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FUMU christens the promising new label Return To Zero (RTZ) with »Funeral Rites on Planet Saturn«, the surrendering sophomore album from Nigerian artist, self-described »negro-producer«, hedonist, and iconoclast LINTD. With production collaboration from Porter Brook and features from Samrai (Swing Ting), Porter Brook, Sam Scott Francis (GOMID), Rizmi, and Imani Jendai.

LINTD’s work emerges as a call and response between the tender, dynamic sounds of Black music across history and the surreal reality of contemporary, vulnerable Black life – a haunting dialogue. These themes are catalysed in the Black Impossible LP Trilogy, reclaiming Black utopia through sound technologies via »Smooch Soundsystem Live at The White Hotel« for Second Born (Kop-Z, Porter Brook), and »DOGTOOTH. And Other Such Tales of the Macabre« on The White Hotel’s HEAD II outlet.

While earlier works engaged with the mania, joy, and paranoia of this impossible experience, »Funeral Rites on Planet Saturn« arrives at a soulful conclusion, allowing grief to tell a truer story. In the vein of Sun Ra, Alice Coltrane, and Octavia Butler, LINTD introduces the speculative planet Saturn as a site where impossible Black being across the world can come and rest: a site for liberation and emancipation.

»This one is an act of care towards myself, and hopefully others like me. I have proven everything I want to prove this year; this one is my elixir from all the lonely grief, a place of rest.«

The breakthrough album. Enrico Rava's second solo record, recorded in Milan in January 1973 and released on the German BASF label, is nothing less than a cornerstone of Italian jazz-rock - the record that caught Manfred Eicher's attention and opened the doors to ECM. Rava himself has called it his breakthrough, and history proved him right.

The lineup is killer: John Abercrombie on guitar, Bruce Johnson on bass, Chip White on drums. Four musicians operating at the absolute peak of early seventies fusion energy - electric, cosmopolitan, burning with that particular fire that only existed in that brief window when jazz met rock and nobody knew the rules yet. Abercrombie, already on his way to becoming one of the most distinctive voices in electric jazz guitar, delivers some of his most ferocious early work here. White's drumming is relentless, pushing the music forward with an intensity that never lets up.

If Miles' Bitches Brew-era speaks to you, if Ian Carr's Nucleus gets you moving, if you know Sun Ra's Lanquidity and Don Cherry's Relativity Suite by heart - this is essential listening. Rava's vision was already fully formed: South American rhythms, Mediterranean warmth, free jazz ferocity, rock power - all flowing together without borders or categories. By the early seventies, Rava had absorbed everything - the New Thing, the European free scene, the electric revolution coming out of Miles' studio - and forged something entirely his own.

The seven tracks cover serious ground. "Bunny's Pie" introduces the music with an almost cosmic atmosphere of suspense, hovering in that liminal space before it trails off into the up-tempo vibrant frenzy of "Trial N. 5" - Abercrombie and Rava trading swirling solos at full intensity, the rhythm section locked in tight. "Dimenticare Stanca" moves from Rava's expressive balladic intro into pure funk, guitar and trumpet steering over the rhythmic drive with absolute confidence. The title track carries the lyrical feel and cadence of an Incan-Peruvian folksong - that cosmopolitan spirit made audible. "Fluid Connection" rides a funky bass riff into fusion heaven, with standout trumpet and guitar solos that build and release with perfect tension. "Cheerin' Cherry" pays homage to the great Don Cherry - Rava's spiritual mentor and fellow traveler in world music - exploring a North African soundscape that points toward the global jazz to come. Johnson's "Peace" closes the album with a minute and a half of serene, blissful calm - a moment of stillness after the storm.

This audiophile reissue - cut from the original masters, pressed by Pallas in Germany on 180gm vinyl, housed in a thick laminated hand-glued gatefold - does full justice to an album that remains a collector's holy grail.

Don't sleep on this one. Limited Edition.

On his second album for Bruk, hoyah חיה continues to take an unflinching look at his Jewish identity while confronted with the heinous actions of the Israeli state. Echoing the name of his Refuge Worldwide radio show, he examines the shared histories of the Jewish diaspora across the Middle East and North Africa — from Morocco to Uzbekistan and everywhere in between. Can I Get A Chayah? is an honest attempt to explore what Judaism could become at a time when the culture faces an existential crisis.

The sonic approach hoyah חיה takes on Can I Get A Chayah? is central to the album's theme, as hard-gated processing on every sound creates a disorienting effect aiming for a kind of 'functional transcendentalism'. From the opening strains of preceding single '808s n Trance Gates' the jagged stop-start intensity of the samples sets a head-spinning tone for the album. The source material comes from across the aforementioned Jewish diaspora, challenging the nationalist idea of the single Jewish state.

Balancing beauty and aggression, hoyah חיה also reaches to a strong cast of collaborators to round out his cultural explorations. Principle among these is the late David German, the US-born guitarist and songwriter behind Silver Jews, whose repeated, bewildered mantras on 'Shalom Aleichem' embody hoyah חיה's own struggles with faith in the face of current horrors. Internationally celebrated Turkish-descent German musician Derya Yıldırım graces 'Talmuds' with her haunting vocal — a tribute to ancient Jewish mysticism that gets passed through the album's unrelenting sonic framework. On 'The Lock' Muha tackles African transcendentalism, while Rael pulls no punches with the questions he poses on the barbed 'This Song Has A Different Title But It Can't Be Published Here Because Of "Reasons"'.

With further prayer recitals on 'Lekha Dodi' and 'The Nose' and videos examining the psychedelic nature of reading the talmud and repetitive prayer movement shuckling, hoyah חיה has taken his research deep into the spirituality of his heritage at a time of crisis for Jewish identity. Naturally, Can I Get A Chayah? is not an easy listening experience, but neither is it a bleak one. There is beauty, mystery, complexity and nuance woven within the stark approach — an intentional, considered statement on a culture much deeper and wider than the barbaric acts of an unrepresentative group of twisted ethno-nationalists.

