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The album Fuyu Kukan, featuring the track “Midnight Pretenders” recently brought back into the spotlight after being sampled by The Weeknd is set to be
repressed on clear blue vinyl!
Produced by Masatoshi Nishimura of FENCE OF DEFENSE, this innovative album blends elements of new wave and rock with mellow tunes and experimental
sounds.
Originally released in 1983, it has gained renewed popularity in recent years thanks to the global city pop revival.
Tracks like the mellow “I’m In Love” and “Midnight Pretenders”, as well as the cosmic sounding “Hannya”, have captivated a new generation of listeners both in
Japan and abroad.

First Word Records are proud to bring you 'Penny Ballads', a 5-track EP from Royce Wood Junior.

Royce Wood Junior is a Grammy & Mercury Award-nominated musician, songwriter and record producer from London, currently based in Brighton. As a multi-instrumentalist, he's collaborated with a litany of brilliant artists over the years, such as Jamie Woon, Nao, Disclosure, Jessie Ware, Olivia Dean, Joy Crookes, Jamie Lidell and Jordan Rakei, additionally to touring with the likes of the legendary Thomas Dolby. He's released two acclaimed solo albums to date ('The Ashen Tang' in 2015, and 'No Two Blue Ticks' in 2021).

'Penny Ballads' demonstrates RWJ's varied talents, with a collection of alternative soul compositions, each one as unique as the next. It includes the first two singles, the Poplife-Prince era flavoured 'Go Get Your Money', and the double-time future funk adrenaline shot, 'Clean Up', along with three previously-unreleased tracks. 'Beretta' is low-slung soul funk, beginning with quirky squelchy synths, before the soulful lead vocal of feature artist Lucey Way breezes in to melt everyone's hearts. 'Things' sweeps in next, an infectiously soulful midtempo heavy soul bop, with an instant earwork of a hook, like a modern-day Steely Dan / Doobie Brothers, complete with a head-nodding string section to end the track. The collection concludes on a more melancholy downtempo tip with 'Rolling'; an almost-folktronic anthem, with a key refrain that wouldn't be out of place on a 70's Stevie piece.

RWJ (aka Jim Wood) says of this project… "Back in the 17 and 1800's Troubadours and minstrels would go from Tavern to Tavern selling Penny Ballads, single sheets of music and lyrics written quickly and frivolously to make a quick buck.. It strikes me that we're in a similar phase in the way we value music in 2025. An old Penny Ballad was cheap and dog-eared, ink-smudged, sung aloud by firelight, Now songs live in the digital ether, dissolved in the air, a ghostly breath paid in micro cents. The new era of Penny Balladry is here, and weird.

This EP is a snapshot of my writing over a two year period. Focussed on minimal recording styles, one mic on the drums, generally first or second takes on parts and vocals, I wanted the music to feel like small moments with lyrics that talk about the weird nuances of being alive as a latter stage human on the cusp of the Ai revolution. Culturally so evolved, but physiologically still just a bunch of mammals walking about with primitive fears and needs. Just trying to reconcile it all moment to moment…"

Previous support for Royce's music has included Radio 1's Future Sounds, BBC 6 Music's New Music Fix, Annie Mac, Clara Amfo, Jo Whiley (BBC Radio 2), Mary Anne Hobbs, Jamz Supernova, Tom Robinson, Huw Stephens (BBC 6 Music), Zane Lowe and MistaJam. There have been sessions previously for the likes of Red Bull and press from Huck, Line of Best Fit, Clash, Aesthetica & DIY magazine.

Entirely self-written and self-produced, this EP gives a solid taste of RWJ's talents. A deeply funky diverse set of music from an immensely talented individual.

'Penny Ballads' is due to be released on vinyl & digital, 24th October 2025.

The vinyl version also includes an exclusive additional mix of the first single 'Go Get Your Money'.

