reality Check", Kuoko continues to make her way and search for her own answers. On the follow-up to her debut "Lost Woods", her electro-pop sound remains mystical and spherical, but, as the title implies, this project sees the Hamburg-based music producer deal with a number of quite tangible, personal and social topics. On songs like "Floating" or "Hiding in the Dark" she reminds us to follow our guts despite the ever- increasing pressures of society and technology . Despite the heavy undertone, the atmosphere remains positive all throughout the EP as Kuoko"s crystal-clear voice floats through the elaborate, ethereal soundscapes that she created. After putting out her debut EP in 2018, playing several live shows - three of them at the Reeperbahnfestival - and winning a local award for emerging artists (Krach + Getöse), the young multi- talented artist now invites us to check out her latest work. Accept this invitation and give it a listen. It"s definitely worth it.

Damian Dalla Torre returns with People Pleaser, a record shaped by movement, collaboration and an ever-deepening relationship with sound as environment.
The Leipzig-based multi-instrumentalist, composer and producer first found wide attention with his 2022 debut Happy Floating, and his subsequent album I Can Feel My Dreams was named the #1 Contemporary Album of 2024 by The Guardian, an accolade that broadened his audience and deepened confidence in his evolving voice. That second album, written between Europe and South America, opened unexpected doors and took Dalla Torre to stages across New York, Japan and Italy. “When you release music, it’s very intimate,” he reflects. “You show your emotions pretty raw. I was kind of scared. But getting so much positive feedback gave me a lot of self-confidence to try out more.”

People Pleaser begins in that quiet shift of confidence.

The title stayed with him for months before he committed to it. “It was a working title for a long time,” he says. “I didn’t actually think I would use it. But this term also felt somehow relevant in connection with the phase of self-negotiation during the development process. Some aspects are related to pressure, others are positive.” The ambiguity felt right. Rather than presenting it as a statement, Dalla Torre leaves it open, an invitation rather than a confession.
At the centre of People Pleaser is collaboration. Guitarist Bertram Burkert, whose playing stretches from classical delicacy to electric abstraction, joined Dalla Torre in the studio for an intensive three-day session, recording a wide palette of textures that would become the backbone of the album. Vocalist Laura Zöschg, a key live collaborator, harpist Babett Niclas, organist Felix Römer, tape experimentalist Markus Rom, marimba and vibraphonist Volker Heuken and Japanese artist Manami Kakudo also contribute, creating a sound that feels intimate yet expansive.

Damian Dalla Torre returns with People Pleaser, a record shaped by movement, collaboration and an ever-deepening relationship with sound as environment.
The Leipzig-based multi-instrumentalist, composer and producer first found wide attention with his 2022 debut Happy Floating, and his subsequent album I Can Feel My Dreams was named the #1 Contemporary Album of 2024 by The Guardian, an accolade that broadened his audience and deepened confidence in his evolving voice. That second album, written between Europe and South America, opened unexpected doors and took Dalla Torre to stages across New York, Japan and Italy. “When you release music, it’s very intimate,” he reflects. “You show your emotions pretty raw. I was kind of scared. But getting so much positive feedback gave me a lot of self-confidence to try out more.”

People Pleaser begins in that quiet shift of confidence.

The title stayed with him for months before he committed to it. “It was a working title for a long time,” he says. “I didn’t actually think I would use it. But this term also felt somehow relevant in connection with the phase of self-negotiation during the development process. Some aspects are related to pressure, others are positive.” The ambiguity felt right. Rather than presenting it as a statement, Dalla Torre leaves it open, an invitation rather than a confession.
At the centre of People Pleaser is collaboration. Guitarist Bertram Burkert, whose playing stretches from classical delicacy to electric abstraction, joined Dalla Torre in the studio for an intensive three-day session, recording a wide palette of textures that would become the backbone of the album. Vocalist Laura Zöschg, a key live collaborator, harpist Babett Niclas, organist Felix Römer, tape experimentalist Markus Rom, marimba and vibraphonist Volker Heuken and Japanese artist Manami Kakudo also contribute, creating a sound that feels intimate yet expansive.

Quartier Celeste is a unique project in today’s landscape: here’s Premier Voyage, an album that goes beyond music to offer a complete universe, almost an autonomous mythology, which unfolds through music, lyrics, videos, and a collection of visual artifacts.

It all began with a revelation: the discovery of NASA’s sound archives, recordings collected during space missions to the outer
reaches of the solar system. What can be heard as we approach the Sun? What sound does a black hole produce when its electromagnetic activity is translated into audible frequencies? What does Jupiter's fifth moon whisper through the instruments of
a probe?

From track to track, we drift through an immense space — sometimes calm, almost meditative, sometimes shaken by cosmic storms. We encounter supernovas, cosmic rays, magnetic fields, stellar winds, and clouds of antimatter. The infinitely large rubs shoulders with the infinitely intimate: the fragile, close voice offers a human counterpoint to these titanic forces. The whole is mystical, contemplative, punctuated by bursts of noise, areas of shadow, and flashes of light amid vast areas of darkness.

“So Help Me God is the long-awaited second album from Kelsey Lu, arriving June 12 2026 via Dirty Hit. Moving between shadow and release, the 10-track record follows her groundbreaking 2019 debut Blood and is co-produced by Lu, Jack Antonoff and Yves Rothman, mixed by Oli Jacobs, with contributions from Sampha, Kamasi Washington and Kim Gordon. Across the record, Lu blends distorted guitars, choral swells and dark electronic pulses into a sonic landscape that moves between devotional intensity and cinematic scale. So Help Me God expands Lu’s singular creative universe - where music, visual art and performance converge into one multidisciplinary project, marking the return of one of contemporary music’s most singular voices.”

In the nocturnal silence of the rooms that surround it, in 2021 Andrea Marazzi (Pietra Tonale, Umut Adan, Golpe), Carlo Barbagallo (Suzanne' Silver, Albanopower), Frank Alloa (Roncea) and Riccardo Salvini (Indianizer, Foxhound) came together to write the epic tale of Sexy Droga: a concept album about addiction, heartbreak, retromania, death, life and the future. Bass, guitar, drums, electric piano, three voices: when they play together, they call themselves NOCRAC. NOCRAC is the epitome of Turin's musical scene. It is a self-produced, self-funded and self-sustaining musical project that has benefited from the collaboration and commitment of another independent label: Overdub Recordings. NOCRAC has no specific musical target audience and no particular objective, other than to exist.

Debut EP from producer Farhot as his alter-ego Fuchy. It is this professionalism and versatility that makes the 420 EP so damn good. Whether on the grandiose single "Don"t You Hold Me" that features unique flute tones or whether a female voice sample on "In Love" finally rising completely to the beat of the drums: Fuchy never disappoints. With 420 Fuchy aka Farhot delivers yet another strong piece of music without losing touch to the zeitgeist.