Baptized with a name derived from astrophysical theories about dark matter and black holes, THE HOLEUM was formed in 2014 in Alicante, Spain. Founded by former members of NahemaH, Demised, quantumXperience, Hela, Neptunian Sun, and Priest of Dawn, the quintet set out to push the boundaries of heavy music and to intensify the emotional impact of darkness in sound. Their concept is both cosmic and sonic: “THE HOLEUM is related to the dark matter that forms the black holes in the universe. THE HOLEUM is not a black hole, but black holes are formed by The Holeum. That is the idea from which we extract our concept – we are a sonic and cosmic vision of the sublime.” With their third album “Ensis” (2025), the band continues its journey through experimental metal, death doom, melodic metal, and post-metal. This work is more than a continuation – it is a condensation and expansion of their previous soundscape. “Ensis” reveals itself as finely nuanced, challenging, yet at the same time profoundly sensitive and multifaceted. The songs unfold like cosmic landscapes where heaviness and melancholy meet subtle emotionality. The intensity remains palpable, but it is complemented by a deeper sensitivity that draws the listener into a fragile balance between harshness and delicacy. “Ensis” is an album that demands and touches at once – a work that makes the complexity of human existence audible in the mirror of the universe.

Jards Macalé’s biography is a testament to the electrifying energy of music and the unwavering spirit of artistic rebellion. Macalé has remained true to his vision, unapologetically embracing the unconventional and challenging the status quo. His music, a conduit of emotion and a mirror to society, continues to weave a sonic tapestry that resonates with the souls of listeners.

In 2022, Macalé celebrated the momentous 50th anniversary of his debut solo album, a groundbreaking masterpiece released by Philips in 1972. This iconic record gifted us timeless tracks such as “Vapor Barato”, “Mal Secreto”, “Farinha do Desprezo”, “Revendo Amigos”, and “Hotel das Estrelas”. Its sheer brilliance united the realms of Brazilian music, infusing samba and bossa nova with the fiery essence of rock, classical harmonies, and the improvisational spirit of jazz. As the years passed, a new generation of musicians and fans discovered this gem, fueling its resurgent popularity and inspiring fresh collaborations.

Last year, Jards Macalé assembled a formidable new band, igniting stages across Brazil with a tour that now sets its sights on Europe. Together with Gui Held on guitar, the Paulo Emmery on bass, and Thomas Harres on drums, Macalé conjures an exhilarating homage to his illustrious body of work. This live performance embodies the untamed spirit and boundless musical freedom that define this visionary artist, transporting audiences to a realm where the past intertwines with the present in a breathtaking display of artistic prowess.

Half speed vinyl edition of the classic album, 'Warrior On The Edge Of Time' by HAWKWIND. Recorded in 1975, the album is a ground-breaking classic from Hawkwind’s long career. Featuring a line-up of DAVE BROCK, NIK TURNER, LEMMY, SIMON HOUSE, SIMON KING and ALAN POWELL, the album is arguably one of the finest rock albums of the mid-1970s. This new Atomhenge half speed master edition of has been cut at AIR Studios utilising the original master tapes. The half-speed mastered cutting process offers the finest audio reproduction and this new edition is the definitive LP release of this classic album

Mats Gustafsson met Jan St. Werner in Berlin when they both performed with Peter Brötzmann and a group of prolific improvisers. Mats and Jan share a passion for performing not just inside rooms but also with them, activating space and shaping sound via divertion. Mats introduces Johan Berthling who adds complex bass structures to the nervous jitter of Mats’ saxophone & pedals and Werner's digital machinery.

The trio instantly agrees on sound as a physical material which can bend and move anywhere within seconds. With this material they establish musical forms which they immediately dissect and reassemble again. It’s a nervous ride, a hyperactive conversation keen on detail and open to argument. Although IFANAME’s sound is instantly graspable it is also hard to pin down. Nothing seems stable yet it lasts, holds like some kind of catchy glue and disssapears as quickly as it came to life. IFANAME is question and concern. It is music as much as it is movement. It is attention, care, curiosity and disaster. Wherever IFANAME came from there is much more waiting ready to burst and reshape in front and inside of our ears.

Zooparty sind international betrachtet so etwas wie Spätzünder, wenngleich sie in der skandinavischen Punkszene seit zwei Jahrzehnten eine high credibility genießen (Skrutt Magazine: "So damn good, I really love this group") und Kenner ihre Alben im Plattenschrank schon lange wie einen raren Schatz aufbewahren. Als die Band 2024 ihr Album "No matter what you say" veröffentlichte, bemerkte nicht nur das legendäre "Maximum RocknRoll" US-Magazine, dass "I am, in fact, late to the party with this band. Fortunately, they're still raging. They fucking rock Yay, I love this. Hats off " Die mitreißende Mixtur aus poppigem Punk, englischem 77er-Punkrock, Glam und ehrlichem Streetrock'n'Roll. (Ox-Fanzine) spricht eigentlich für sich selbst und obwohl Punk-Legenden wie Glen Matlock von den Sex Pistols, Brian James/ The Damned und sogar KISS-Gitarrist Bruce Kulick ihr Potential erkannten und Songs mit Zooparty aufnahmen, sind die Schweden einfach immer zu bescheiden gewesen, um sich groß ins Rampenlicht zu rücken. Eigentlich ist jedes ihrer Alben bisher ein Volltreffer gewesen oder wie schon Englands Mass Movement Fanzine 2018 schrieb: "If you like your punk with a pop edge and relish the classic Fat Wreck Chords period, then Zooparty may well have created your favourite album of the year! Pogo, pogo!" Ihr neues Album "XX" zum 20jährigen Jubiläum steht dem in nichts nach. Jede Band bezeichnet ihr neues Album als "Ihr Bestes". Zooparty darf man das aber getrost glauben: "XX" ist voller fesselnder Punkrock-Songs, die Aggression mit Wut, Verzweiflung und der klarer Message mit einem Sound verbinden. Mit Lieder wie "Stop it now" und "An eye for an eye" fassen sie alles zusammen, was Punk seit Jahrzehnten so faszinierend macht, bringen es in die Zukunft und machen daraus ihre eigene, "pogotastische Mischung" aus Tragik und Melodie. Mit dem Black Sabbath-Cover "Never say die" verabschieden sich Zooparty zusammen mit "Nomads"-Gitarrist Hans Östlund auf ihre Art von der Legende Ozzy Osbourne. Apropos Sound: Mastermind Chips Kiesbye (Sator, Nomads, The Hellacopters, etc) hat es sich auch diesmal nicht nehmen lassen, das Album zu produzieren.