Clear Red Vinyl. In den späten 1990er Jahren zog Peter ,Sleazy" Christopherson mit Jhonn Balance - seinem Lebens- und Coil-Partner - von London ins ländliche Weston-super-Mare, und schuf ein Umfeld für alles, was ,musick, musick, musick!" heißt, mit einer wechselnden Mitgliedern, darunter Thighpaulsandra. Coil's Coil verdoppelte sich fast, und inmitten dieser fruchtbaren Zeit stellte Thighpaulsandra die einfache Frage: Warum spielt Coil nicht live? Nach einer 16 Jahren Wartezeit, dank des rasanten technischen Fortschritts in Form von MacBooks, DAWs, VSTs und Plug-ins waren Coil in der Lage, ihre Musik auf die Bühne zu bringen, wie sie es sich immer vorgestellt hatten. Mit der Performance konnten sie die Risiken und Freiheiten der Echtzeit-Klangmanipulation, wie Sleazy anmerkt: ,Die Show wird Minute für Minute umgestaltet die Show Minute für Minute... die Richtung ist sehr spontan, nicht so sehr in Jazz-Improvisation, sondern in einer Art Bewusstseinsstrom - Thighpaulsandra brachte uns seine Weisheit, und er konnte uns überzeugen, dass wir es schaffen konnten." Wenn Coil live spielten, waren sie, wie eine Schlange, die sich häutet" alle sechs Monate in etwas völlig anderes; in der Vorbereitung auf das 2004er "Even an Evil Fatigue"-Liveserie vorbereiteten, begannen Coil mit der Arbeit an ihrem nächsten, die Zeit definierenden Meisterwerk Black Antlers. Black Antlers zeigt die späte Coil-Periode: reduzierter, straffer und schlanker. Die Musik wurde rhythmischer, mit einer größeren Betonung auf Beats: ,Die Songs, die wir gemacht haben, sind eher... nicht Rock im eigentlichen Sinne, aber du weißt schon, konventioneller in Bezug auf die Struktur, aber jetzt ist das, was wir tun, eine Art elektronischen' Genre." Der Sound von Black Antlers ist eine mitreißende Energie, die Thighpaulsandras fortschrittliche Synthese, Balances poetische Lyrik und Christophersons Flirten mit Jazz und Ableton-gestütztem PowerBook Maximalismus. Vervollständigt wurde das Trio durch den renommierten Drehleierspieler Cliff Stapleton auf einer ,speziell in Auftrag gegebenen" elektrischen Variante, die sich in die ,seltsame und weltfremde Musik" der Band zu integrieren; der an der Royal Academy of Music ausgebildete Perkussionist Tom Edwards (der auch mit Thighpaulsandra in der der Live-Band von Spiritualized auftrat); und der Spezialist für europäische und nahöstliche Blasinstrumente Mike York an Pfeifen, Bombarde, Duduk und Balalaika.

Tomoyo Harada x Tore Johansson's "I Could Be Free," a shining monument in the history of '90s J-Pop, is finally being reissued on vinyl!
JUDGMENT! RECORDS Vinyl Odyssey: Part I

Produced by Swedish virtuoso Tore Johansson, this album is renowned as the pinnacle of Tomoyo Harada's "Swedish Pop Trilogy."
This delicate worldview has been meticulously recreated on vinyl by the new label, JUDGMENT! RECORDS, headed by acclaimed record designer
Koki Hanawa, with a unique aesthetic and meticulous attention to detail. The meticulous binding, featuring an E-style trifold cover, enhances the album's
appeal both visually and aurally.

Tomoyo Harada's crystalline masterpiece, "music & me," finally reissued on vinyl.
JUDGMENT! RECORDS Vinyl Odyssey: Part II

In 2007, Tomoyo Harada's album "music & me," produced by Goro Ito, was released to commemorate her 25th anniversary since her debut.

This album, which combines an acoustic vibe with a soft, limpid vocals, continues to garner overwhelming support from fans even 18 years after its release.

Her self-covers, "Cynthia" and "The Girl Who Leapt Through Time," are masterful bossa nova arrangements that resonate with her roots and maturity,

making them truly exceptional works to be enjoyed on vinyl. To maximize their appeal, the new label "JUDGMENT! RECORDS," headed by acclaimed record

designer Koki Hanawa, has released the album on vinyl with his unique aesthetic and craftsmanship.

The meticulous binding, featuring an A-type semi-double cover, recreates the album's worldview both aurally and visually.

■ Participating Artists: Keiichi Suzuki, Yukihiro Takahashi, Masakatsu Takagi, Taeko Onuki, Kiseru, Yuji Oniki, etc

With over 1 million social media followers!!
Idol project "fleuЯR" by Ichika Matsumoto and Sumire Kuramoto.
The divine song "Suki Sugiru" will be released on a 7-inch record!

Ichika Matsumoto and Sumire Kuramoto's idol project "fleuЯR" launched in earnest with a digital release in May 2025 and a CD release in July.

Once you hear it, you'll be hooked on these sublime melodies!
The miraculous, classic idol pop song "Suki Sugiru" and the killer tune "Ashita Kumori no Chi" (After Clouds Tomorrow), featuring the perfect interplay
between the two vocalists, are finally available on a 7-inch record!
Lyrics and music by Taisei Osaka, who has written songs for artists such as SMAP.
Arrangement by Seiji Muto, who has worked on numerous hits, including AKB48's "Koi Suru Fortune Cookie"
The ultimate idol pop song from a team of incredible writers!

One Instrument welcomes Morning Seance, composer and sound artist, originally from Italy and based in Vienna. On this debut LP, Morning Seance traces a drifting narrative composed of unstable harmonies, fluid structures, and ghostlike forms. The album unfolds like a dream told in fragments, oscillating between fluctuating pulses and decaying transmissions, from nocturnal stillness to acoustic mirages. The first half of the record moves through zones of suspended tension and evanescent contours, where tracks like “Be faster than your own depression” and “The tenderness of our own autobiography” sketch fragile architectures of affect. The second half enters a more spectral terrain — “Breakfast in a night club,” “A visit to the Brion-Vega tomb” — not places, but agglomerates of sonic sensation, detached from any personal frame.

With each piece, the music dissolves and reconstitutes itself, resisting finality or form, and doing so with an indestructible joy that hums beneath the wreckage. This is degenerate ambient music: anti-geometric and subject to emotional weather — not a refuge, but a slow collapse of structure and purity, where atmosphere gives way to excess and disobedience.