Zooparty sind international betrachtet so etwas wie Spätzünder, wenngleich sie in der skandinavischen Punkszene seit zwei Jahrzehnten eine high credibility genießen (Skrutt Magazine: "So damn good, I really love this group") und Kenner ihre Alben im Plattenschrank schon lange wie einen raren Schatz aufbewahren. Als die Band 2024 ihr Album "No matter what you say" veröffentlichte, bemerkte nicht nur das legendäre "Maximum RocknRoll" US-Magazine, dass "I am, in fact, late to the party with this band. Fortunately, they're still raging. They fucking rock Yay, I love this. Hats off " Die mitreißende Mixtur aus poppigem Punk, englischem 77er-Punkrock, Glam und ehrlichem Streetrock'n'Roll. (Ox-Fanzine) spricht eigentlich für sich selbst und obwohl Punk-Legenden wie Glen Matlock von den Sex Pistols, Brian James/ The Damned und sogar KISS-Gitarrist Bruce Kulick ihr Potential erkannten und Songs mit Zooparty aufnahmen, sind die Schweden einfach immer zu bescheiden gewesen, um sich groß ins Rampenlicht zu rücken. Eigentlich ist jedes ihrer Alben bisher ein Volltreffer gewesen oder wie schon Englands Mass Movement Fanzine 2018 schrieb: "If you like your punk with a pop edge and relish the classic Fat Wreck Chords period, then Zooparty may well have created your favourite album of the year! Pogo, pogo!" Ihr neues Album "XX" zum 20jährigen Jubiläum steht dem in nichts nach. Jede Band bezeichnet ihr neues Album als "Ihr Bestes". Zooparty darf man das aber getrost glauben: "XX" ist voller fesselnder Punkrock-Songs, die Aggression mit Wut, Verzweiflung und der klarer Message mit einem Sound verbinden. Mit Lieder wie "Stop it now" und "An eye for an eye" fassen sie alles zusammen, was Punk seit Jahrzehnten so faszinierend macht, bringen es in die Zukunft und machen daraus ihre eigene, "pogotastische Mischung" aus Tragik und Melodie. Mit dem Black Sabbath-Cover "Never say die" verabschieden sich Zooparty zusammen mit "Nomads"-Gitarrist Hans Östlund auf ihre Art von der Legende Ozzy Osbourne. Apropos Sound: Mastermind Chips Kiesbye (Sator, Nomads, The Hellacopters, etc) hat es sich auch diesmal nicht nehmen lassen, das Album zu produzieren.

Dorian Concept returns with "Miniatures," a collection of his renowned one-take synthesizer recordings that he’s been known for sharing online since the mid-2000s. “This release was right under my nose” he says. Over the past two decades, Dorian Concept has uploaded videos of himself "fooling around" on various synthesizers and keyboards – long before the rise of short-form content. These signature one- to two-minute performances have sparked countless covers, remixes and reinterpretations by musicians and producers alike. Through this project, Dorian Concept aims to celebrate a long-standing bond with his instruments and honor it in the form of a photo album.

In his own words:

As a kid, every night before bed, I would sit in the same place and draw a comic. I rarely finished them, but I couldn’t go to sleep without having started one. These "Miniatures" and the preceding videos I’ve recorded come from the same place. They’re the expression of a ritual.
Around 2020, I created a compact setup using three devices – a mono synthesizer, an analogue reverb and a looper –which I separated from the rest of the studio. Every day, before I started working, I would improvise on this small setup and at the end of every month, I would record a video and share it with the world. These songs were made in front of you, in a Truman-Show like fashion.
Now they feel like diary-entries that capture the timeline of a deepening relationship, the harvest of limitation and repetition, and the beauty of simplicity.

The cover art is a drawing by the esteemed Austrian artist Leopold Strobl (courtesy of Gallery Gugging), who is known for his distinctive small-format work. The closing track, “An Unopened Letter,” features the genre-defying guitarist and producer Bibio.

This is a special work by acclaimed composer and musician Adriaan de Roover, who has released records on Dauw, VIERNULVIER, PIAS, and Consouling Sounds. Chansons de trottoir / Stoepliedjes documents his relationship to sampling in the form of a radio play.

Originally created as a radio piece for Resonance FM in Manchester, the album is a sonic portrait of a walk through Brussels. It is constructed from two field recordings: one made during a walk from Metro Midi towards Adriaan’s home, and another recorded on a walk towards Flagey. Rather than foregrounding recognizable landmarks, the piece focuses on the pavement underfoot: the steady, repetitive rhythm of footsteps on sidewalk tiles.

The recordings are mixed with samples from the music of the Brussels hip-hop group STIKSTOF. Their music became the soundtrack to a period in which Adriaan’s desire to move from Antwerp to Brussels began to take shape. Through repeated listening, the city of Brussels gradually revealed itself to him. This experience echoes that of countless music fans who, while listening to The Beatles, imagine what Liverpool might be like: a city revealed through sound and myth, often crystallized in lukewarm Hard Rock Café–style projections.

Chansons de trottoir / Stoepliedjes is an exercise in sampling and an exploration of how one might find a personal place within the music of others. It frames appropriation as an attentive and considered act. Suspended between memory and imagination, the piece exists closer to a dream state than to reportage.

Sun Wukong (The Monkey King) is a monkey born from a heavenly stone who acquires supernatural powers. After rebelling against heaven and being imprisoned under a mountain for 500 years, he later accompanies the monk Xuanzang on a journey to India. Thus, according to legend, Buddhism is brought to ancient China. This much beloved story, is as much a part of Asian culture as The Iliad and The Odyssey or The Wizard of Oz are to the West.

The 2014 action-fantasy film Monkey King - Havoc In Heaven's Place was directed by Soi Cheang, Starring Donnie Yen as the titular protagonist Sun Wukong. A Hong Kong-Chinese co-production, Yen also serves as the film's action director. The film co-stars Donald Chow, Aaron Kwok, Joe Chen and Peter Ho. The music was composed by Christopher Young.

Funfact; the drums on this soundtrack was done by none other than Dave Lombardo (ex- Slayer)

In China, The Monkey King was highly succesful and became only the third Chinese film to earn more than a billion yuan at the Chinese box office.

The soundtrack of Monkey King - Havoc In Heaven's Place is available for the first time on vinyl as a limited and numbered 2LP of 500 copies on gold vinyl, and includes an insert.

The definition of the word 'fado' is technically 'fate', though the Portuguese meaning bound up with this term is more complex. The music itself can be fairly closely compared with that of Greek rebetika - also the American blues or the original working-class tango music of Argentina and Uruguay - and similarly takes it's common subject matter from the various cruel realities of the world. Though perhaps what distinguishes fado in character is it's often poised acceptance of the pains of life rather than protestation or resistance - as writer Paul Vernon says "It speaks with a quiet dignity born of the realisation that any mortal desire or plan is at risk of destruction by powers beyond individual control"

Death Is Not The End compile here a spine-tingling collection of fado recordings, taken from records issued in the mid 1910s through to the 1930s. The fado's Lisbon and Coimbra variants are presented here by some of the music's earliest recorded stars - spanning a time period leading up to the emergence of the fado's all-conquering star, Amália Rodrigues.

LIMITED TO 50 COPIES! Hand Numbered, Edition of 50.

‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.

The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.

Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.

‘Elevation’ is that record.

Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.

Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.

Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.

»Low Tide, Hi Grypus!« is the new live-iteration of JC Leisure as JC Leisure Group. Documenting an encounter and a communication between human improvisers and atlantic grey seals. The record presents responsive improvisation as a form of cross-species collaboration.

The project began on Porthdinllaen, Wales, where Leisure recorded seal vocalisations from a local colony at low tide. Back in their Liverpool studio, Leisure developed a performance system that translates human musical gestures – pitch, timbre, rhythm, density, presence - into triggers for these seal expressions. The resulting system is dual-active, as in it simultaneously acts and is acted upon in the horizontal instance. It creates a new-music non-linear threshold that cannot be replicated.

»Low Tide, Hi Grypus!« was recorded live at 1210 Berlin and captures one instance of this concept. Local improvisers were invited to encounter the performance system. Recorded in one take, pedal-steel, woodwinds, strings, piano, organ, and electronics gradually learn to listen and respond to the marine voices. This interspecific group moves from intimate duets (that's human, seal) into full ensemble works (humans, seals) over the course of one night.

Rather than treating field recordings as static material, the extensive seal archive functions as an active collaborator: shaping form, pacing, and interaction in real-time. Now that’s marine biology meets human communication!

JC Leisure has previously released work on Sun Ark, Warm Winters Ltd, Not Not Fun and collaboratively with Dialect as Raft of Trash. He has composed a radio play commissioned and broadcast by BBC Radio.

Field Green Vinyl. Big Crown Records is proud to present the instrumental version of El Michels Affair's 2025 instant classic 24 Hr Sports. The roster of vocal features on 24 Hr Sports is amazing, Clairo, Norah Jones, Florence Adooni, Shintaro Sakamoto, two different choirs, and even some singing from the man himself, Leon Michels. The background vocals contributions are amazing; Lady Wray and Kevin Martin from Brainstory to name a few. But alas, there's a new energy that shows up in the listen when you pair it down to the impeccable musicianship and Leon's tried and true "Midas Touch" production. Leon plays a ton of instruments across the album and is joined by the regular cast of heavy hitters; Homer Steinweiss, Nick Movshon, Dave Guy, Marco Benevento, Hether, and more. There is even a saxophone solo by the late, great Rahsaan Roland Kirk.Some would argue this is some of the best music being made by some of the best musicians of our time. We wouldn't argue with anyone...we let the music do what it does.

Motown Records: The Supremes, Stevie Wonder, The Miracles, Marvin Gaye, Martha Reeves and The Vandelas and, of course, The Temptations. It is antithetical to mention any of those without the others. The community of artists started as the Sound of Young America, but as history has proven, it became the sound, the look and the inspiration of so much more. And now, little nuggets of Motown's influence can be found the world over. David Ruffin, founding member of Motown superstars The Temptations, went on to become a successful solo artist even after he left the group. In 1969, Ruffin released two fantastic solo records, My Whole World Ended and Feelin' Good. Between 1970 and 1971 he recorded what was to be his third long playing solo record. However, his career was suddenly put on hold when Motown, for reasons unclear, shelved the album that had been dubbed David. The record had even been assigned a catalog number and final artwork. Ruffin returned in 1973 with a brand new LP titled David Ruffin (treated officially as his third LP) and the previously recorded album David sat on the shelves, unheard for decades. This deluxe 2xLP set features the original, rare David LP, plus an LP of bonus tracks and mono single mixes all packaged in a beautiful gatefold jacket, featuring extensive liner notes and striking color photographs of Ruffin. His red and yellow suede suit featured in the interior gatefold LP jacket is an absolute must-see! The record was cut and pressed at Third Man's Detroit HQ, just a couple miles away from the original Motown HQ. For the first time ever on vinyl, Third Man is proud to present the essential, true third LP from the Temptations' mighty David Ruffin.

3 track 7" EP from Bristol emo / folk / punk trio Toodles & The Hectic Pity.
Where the debut Toodles LP was a collection of very intensely personal songs, this record comprises three songs that are closer to short stories than personal writing. All three are from imagined perspectives: the perspective of a cat, someone who may or may not be being abducted by a UFO, and people who live in a hotel respectively. They’re all nighttime songs.
The title 'Every Night is a Beautiful Night' pays homage to the 1950 film Harvey starring Jimmy Stewart, who remarks early on in the film “Why, every day is a beautiful day.”
Recorded at JT Soar, Nottingham in March 2025. It was produced and recorded by Phil Booth and Robin Newman, mixed by Robin Newman and mastered by Ed Hall at All Silk Mastering House. The artwork is by Emily Seffar.

The Grace EPs by legendary singer-songwriter Jeff Buckley, is a 19-track, five x EP box set, comprising the following EPs: 'Peyote Radio Theatre' July 1994, 'Last Goodbye' January 1995, 'So Real' [June 1995], 'Live From The Bataclan' [October 1995] and 'The Grace EP' [February 1996],

This unique package contains all five twelve inch vinyl records each in their own full colour jacket, a double sided full colour insert with extensive liner notes, all carefully packed in a heavyweight leather laminate textured 15mm-spined outer sleeve.

The five discs that make up the Grace EPs box-set are a collection of live performances, B-sides and studio versions from songs that originally appeared on Buckley's "Grace" album.

Peyote Radio Theatre and So Real were promotional-only releases that weren't commercially available. The others are rare imports: Live from the Bataclan came out in France, The Grace EP in Australia, and Last Goodbye in Japan,

This EP set features "Last Goodbye", "Grace", "So Real" and two amazing live versions of his classic hits "Hallelujah" & "Mojo Pin".

The Grace EPs also features a whopping 12-minute version of Van Morrison's "The Way Young Lovers Do," a medley of "Je N'En Connais Pas la Fin/Hymne A l'Amour," Hank Williams's "Lost Highway," and a 14-minute take on Alex Chilton's "Kanga-Roo."
Finally there is a bonus track added to the The Grace EP; "Tongue," a spooky ambient 11-minute studio instrumental.