The album is crafted entirely from a single source: the Roland Alpha Juno-1. Despite this constraint, it achieves a vast sound spectrum, transforming one synthesizer’s voice into a layered landscape of textures and moods.

The electronic music of Morning Seance is built on constant variation and intricate, looping patterns with no clear beginning or end. This variation is not simply applied to an audio element, but enacted as a compositional logic — avoiding mechanical combinations and obvious rhythms. The result is a mutable mass of audio matter and tonal debris, guiding the listener through richly divergent environments.

A collection of stunning Persian-tuned piano pieces cut from Iranian national radio broadcasts made for the Golha programmes between 1956 & 1965...

Morteza Mahjubi (1900-1965) was a Iranian pianist & composer who developed a unique tuning system for the piano which enabled the instrument to be played in all the different modes and dastgahs of traditional Persian art music. Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar & santur and extracting sounds from the piano which are still unprecedented to this day.

An active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. These seminal broadcasts platformed an encyclopaedic wealth of traditional Persian classical music and poetry on Iranian national radio between 1956 until the revolution in 1979.

Presented here is a collection of Morteza Mahjoubi's stunningly virtuosic improvised pieces broadcast on Golha between the programme's inception until Mahjoubi's death in 1965 - mostly solo, though at times peppered with tombak, violin & some segments of poetry.

The vast collection of Golha radio programmes was put together thanks to the incredible work of Jane Lewisohn & the Golha Project as part of the British Library's Endangered Archives programme, comprising 1,578 radio programs consisting of approximately 847 hours of broadcasts.

40 Years COSMIC PSYCHOS, 40 years dirty, mean, simple, garagey punk rock & roll! EU pressing of the guys seminal 1991 album, the first for Amphetamine Reptile Records back then Noisy alternative punk rock from Down Under for fans of Stiff Richards, The Chats, Nashville Pussy, Supersuckers, Hard -Ons, AmpRep, early Sub Pop "As 1990 set in, Jones vacated the guitar spot. Knight and Walsh asked their friend Robbie Watts, a self-taught guitarist, to join the fold. Watts said yes and Cosmic Psychos ventured to Wisconsin to record their third full-length release at producer Butch Vig's Smart Studios. Released in 1991, Blokes You Can Trust was the band's first record for the American noise rock label Amphetamine Reptile, after the bandmembers became drinking buddies with label head Tom Hazelmeyer. ... The Psychos conducted a European tour during which they developed an unusual trademark. After seeing many other rock bands take bows after performances, at the end of a show in Potsdam, Germany, Cosmic Psychos decided to alter the tradition by pulling down their pants and mooning the unsuspecting audience." - Do we have to say more? Classic.

Seit Midnite City 2017 wie ein Tornado die Welt im Sturm eroberten, die müde Musikszene am Kragen packten, ihr wieder Leidenschaft, Spaß, Melodie und Farbe einflößten und sich an die Spitze kämpften, wurden sie zu den wahren Königen des Hair Metal! Die Formation veröffentlichte bisher vier von den Kritikern gefeierte Alben, wobei ihr zweites Werk „There Goes The Neighbourhood“ neben vielen anderen Auszeichnungen als eines der besten Alben in der Geschichte des japanischen Burrn Magazin gelistet wurde. Seitdem tourt Midnite City mit ihrer mitreißenden, energiegeladenen Show durch die ganze Welt, headlined unzählige Tourneen in Großbritannien, spielt Shows in ganz Europa, Amerika, Brasilien und Australien, und absolvierte zwei ausverkaufte Tourneen in Japan, wobei sie eine ständig wachsende Fangemeinde auf der ganzen Welt, bekannt als „The Midnite Army“, begeistert. Im November 2025 kehren die Briten mit ihrem bisher stärksten Album, „Bite The Bullet“, zurück, das alle Erwartungen erfüllt, die Fans an ein Midnite City-Album haben. Von superpoppigem, eingängigem und hooklastigem Partyrock über melodische Rockmonster bis hin zu arena-tauglichen Powerballaden und Glam-Metal-Hymnen mit Attitüde und einer Prise Glam – knüpft „Bite The Bullet“ dort an, wo Platin-Bands Ende der 80er Jahre aufgehört haben. Und keine andere Band der Szene schafft dies derzeit mit mehr Authentizität, Überzeugung, Stil oder Selbstbewusstsein, wodurch die Midnite City wie ein leuchtendes Licht in einem Meer an Nachahmern scheint. Gemischt vom Grammy-preisgekrönten Produzenten Chris Laney (Europe, Crash Diet, Crazy Lixx etc.) liefert „Bite The Bullet“ einen Sound, der wie geschaffen ist für die größten Stadien rund um den Globus und auf einen Schlag alles zurückbringt, was den Hair Metal der späten 80er Jahre so aufregend, energiegeladen und extravagant machte. Midnite City liefert erneut ein Album, das dafür gemacht ist, aufgedreht und laut gespielt zu werden! Die Party fängt gerade erst an ... und alle sind eingeladen. Seht euch die Band auf ihrer Tour 2025/2026 an. Line-up: Rob Wylde (vocals, guitar), Miles Meakin (lead guitar), Josh Williams (bass guitar), Ryan Biggs (drums), Shawn Charvette (keyboard)

Relive the early years of Madness with 'Hit Parade Vol. 1 1979-1986'. This 23-track 2LP set remembers the early years of Madness; containing a selection of their biggest hits and best loved tunes. It includes 23 UK Top 40 hits such as 'One Step Beyond', 'Embarrassment', 'My Girl', and 'Night Boat To Cairo'.