New “Inversions” of drone rock pioneers Earth’s debut release. A collaboration between Dylan Carlson and Black Noi$e (Armand Hammer, Danny Brown, Earl Sweatshirt) formed in mutual respect and appreciation for one another. Both artists were intrigued by the creation of vast musical landscapes and the connection of music, with its ability to transport the listener. The music of Earth was recognised and celebrated for moving at a glacial pace and yet this new collaboration surprisingly saw Black Noi$e slowing things down even further.
The debut, which originally came out in 1991, notably featured Kelly Canary and Kurt Cobain on vocals on the tracks “A Bureaucratic Desire for Revenge Part 2” and “Divine and Bright”. Black Noi$e reimagines the original recordings with his experimental sensibility and innovative multi-instrumental, cross genre exploration. Applying contemporary electronics to the heavy droning bass and guitars and languid rhythms, this inversion oscillates and reverberates with a different kind of energy whilst simultaneously highlighting the much loved low slow and distorted properties of the original.

‘Extra Capsular Extraction’ was the first music Dylan made with Earth and his first time in a recording studio, which he recalls at the time as being “terribly exciting”. It also marked the first time collaborating with others and seeing it reified into a tangible object or product, a spirit that Dylan has carried through to the present. The original album is a document of a specific period and Dylan’s creative development. These inversions of Extra Capsular Extraction are, to quote Dylan, “an exciting way to reintegrate them into the present time and with my more expanded conceptions of musical endeavours”.
"Doom-metal innovators" Pitchfork.

"With guitars ramped up to the nth degree, but tuned to gut-wrenchingly low frequencies, Earth carved out a veritable canyon of pure molten drone, one which would have a profound influence on modern metal music." The Quietus

Mixed by Simon Lam (Kllo, Armlock) and mastered by Grammy-nominated engineer Andrei Eremin, the album features collaborations with British talent including rising spoken-word artist Emmeline, Mancunian ambient producer Frameworks, and Nattica from Fickle Friends on the single 'Oh My'. Speaking on the album, Fractures says: "There's no overarching theme to this album, not lyrically anyway. It's cobbled together like short diary entries of someone journeying through a sort of middling stasis in their life, a time of nothing particularly noteworthy, and that in itself provokes deeper and maybe darker introspection.

I didn't feel like needlessly plugging holes with lyrics, just light dabs here and there, light and shade to complete the visual I pictured in my head. The through line of the album is more within the sonic palette. There's a murkiness, a sort of dust in the audio that is cast over every song. Noth

"Orange Ave. is the fourth studio album by American post-grunge band Seven Mary Three. It was released in 1998. The album was named after a street running through downtown Orlando, Florida, their hometown. The album's only charting single was ""Over Your Shoulder"". ""Each Little Mystery"" was also released as a single, but did not chart. Their debut rode the Pearl Jam bandwagon to commercial success with a combination of crunchy guitars and angst-filled lyrics, and 1995's American Standard was more straiht forward Americana. On Orange Ave., they take chunks of their predecessors and come up with a post-grunge,soul-searching, acoustic-guitar-strumming personal statement. This album blends all this into a perfect mix. Orange Ave. is available for the first time ever on vinyl and will be released on orange coloured vinyl. Limited & numbered to 1000 copies and it will contain an insert"

On this 8 track EP every song has UK and USA lyricists side by side as equals. It includes older icons of Hip-Hop, established talent from the current underground rap scene, and young emerging rappers who haven't been given a platform until now. This project is a collaboration between producer Sam Seed, a dozen rappers, 4 record labels,

the 05:21 music platform and a DJ night. No filler, all killer.


Introducing Sam Seed

A rising name on the underground rap scene. North London producer Sam Seed has a list of top tier production credits to his name with artists including Vinnie Paz, Billy woods,

Mickey Diamond, Conway the Machine. The Unaligned Vol.1 is his eagerly awaited debut EP.

INTERWOVEN' is a four-track split EP that binds together two of Denmark's most forwardthinking heavy acts: HIRAKI and Meejah. Built on a shared appetite for boundary-pushing intensity, the collaboration channels the urgency of electronic hardcore, the spaciousness of experimental rock, and the emotional depth of cinematic metal into an immersive work that is at once confrontational and deeply connective. As a part of Denmark's flourishing underground scene for dark and heavy music, the HIRAKI trio deploys an aggressive style of progressive synthpunk from the edge of the abyss. The band presents this sonic assault to accompany the inevitable fact that our world is sick, and we all take part in maintaining the fucked up systemic structures. MEEJAH is a Post/Experimental Danish-Korean band from Copenhagen weaving together Nordic Melancholia & Korean Ancestry. The results sound like Heaven, Thunder, Mountain, Earth, Wind, Fire, Water, Lake. Across these four tracks, both bands challenge each other to step past familiar contours, unraveling and recombining their musical identities until a new hybrid shape emerges_volatile, textured, and unmistakably alive. FOR FANS OF The Body * The Armed * Sightless Pit * Massive Attack * Julie Christmas * Death Engine

INTERWOVEN' is a four-track split EP that binds together two of Denmark's most forwardthinking heavy acts: HIRAKI and Meejah. Built on a shared appetite for boundary-pushing intensity, the collaboration channels the urgency of electronic hardcore, the spaciousness of experimental rock, and the emotional depth of cinematic metal into an immersive work that is at once confrontational and deeply connective. As a part of Denmark's flourishing underground scene for dark and heavy music, the HIRAKI trio deploys an aggressive style of progressive synthpunk from the edge of the abyss. The band presents this sonic assault to accompany the inevitable fact that our world is sick, and we all take part in maintaining the fucked up systemic structures. MEEJAH is a Post/Experimental Danish-Korean band from Copenhagen weaving together Nordic Melancholia & Korean Ancestry. The results sound like Heaven, Thunder, Mountain, Earth, Wind, Fire, Water, Lake. Across these four tracks, both bands challenge each other to step past familiar contours, unraveling and recombining their musical identities until a new hybrid shape emerges_volatile, textured, and unmistakably alive. FOR FANS OF The Body * The Armed * Sightless Pit * Massive Attack * Julie Christmas * Death Engine The single colour edition comes as white vinyl!

What's the first thing you think of when someone mentions Thee Oh Sees? Probably their riot-sparking live show, right? Visions of a guitar-chewing, melody-maiming John Dwyer careening across your cranium, rounded out by a wild-eyed wrecking crew that drives every last hook home like it's a nail in the coffin of what you thought it meant to make 21st-century rock 'n' roll? Yeah, that sounds about right. But it misses a more important point-how impossible Thee Oh Sees have been to pin down since Dwyer launched the project in the late '90s as a solo break from such sorely missed underground bands as Pink and Brown and Coachwhips. (While Dwyer still records songs on his own, Thee Oh Sees is now a five-piece featuring keyboardist / singer Brigid Dawson, guitarist Petey Dammit, drummer Mike Shoun and multi-instrumentalist / singer Lars Finberg.) That restlessness extends to everything from the towering, thirteen-minute title track of 2010's Warm Smile LP to the mercurial moods of 2008's The Master's Bedroom Is Worth Spending a Night In. Now, Thee Oh Sees chase the home-brewed symphonies of Castlemania with the scrappy, high-wire hooks of Carrion Crawler / The Dream. Originally envisioned as two EPs, it was cut live to tape in less than a week at Chris Woodhouse's Sacramento studio in June, reflecting the battering-ram bent of the band's live show better than any bootleg ever could. "As I'm sure most would agree," explains Dwyer, "Castlemania was more of a vocal tirade. This one's meant to pummel and throb." That it does, whether one blasts the slow, speaker-bruising build of "The Dream," the sunburnt organs and dovetailing guitars of "Crack in Your Eye" or the interstellar instrumental "Chem-Farmer," a perfect example of what happens when one takes a well-oiled machine-a gang of rabid road warriors, really-and adds a second, groove-locked drum set to the mix. To listen is to realize that Dwyer's music is as manic as the underground comic inclinations of his artwork; colorful and confusing in a way that's more than welcome. It's downright refreshing, like a slap in the face at 5:00 in the morning. Or, as Dwyer puts it, "You have to leave a mark somehow."

It's hard to fathom Martin Bramah's trajectory from his beginnings as a guitarist/writer behind two crazily influential postpunk albums - The Fall's Live At The Witch Trials and Blue Orchids' The Greatest Hit (Money Mountain) (vocalist on the latter too, of course) - then nearly three decades of sporadic-at-best activity, offering releases just frequently enough to remind fans of his peculiar brilliance . . . before another stay in the void. Chalk it up to what you want - Mark E. Smith's utter usurpation of The Fall, his split from partner Una Baines after Blue Orchids' debut, the vague collapse of rash experimentation in `underground' music as early `80s nu-pop and American college rock diluted any real spirit, a few failed attempts at working with with Mark again . . . and maybe just life getting in the way. A sense of lost opportunities isn't tough to justify. Inasmuch as Martin was originally the singer for The Fall - Mark began as guitarist but couldn't play! - and given that the group's mythology was born in an era before that gang of Mancunian misfits had even thought of playing, it's high irony that 49 years after The Fall began, Martin has both become wildly prolific and the leader of a band with more rights of inheritance to The Fall's credibility than any other living person could justify . . .yet the band isn't remarkable for that as it is for the range and wealth extent of their collective powers and talent: two great and original guitarists, three of the UK's most daringly-skilled drummers, a genuine bass legend, and a brilliant spare Blue Orchid guitarist. Four albums in, the HOUSE Of ALL is getting ambitious, with each album a subtle improvement on the last, forging a path away from their pasts without denying a thing. Inklings differs from the first three for not having being largely improvised at first, with sounds, rhythm, groove and melody later forged into songs. They rehearsed! They had fun doing it! They're going on an extended tour! There were even extra tracks! We'll leave it to fans and critics to sit down and analyse the specifics of it all, but Steve, Si, Pete, Phil, Karl and Martin have made a bold and powerful album unlike any other you'll hear in 2026 . . . stately, majestic, bold and worthy of a group of real survivors. In perverse form, the album will be officially announced and preceded by a song not on the album!

Here is the record you have been waiting for! The first ever scratch vinyl by DMC world triple champion Skillz, entitled You Know My Skillz.
The record includes original sounds, phrases, sounds Fx and much more. To celebrate this release like it should be done, the famous artist Grems did the artwork of this beautiful yellow clear record. Turntablists, switch on your turntables!

Relive the hit soundtrack to Season 1 with the show that defined a generation, HANNAH MONTANA, and sing-along with The Best of Both Worlds, The Other Side of Me and more on this collectible green splatter LP!

Igor Tamerlan is a stranger in his own land. Born in 1954 the Hague and spent most formative years in Paris, Igor suddenly had the urge to relocate to Bali in 1986. “I want to settle in Indonesia and marry a local girl,” he told his sister shortly before flying out.

His next journey would be as audacious as his time in the Fifth Republic. Born from a prominent Indonesian expatriate family in Paris with ties to Indonesia’s first prime minister Sutan Sjahrir, Igor earned a degree in architecture at Ecole nationale supe´rieure d’architecture de Paris-La Villette.

He could have been a brilliant architect or a political scientist (he was accepted to Sciences Po), but his passion for music distracted him from his academic works. He was after all named after Russian composer Igor Stravinsky.

During his brief stint at Sciences Po, Igor spent most of times hanging out at recording studios and rub shoulders with the likes of singer-songwriter Jean-Jacques Goldman and Michel Polnaref. He had a brief encounter with The Rolling Stones at the Cha^teau de Thoiry studio in the early 1970s.

But Igor’s musical education and his occidental eyes appeared to be ill-suited for Indonesia. His first record, titled Langkah Pertama (First Step) on the mainstream label Musica was met with a shrug and was a commercial dud. An experimental record blending the influence of Spanish motifs, Francophile production and a whiff of hip hop and ska was seen by critics as being too alien. His sarcasm-laden lyrics and his biting critique of excessive materialism among the upper tier of Indonesia’s nouveau riche in the album was met with confusion from the audience. He was just too far ahead of his time.

He left the label Musica – or may had been dropped – soon after Langkah Pertama and decided to go independent. He then relocated to Bali and set up a state-of-the-art recording studio in Sanur, across the street from Southeast Asia’s first boutique hotel where luminaries like Mick Jagger, David Bowie, Sting, Yoko Ono and Ringo Starr stayed for their holiday.

From the studio, Igor recording everything from the sounds waterfalls, geckos, minibuses to motorized rickshaw and mix them with hip hop, jazz, electronica, dub and Balinese gamelan. A visionary, Igor was the first musician to use MIDI, which started to be available globally in the early 1980s.