Beautifully packaged in a deluxe, gatefold sleeve, this 2LP collection is pressed on translucent red vinyl. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley, in conversation with renowned author and journalist Paul Sexton.

Firmly established as national treasures and as one of the UK’s most cherished and beloved bands, Madness are adored by their loyal and huge following. Their consistently sold-out shows illustrate their enduring qualities resulting in their popularity continuing to grow and grow.

Beautifully packaged in a deluxe slipcase, this 4LP box set combines the red vinyl.

Volume 1 and blue vinyl Volume 2 2LP collections. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley,

in conversation with renowned author and journalist Paul Sexton.

"On the Huh" is taken from the deepest UK slang term 'on the huh' meaning: Not level, crooked or wonky. Comprised of singer Sloss (Braindance), guitarist Chris (Infa Riot), bassist Dave (Special Duties) and drummer Tom (Infa Riot), "ON THE HUH" from Norwich have taken the scene by storm with their first album "Bit on the side", which was sold out in a few weeks. Now it's time for their new album "Second Time Around"! The 12 new songs are a perfect match of glam, brickwall, and streetpunk with strong Oi! and rock and roll influences. "On the Huh" are "on our own way" and what really sets this record miles apart, however, is the sense for catchy songwriting and the fun and authenticity they convey with every chord. "Class of 65" is a melodic homage to the original Mods from the 1960s and the youth cult that like rock and roll, influenced rebels and subcultures from Punk, Oi to Brit-Pop and beyond. Society is changing, but good old British punk rock will never go out of style. Songs like "Generation apart" or "Spirit unbroken" hit the bullseye. When you sit at the bar in an English pub after work, watching the guys at the dartboard, 'On the Huh' could be sitting at the next table. From the jukebox, 'Sussed Out' and 'Don't Wanna Be Like You' are blasting. You take a big sip of your pint, smile quietly to yourself, and nod. Outside, the world keeps spinning rapidly and has forgotten what really matters. "'Second time around' is like an old friend to you_ `Is there a more beautiful compliment for a band and their music?

"On the Huh" is taken from the deepest UK slang term 'on the huh' meaning: Not level, crooked or wonky. Comprised of singer Sloss (Braindance), guitarist Chris (Infa Riot), bassist Dave (Special Duties) and drummer Tom (Infa Riot), "ON THE HUH" from Norwich have taken the scene by storm with their first album "Bit on the side", which was sold out in a few weeks. Now it's time for their new album "Second Time Around"! The 12 new songs are a perfect match of glam, brickwall, and streetpunk with strong Oi! and rock and roll influences. "On the Huh" are "on our own way" and what really sets this record miles apart, however, is the sense for catchy songwriting and the fun and authenticity they convey with every chord. "Class of 65" is a melodic homage to the original Mods from the 1960s and the youth cult that like rock and roll, influenced rebels and subcultures from Punk, Oi to Brit-Pop and beyond. Society is changing, but good old British punk rock will never go out of style. Songs like "Generation apart" or "Spirit unbroken" hit the bullseye. When you sit at the bar in an English pub after work, watching the guys at the dartboard, 'On the Huh' could be sitting at the next table. From the jukebox, 'Sussed Out' and 'Don't Wanna Be Like You' are blasting. You take a big sip of your pint, smile quietly to yourself, and nod. Outside, the world keeps spinning rapidly and has forgotten what really matters. "'Second time around' is like an old friend to you_ `Is there a more beautiful compliment for a band and their music?

"On the Huh" is taken from the deepest UK slang term 'on the huh' meaning: Not level, crooked or wonky. Comprised of singer Sloss (Braindance), guitarist Chris (Infa Riot), bassist Dave (Special Duties) and drummer Tom (Infa Riot), "ON THE HUH" from Norwich have taken the scene by storm with their first album "Bit on the side", which was sold out in a few weeks. Now it's time for their new album "Second Time Around"! The 12 new songs are a perfect match of glam, brickwall, and streetpunk with strong Oi! and rock and roll influences. "On the Huh" are "on our own way" and what really sets this record miles apart, however, is the sense for catchy songwriting and the fun and authenticity they convey with every chord. "Class of 65" is a melodic homage to the original Mods from the 1960s and the youth cult that like rock and roll, influenced rebels and subcultures from Punk, Oi to Brit-Pop and beyond. Society is changing, but good old British punk rock will never go out of style. Songs like "Generation apart" or "Spirit unbroken" hit the bullseye. When you sit at the bar in an English pub after work, watching the guys at the dartboard, 'On the Huh' could be sitting at the next table. From the jukebox, 'Sussed Out' and 'Don't Wanna Be Like You' are blasting. You take a big sip of your pint, smile quietly to yourself, and nod. Outside, the world keeps spinning rapidly and has forgotten what really matters. "'Second time around' is like an old friend to you_ `Is there a more beautiful compliment for a band and their music?