On paper, songs like “Bali Vanilli” should not work, a mish mash of disparate elements mentioned above, sung in three languages, Balinese, English and Bahasa Indonesia while tackling the subject of overtourism. The song was also the first to introduce rap to an unsuspecting audience. But for some strange reason “Bali Vanilli” became a sensation and overnight Igor became household name. And in 1987, long before overtourism was an issue, Igor broached the subject to a national audience in Indonesia on the possible destruction of nature and culture from tourism.

Ever an iconoclast, Igor decided to step out of the limelight following the success of “Bali Vanilli” and in early 1990s he relocated to Indonesia’s cultural capital, Yogyakarta. Here, he worked on some more experimental music while juggling as music video director. He passed away in 2018 at the age of 64.

The 10 songs in this compilation, Bali Vanilli: Experimental Pop from Paradise Island (1987-1991), are some of Igor’s best works, music that would have gone into obscurity had it not been for the diligent work of film director Alfred Pasifico Ginting, who managed to track down some of the master tapes while researching on a documentary on the musician.

These recordings have never before been released outside of Indonesia. Igor would have been proud with this reissue project.

Double LP pressed on transparent red vinyl with black marbles. In Dying Light: The Beast, you step back into Kyle Crane's skin, but he's no longer the man he once was. Years of experiments have left him torn between fragile humanity and a monstrous power that he can barely control. Every light, every shadow, every choice feels dangerous. The forests and ruins of Castor Woods don't just set the stage, they breathe, they watch, and they punish the reckless. This is survival stripped to the bone, where horror is not just outside, but inside you. Olivier Deriviere's powerful and capturing score for Dying Light: The Beast doesn't just accompany Crane's journey, it is his voice. Sometimes it whispers in empty rooms, fragile and broken, sometimes it roars with distorted rhythms and pounding drums when the Beast takes over. Between silence and sound, the music pulls you deeper into Kyle's fractured soul, making every step and every heartbeat part of the story. It's not just a soundtrack, it's the echo of a man losing, and maybe finding, himself.

Following his critically acclaimed debut "Dentsu2060" released via Lorenzo Senni's Presto!?, Tasho Ishi's second full-length album "Tasho Ishi lI" is now available on his own label T's.

tI features the new-wave Parapara anthem "Collapse Roppongihills" which became a staple at Narita Airport raves. celebrity trap rave track "DreamDrakeDrain" reminiscent of jam session between Drake and David Chronenberg. the junk entertainment track "Hellnwein" depicting modern pop utopia and its violent underbelly.

The Japanese-style Eurodance meets Philip Glass "The Bachelor" inspired by reality TV. These anthems are contemporary, pop, and carry Tasho Ishi's unique critical edge.

The second album, 'Tasho Ishi Il', is both a musical translation of Japan's diverse techno-animism and a sequel to the previous work "Dentsu2060" Techno-animism: Para Para, anime voice actors, reality TV, epics, advertising, and raves. Each track stands alone yet forms part of a larger, chronologically unfolding narrative.

While all tracks are animated by Japan-specific sound imagery, this is a pop album rather than avant-garde or abstract. In essence, it's a series of songs generated by rave trans-layers, serving as both reportage and documentation tracing Tasho Ishi's visionary city and its phenomena.

From the cold North of Sweden, NORNA and LEGBITER deliver a six-track document of contrast, convergence, and uncompromising heavy music. Bringing together two distinct voices, the release explores the many shapes heaviness can take_stretching from crushing, slow-moving atmospheres to sharp, volatile bursts of aggression. Formed by musicians with deep roots in the European underground, Norna approach heaviness as a vehicle for emotional gravity. Their sound is expansive and deliberate, built on massive low-end, tectonic rhythms, and an acute sense of restraint. Legbiter approach heavy music as direct, confrontational, and unrelentingly physical. Rooted in hardcore and metal's most ferocious intersections, the band thrives on immediacy and impact. Legbiter compress time, delivering short, explosive bursts that hit with the force of a live wire. Their sound is lean, aggressive, and unapologetically raw. "Even though we sound very different sonically I think we all have a lot of common ground, not only in being parts of the 90's scenes, but also musically in the somewhat dissonant and harsh guitar parts", says Legbiter guitarist (Rickard Nordström. "Personally, I love splits with bands that don't sound exactly the same, but share some common traits and vibes." "Contrast is everything, we have always tried to flow between despair and beauty. Dynamics are important to us. This split will give you that contrast", comments Norna guitarist and vocalist and former Breach vocalist Tomas Liljedahl. FOR FANS OF Handsome * Quicksand * Fireside * Breach * Helmet * Superheaven * Narrowhead * Metz

illo.trio are representatives of the contemporary jazz scene who have already made their mark on numerous stages through other the world. Seamlessly blending elements of different styles, the musicians reinterpret familiar forms in fresh ways, filling them with unconventional meanings and stepping beyond the boundaries of expectation.

The new album is titled Wandering. It brings together 10 compositions that invite each listener to embark on a search for meaning and answers to essential questions.

This is a multifaceted journey where dramatic episodes coexist with retro-wave vibes, intimate chamber lyricism shifts into psychedelic phantasmagorias, and the trio's concise acoustic sound is interwoven with rich electronic textures and experimental effects.

The first resonant space Zosha Warpeha played in was the Emanuel Vigeland Museum in Oslo, Norway. Built as a mausoleum, its walls reach up into a gradual archway, creating an environment where sound expands and reverberates for twelve seconds before decaying into silence. Warpeha was greeted only by dim lights when she entered, and it wasn’t until she had spent several minutes listening that she was able to make out the frescoes that covered every inch of the room: graphic depictions of the cycle of life from conception through death. As the sound of her Hardanger d’amore encountered the walls and these slowly emerging scenes, they obscured its point of origin in both time and space, augmenting its own life cycle. The experience sat in the back of her mind over the next several years as she developed her own patient style of composition and performance, one that comes into full bloom on her new album I grow accustomed to the dark.

When Warpeha was selected as an artist in residence at Brooklyn’s ISSUE Project Room in 2025, she saw it as an opportunity to more intentionally explore how her music might fill a room with ample natural reverb. I grow accustomed to the dark documents two single-take solo performances for Hardanger d’amore and voice at IPR, with both pieces composed in a unique tuning system developed to interact with the space itself. Listeners can trace resonance from the contact of the bow on gut strings into the body of the instrument, its five sympathetic strings offering another layer of refraction, before the sound is thrown about the cavity of the room. The echoes emerge like a photographic double exposure, or wisps of smoke that linger in the air, creating ghostly harmonic convergences that blur the line between what is there and not-there. Sound begins to act like light, a synesthetic alchemy that transforms drones into beams and ornamental trills into flickers.