Or Kantor returns with his sophomore album Snake Island, a vivid and cinematic journey through imagined landscapes and lost love, for fans of Eden Ahbez and other seekers of sound and spirit.

Following the critical success of his 2024 debut Sarda Sarda, praised by BBC Radio 6 Music, FIP Radio, RRR Australia, WYEP, KCRW, and Songlines Magazine, Kantor continues to refine his distinctive sonic identity, grounded in instrumental storytelling.

With Snake Island, Kantor ventures deeper into what he calls Subterranean Music, an atmospheric fusion of Mediterranean ballads, desert blues, spiritual jazz, and psychedelic textures. Drawing inspiration from artists such as Gábor Szabó, Omar Khorshid, The Budos Band, Dorothy Ashby, and Tommy Guerrero, he crafts instrumentals that feel both timeless and cinematic.

"Snake Island was written as a soundtrack to a fictional film that disappeared from the world, one that most likely no one has ever seen," says Kantor. "It began as a tragic love story, imagined during my time on a remote island in the Cyclades. Every landscape felt like a scene waiting for music. Eventually, the story gave way to sound."

A respected tattoo artist and founder of the Love Light Studio, Kantor's musical path began after a chance encounter with Johnny Sharoni (Garden City Movement, A&R at Anova Records). During a tattoo session, Sharoni heard Kantor's demos and was immediately struck by their raw beauty.

Kantor now steps confidently into the next chapter of his creative journey. Snake Island is more than an album. It is a mythic, imagined soundtrack to a film that only exists in memory, rendered in tones that shimmer like heat on stone.

Nach gefeierten Auftritten bei den BBC Proms, im Kölner Dom und auf der New York Fashion Week veröffentlicht die Organistin, Chor-Leiterin und Influencerin Anna Lapwood ihr aktuelles Album Firedove jetzt auf Vinyl. Neben den beliebtesten Stücken des Albums sind auch zwei neue Stücke dabei, die extra für die Vinyl aufgenommen wurden: "Nimbus" von der indonesischen Komponistin Eunike Tanzil und eine Toccata von Eugène Gigout.Für ihr Album "Firedove" hat Anna Lapwood neue Arrangements zeitgenössischer Stücke von u.a. Hans Zimmer, Rachel Portman oder Alan Menken aufgenommen. Dabei ist Anna Lapwood nicht nur an der Orgel zu hören, sondern leitet bei den Stücken "Come to Me", "Firedove" und "Make You Feel My Love" auch den Chapel Choir of Pembroke College Cambridge. Beim Stück "Flight" wird Anna Lapwood von der Saxofonistin Jess Gillam begleitet. "Firedove" wurde in den Nachtstunden im Nidaros Dom aufgenommen, einer spektakulären gotischen Kathedrale aus dem 11. Jahrhundert in Trondheim, Norwegen."Ich wollte ein Album schaffen, bei dem die Hörer nie genau wissen, wohin es als nächstes geht. Es gibt viele kleine 'Easter Eggs', die man nicht erwarten würde - so der erste Auftritt des Chors. Ich habe das Gefühl, dass ich endlich gefunden habe, was ich als Künstlerin sagen möchte. Ich bin sehr stolz darauf", erklärt Anna Lapwood.Als roter Faden durchzieht "Firedove" das Motiv des Fliegens und der Entfaltung - ein Sinnbild für Anna Lapwoods künstlerische Entwicklung. Sie ist ein Phänomen. Mit der Orgel der Royal Albert Hall, an der sich fast jede Nacht übt, begeistert sie eine neue Generation von Musikfans auf Instagram und TikTok für ihr gemeinhin als altmodisch geltendes Instrument. Sie hat sich damit nicht nur Millionen Fans auf Social Media erspielt, sondern wurde auch zu Kollaborationen mit Bonobo, MRAYE, Florence & The Machine und Aurora eingeladen. Selbst Tom Cruise besuchte sie bei einer ihren nächtlichen Proben, was zu einer spontanen Orgelstunde führte. 2024 wurde sie für ihr Debüt-Album "Luna" mit einem Opus Klassik ausgezeichnet. Neben ihrer Tätigkeit als Organistin wurde sie mit 21 Jahren zur Musikdirektorin am Pembroke College in Cambridgeshire ernannt und war damit die jüngste Person, die jemals diese Position an einem College der Universitäten Oxford oder Cambridge innehatte und leitete neun Jahre lang deren Chöre.

Back in 2023, I picked up a record by Jacob Dwyer — I was completely captivated. His lyrics weren’t just words; they were portals. I had to track him down. After some digging, I made contact — and asked him if he would like to collaborate with me.

He said yes.

Fast forward through months of back-and-forth, and then it landed — in my inbox — Tom’s House: a one-hour audio-drama written and performed by the incomparable Jacob Dwyer. It’s a hypnotic, surreal journey through the mind of someone returning home after 15 years — disorienting, poetic, and fully immersive.