Both side-long compositions, “filament” and “visual purple,” exemplify a duality that animates Warpeha’s music: an expressive, individualistic style that draws on extensive knowledge of her instrument’s history in folk traditions, and an austere, devotional quality maintained by focus and precision. Though very different in character and structure, both pieces evolve slowly through numerous repetitive phrases, passages of stillness, and bursts of intensity. “filament” opens with a cycle of delicate melodic fragments played and sung around a drone before blossoming into an outpouring of swooping arpeggios, harmonics flying from the strings like sparks off a bonfire. The disorienting pulsation of harmonic beating forms the core of “visual purple,” the close-tone dissonance building to a swarm of open strings ringing boldly throughout the space. After the knotty tones reach their climax, the piece collapses into studied quietude, hushed, but without any drop in intensity.

When Warpeha first visited the Vigeland Museum in 2019, she was in Oslo to deepen her relationship to the Hardanger fiddle through the study of Norwegian traditional music, which is primarily passed down aurally. The experience of learning songs by ear, not only internalizing the tune but also absorbing the techniques and tonalities by listening, was a crucial step in her development as a composer. The years since have seen her sharpen those skills as a prolific member of the New York avant-garde and improvised music communities. Warpeha’s music encourages listeners to join her in this journey, to listen closely with each repeated phrase and through each dramatic shift. Like the frescoes on Vigeland’s walls, with time and intention, the depth of I grow accustomed to the dark comes on like a revelation.

With two deeply cherished compilations already in the bag, Luke Una steps up for the third volume in his É Soul Cultura series on Mr Bongo. A love letter to the dancefloor and its power to unite people from all corners of society amid growing division and extremist politics. Genre-spanning in nature, the 15 tracks travel between cosmic soul, boogie, proto-house, slo-mo technoid grooves, drum machine afro, astral bass-bugging futurism, jazz funk, dance, and disco. Each having the ability to move the body as much as the heart.
 
From his formative years in Sheffield to co-founding Manchester’s much-fabled Electric Chair with Justin Crawford, through to helming the iconic LGBTQ institutions of Homoelectric / Homobloc, Luke has spent 40 years immersed in dance music. His latest outlet, É Soul Cultura, has grown from a label to a globe-spanning events series with Luke holding residencies and embarking on tours across the world from Japan and Australia to America and Europe. 
 
“For me, the dancefloor was never about a one-dimensional, thudding, 130 BPM beat only. It's a much more dynamic, broader vision than that. I cut my teeth in an era where a 100 BPM record had as much impact, excitement, and energy as a 134 BPM dancefloor jazz funk or techno record”, Luke mentions. É Soul Cultura Volume 3 is the perfect embodiment of that notion: “It’s about four decades in the trenches playing dance music, the late-night afters, the shebeens, the basements, warehouse parties, the eight-hour journeys in East London, through to festival sets at Houghton and We Out Here. It’s music unconstrained by genre or tempo and more about making your body move”. 

But this isn’t simply a collection of disparate dance tracks; they carry meaning and soul. “It’s less about escapism, more about reconnection. My experience of post-covid has been the coming together of all the clans in various clubs and gatherings. A reaction to a very toxic world out there, where the aggro rhythms of division have sought to divide us, and people don't meet as often. The coming back together face-to-face in clubs has encouraged a real love in the air, there's a real togetherness and collective spirit”.
 
Opening up the compilation is a track that channels that very message, the transcendental, soul-rousing Harris & Orr ‘Spread Love’. Joining the dots from there, to the low-slung deep house closer of Fatdog ‘Remember’, you’ll find electronic drum machine Nigerian funk, sitting side by side with dancefloor Cape Verdean brilliance, a post-punk cover of Fela Kuti, rubbing shoulders with cosmic electro, and an Una-championed, 8-minute, kickless DJ Harvey remix. There’s jazz funk in various guises moving from boogie synth to astral travelling, slo-mo acidic raw techno, and a ‘79 soul stepper, alongside swirling percussive Italo disco and tribal-charged house. All infused with an innate ability to bring people together.
 
As society becomes increasingly fractured, É Soul Cultura Volume 3’s message is more than movement. It’s about dance music’s power to unify people from all walks of life and break down the barriers that divide us.

Released in 2026 under the catalog number Z-ONE, the album "the river" is a live recording - a snapshot of music from the Hamburger "ZustandsZone" scene between 2014 and 2025. Blending free improvisation with structural depth, the album offers a sonic exploration that will appeal to both purists of the genre and lovers of avant-garde sounds in the contemporary jazz landscape. The striking artwork underscores the artistic ambition of this highly personal work, which fluidly transcends the boundaries between tradition and modern abstraction. "Sound arises, passes away, what has been and is perceived, for a sky's length."

Supertramp are releasing the definitive vinyl pressings of their studio albums. Even In The Quietest Moments audio was transferred at Abbey Road Studios by Miles Showell and overseen by album engineer Peter Henderson, where they cut the 1/2 speed master used to press the vinyl. The LP is pressed on 180g black vinyl. This is the group’s fifth studio album.

Supertramp are releasing the definitive vinyl pressings of their studio albums. Famous Last Words audio was transferred at Abbey Road Studios by Miles Showell and overseen by co-producer Peter Henderson, where they cut the 1/2 speed master used to press the vinyl. The LP is pressed on 180g black vinyl. Released in 1982, this is the group’s seventh studio album and final release with Roger Hodgson.

Preceded, in November 2018, by the monster hit ‘Nothing Breaks Like A Heart’ featuring Miley Cyrus, Mark’s fifth studio album dropped in June 2019 to widespread acclaim as a carefully crafted, cohesive and intimate experience. Outfitted with one of the finest aggregations of so-called ‘sad bangers’ to be found anywhere in pop, including four further singles featuring stellar female vocal performances, Ronson described it as “definitely the best thing” he has produced (as well as the record that he worked hardest on) and it is difficult to disagree. As Clash Music concluded: “Ronson’s ability to tap into each artist’s strengths and dig out their particular prowess allows each voice to shine through and own each individual track. This is what elevates the record to a guaranteed award winner and a truly empowering listen.”