To accompany this masterwork, I put together my take on Canon HF10 — 12 minutes of deep, rolling tech grooves, bouncing acid basslines, freaked-out synths, and lyrical gold. (“He demanded a fried egg sandwich…”)

Flip to the B-side and things get wild with The Baby Legit Upside Down — a full-tilt burner packed with razor-sharp 808 electro/techno drums, squelchy 101 bass stabs, swirling pads, and an evolving sub that’ll shake the foundations. Dwyer’s voice threads through the chaos with uncanny flair — bizarre, brilliant, unforgettable. The title means what it says.

We close the EP with Red Flowers — slowing the tempo, diving into squelchy breaks and textural weirdness, as Jacob drops in snippets of conversation with his sister, alongside more sharp, off-kilter reflections on Tom’s House.

Check the full audio-drama: Jacob Dwyer – Tom’s House

Body Language Vol. 27 marks the return of Get Physical's landmark series, curated this time by Dutch producer Helsloot. Since its launch in the early 2000s with curators like Dixon, Modeselektor, and DJ Hell, Body Language has become one of the most respected compilation formats in electronic music - a series that captures moments in club culture while pointing to the future.

For this new chapter, Helsloot brings his melodic and emotional touch to the project, weaving together exclusive originals, collaborations, and carefully chosen reinterpretations. A special highlight is his remix of the legendary "Body Language" by M.A.N.D.Y. vs. Booka Shade, which bridges the series' heritage with its modern vision.

Across four sides, Helsloot balances intimate songwriting with dancefloor energy, joined by guests including Richard Judge, Pete Josef, Sailor & I, and Beacon. The result is both a personal artistic statement and a continuation of the Body Language legacy - a timeless journey designed for deep listening as well as club play.

Frank Turners „The Next Ten Years“ ist der Nachfolger des begehrten Box-Sets „The First Ten Years“ und
enthält seltenes Bonusmaterial aus den Studioalben des letzten Jahrzehnts in einer limitierten Auflage auf
3 LP-Transparent-Vinyls.
Ab dem 7. November erhältlich!

Gerry raus, kein Ersatz. Zu fünft, Dim Prospects sind zurück zur deutschen Sprache, neues Kapitel. "Abscheu und Neugier": aufgenommen im Winter 24/25 mit Tom Zwanzga im S.T.R.E.S.S. Studio, gemastert in der North London Bomb Factory von Daniel Hajji Husayn.
13 Songs zwischen Punkrock und Hardcore - mal schnell, mal gedrosselt, immer mit Melodie und melancholischem Unterton. Irgendwo zwischen Hamburger "Schiffen", Leatherface und Hüsker Dü. Texte voll Wut und Spott über den täglichen Irrsinn von Konservatismus und Rechtsruck. Abscheu trifft Neugier, Grant trifft Augenzwinkern.

Neues Album der unbestrittenen, unverzichtbaren amerikanischen Rock’n’Roll-Band Cheap Trick zum 50-
jährigen Bandjubiläum. Fünf Jahrzehnte lang standen sie für unvergessliche Hooks, stadiontaugliche Hymnen und den unverkennbaren Power-Pop-Punch. Jetzt feiern die Mitglieder der Rock’n’Roll Hall of Fame
Cheap Trick unglaubliche 50 Jahre Bandjubiläum mit der Veröffentlichung ihres mit Spannung erwarteten
neuen Albums!
Das ist nicht einfach nur neue Musik; es ist der Beweis einer legendären Karriere. Von den legendären
Riffs von Rick Nielsen und dem donnernden Bass von Tom Petersson über den beeindruckenden Gesang
von Robin Zander bis hin zum unerbittlichen Beat, der ihren Sound definiert hat, bietet dieses Album alles,
was Fans seit Generationen lieben. Freut euch auf frische, elektrisierende Tracks, die ihre charakteristische
Energie mit dem zeitlosen Songwriting verbinden, das sie zu einer der beliebtesten Rockbands gemacht
hat.
Feiert mit uns fünf Jahrzehnte beispiellosen Einflusses und puren Rock’n’Roll-Spirit. Diese neue Songsammlung beweist, dass die Flamme von Cheap Trick heller brennt als je zuvor. Machen Sie sich bereit, aufzudrehen!

Nach einer Tourpause zogen Black Pumas 2024 los, um ihr gefeiertes zweites Album 'Chronicles of a Diamond' live vorzustellen. 'Live From Brooklyn Paramount' fängt das 'Electric Church'-Live-Erlebnis ein, für das Eric Burton, Adrian Quesada und ihre sechsköpfige Band sich einen Namen gemacht haben. Das 2xLP-Set enthält Songs sowohl von Chronicles als auch von ihrem millionenfach verkauften Debüt, darunter die Grammy-nominierten Songs 'Colors', 'Black Moon Rising', 'More Than A Love Song' und ihre Version von Tracy Chapmans 'Fast Car'.

Da ich schon seit Jahren von Andrew Chalks Arbeit mit MIRROR (und auch von seinen Solo-Projekten als FERIAL CONFINE sowie seinen vielen Kollaborationen mit David Jackman, The New Blockaders, Daisuke Suzuki usw.) und Timo van Luijk (als Af Ursin, In Camera, La Poupée Vivante und Kollaborationen mit Kris Vanderstraeten und anderen) fasziniert, war ich natürlich neugierig, von ihrem Duo-Projekt ELODIE zu hören. Das Projekt wurde 2010 gegründet und hat bis heute schon elf wunderschöne Alben rausgebracht. ,Vieux Silence" für Ideologic Organ ist ihre erste Veröffentlichung außerhalb ihres eigenen Plattenlabels Faraway Press & La Scie Dorée. Das ist aber nicht das erste Mal, dass Ideologic Organ und ELODIE zusammenarbeiten. Sie traten im Februar 2012 bei einem von mir kuratierten Abend in London zusammen mit Jessika Kenney und Eyvind Kang auf. Elodies Auftritt war einer der feinfühligsten und gekonntesten, die ich je gesehen habe ... so still, während draußen vor den Fenstern des Cafe Oto in London der Schnee fiel, versank das Publikum spürbar in hochkonzentriertem Zuhören. Die Erinnerung daran ist echt beeindruckend, wenn man bedenkt, wie sparsam die einzelnen Elemente an diesem Abend eingesetzt wurden. ,Vieux Silence" und ELODIE im Allgemeinen regen sofort die visuelle Vorstellungskraft an, vielleicht gefiltert durch alte Aquarelle, Bandkorn, antike Linsen, vergessene Ebenen des Zuhörens und beobachtende Geduld. Auf diesem wunderschönen Album arbeiten Chalk & van Luijk auch mit Klavier, Pedal Steel und Klarinette zusammen (gespielt von Tom James Scott, Daniel Morris und Jean-Noel Rebilly). Jedes Detail wurde sorgfältig durchdacht und Schritt für Schritt koloriert, wie ein impressionistisches Aquarell. - Stephen O'Malley, Les Lilas 2017

The producers of the new hit Broadway musical BUENA VISTA SOCIAL CLUB and WORLD CIRCUIT RECORDS present the show’s Original Broadway Cast Recording, to be released in July 2025, recording produced by Dean Sharenow and David Yazbek. Step into the heart of Cuba, beyond the glitz of the Tropicana, to a place where blazing trumpets and sizzling guitars set the dance floor on fire. Inspired by true events, the new Broadway musical BUENA VISTA SOCIAL CLUB™ brings the GRAMMY® Award-winning album to thrilling life—and tells the story of the legends who lived it. A world-class Afro-Cuban band is joined by a sensational cast in this unforgettable tale of survival, second chances, and the extraordinary power of music.

The BUENA VISTA SOCIAL CLUB™ Musical officially launched at Broadway’s Gerard Schoenfeld Theater in March 2025 to huge critical acclaim and has been nominated for 10 TONY AWARDS. The show is produced on Broadway by Orin Wolf, John Styles, Barbara Broccoli, Atlantic Theater Company, Luis Miranda, LaChanze and John Leguizamo with Executive Producer Allan Williams, with Nick Gold (World Circuit) and Juan de Marcos González (Buena Vista Social Club) acting as consultants on the production.

It was 1985--or at least it felt like it. The chrome skyline of Neo-Milano shimmered in the dusk light, skyscrapers pulsating to the beat of neon advertisements, casting glowing reflections across the silver canals below. In this retro-futurist-old city in Italy called Milan, half modern Rotterdam the Netherlands caught between timezones of nostalgia and tomorrow, the nights were long, the music was loud, and everyone was searching for something real. Fred Ventura was wearing his black leather jacket and was singing loud in his favorite key. It was perfect for his voice! All I Want Is You! This mega future italo classic with a canadian Lime vibe will give you Italo goosbumbs. Italoconnection vs. Tyrell corporation and you know what this means! A super hit in the old Tyrell style, already played by Moustache label boss David Vunk at several festivals and underground club nights for some time.. expect the old analog feel basslines, Roland Jupiter 8 strings and lyndrum drums. It goes deep, it's pure Italo singalong.... be fast super limited copies to keep it real! It won't be better than this. Be fast, live is life, dont play this vinyl under water. Teardrops in your eyes. This text is not AI, its Vunky text. gone is gone. Moustache records 053!

Overmono, die Brüder Tom und Ed Russell, feiern ihren bislang größten Sommer mit ihrer Neuinterpretation von High Contrasts legendärer Drum"n"Bass-Hymne "If We Ever". Erstmals bei ihrem Headline-Set auf dem Love Saves The Day präsentiert, entwickelte sich der Track nach dem Glastonbury-Auftritt rasant zum viralen Phänomen - mit Millionen von Views auf TikTok, YouTube und Instagram sowie unzähligen Fan-Kommentaren, die eine Veröffentlichung forderten. Selbst High Contrast wurde auf die Welle der Begeisterung aufmerksam und nahm Kontakt mit den Russell-Brüdern auf. Spätestens bei Boomtown bestätigte sich: Dieser Song ist nicht nur die Festival-Hymne 2025, sondern wird auch in den Clubs und auf den Dancefloors weit über den Sommer hinaus nachwirken.

47 marks TEN YEARS with its 47th and final release, closing the catalogue at 47047.

Launched as an event series by Tommy Four Seven in Berlin’s intimate Arena Club in 2014, the 47 parties paved the way to the label we’ve come to know today, inspiring and encouraging a host of interdisciplinary artists along the way. The imprint opened in 2015 with a V/A, and now, ten years later, 47 comes full circle with the release of its last-ever record and compilation.

As always, the various artist collection reflects the imprint’s long-running ethos of championing underground and upcoming talent. Titled ‘Ten Years’, the record features label debuts from Jin Synth, Casual Treatment, SAMA, Yrsen, and contributions from familiar faces like Pause, Rommek and AgainstMe, to name a few.

Across the 20-track V/A, each artist delivers precise and sonically rich productions, spanning several palettes. You’ll find a dreamy soundscape punctuated by blips and bleeps from Amotik. Claustrophobic atmospheres and winding rhythms by Innersha. Liquid melodies and maximalist basslines from Ana Rs. Moonlit synths and icy motifs by VSK. Club-driven 4/4 techno with a metallic sheen from ASEC. An emotive take on ambient and techno from Linn Elisabet. A spiralling trip with IDM touches from Nørbak, and more.

‘Ten Years’ mirrors the adventurous attitude of 47, celebrating the artists and sounds who’ve helped to build the label’s solid reputation, leaving an indelible signature on electronic music for years to come.

2025 Repress!

Recorded in a remote cabin on the Devon coast, STILL OUT is an album-length collaboration between musician-filmmakers – and childhood friends – Will Cookson and Tom Haverly. A reflection on friendship, landscape and the passing of time, it inspired a road trip from North Yorkshire to North Devon they took together in the summer of 2024, and forms the soundtrack to a film of the same name which had its premiere screening as part of Stroud Film Festival in March 2025.

Like the film, STILL OUT is also an oblique homage to The KLF’s iconic 1990 album Chill Out, which the Gloucestershire-based pair revisited after it turned up unexpectedly a few years back in Tom’s dad’s record collection. Inspired to create their own recording using a similarly free-spirited process, Will and Tom relocated to the Devon coast in late summer 2023, splicing together a 40-minute mix from their personal archive of recordings and found sounds in a remote cabin with no electricity or mobile reception.

"It came together using cut-and-paste techniques, with ongoing shifts and tweaks,” says Will. “The final result was an audio collage that felt like something legendary hip hop producers The Bomb Squad might make - if ambient music was the only material in their sample library."

Using ‘ambient’ as a starting-point rather than an end in itself, they took inspiration from across the musical spectrum – classic-period Brian Eno, Philip Glass, Bill Evans, plus outliers such as 80s singer-songwriter Virginia Astley and the late DJ-producer Andrew Weatherall. The connections, though, are anything but obvious as the audio shifts seamlessly from field recordings and spoken-word interludes to mood pieces and snatches of vintage pop.

Edited and assembled using freely available open source programs, the source material was often radically altered using tools such as “PaulStretch”, a digital sound-morphing algorithm that allows users to stretch audio files to extreme lengths.

"When we found ourselves in a creative slump or unsure how to navigate a tricky part, we'd say, ‘Let's put some syrup on it and slow it down,’” says Tom. “That always helped us get back on track during late-night recording sessions at the cabin."

Part-soundtrack, part-meditative experiment, STILL OUT is intended as a reflection on the mental and emotional shift that occurs when stepping away from the routine of daily life – an album that forms a celebration of our ever-changing relationship to the world around us and the mystery of what it means to pass through time and space.

“The true follow up, 35 years later, to The KLF’s ‘Chill Out’”.
JD Twitch (Optimo).

An ambient journey reflecting on friendship, the British landscape - and The KLF’s landmark album Chill Out

"This record and film are just lovely. You need this in your life. Moo-Moo!” Balearic Mike (Down To The Sea & Back)

"The album is a perfect companion to the KLF classic, utilising the British countryside as the setting, occasionally reminding you that Mother Nature is not to be messed with.” Strictly Kev (DJ Food)

"A beautiful ambient journey into the landscape, taking the listener from reality to dream state and back again. A mystical realm full of mysterious chanting, rattling trains and sounds from the very depths of the earth."
Lally MacBeth & Matthew Shaw (Stone Club)

The special one! Mr. G’s productions are distinctive, deep, driving and, above all, a listen to behold. Like the man–machine interface between hypno house and roots techno, he manages to unite dance floors either through his High Mass–like live sets full of swing, grit and soul, or simply through other DJs playing his records.
Blessing Running Back for the second time, Mr. G’s Reconnection EP is the result of a serious dive into his vaults.
City Heat (G’s Underground Dub) is a picture-perfect example of his skill to groove without a doubt: raw, funky and fabulous. Serendipity and Work on the flip side complete this picture. Decades of record buying, music making and a love supreme for this culture rolled into one. Made yesterday, released today, and it will still sound great tomorrow. A personal gift from Mr. G’s archive to Running Back.

These gifted artists gathered, for what they knew was probably the last time, at their beloved clubhouse. That’s what these legendary southern musicians called Capricorn Studios in Macon, GA. These sought after performers had been here many times before as a part of their journey. This time they were here to record some of the best and last tunes of Tommy Talton’s life. There was sincere respect and love in that studio, for the individuals, for their talents and for their accomplishments. You can feel, hear and experience the emotions in each and every song. They gave it their finest effort for a life-long brother and it brought heartfelt joy to all that witnessed it.

Muito Kaballa return in style with a refined modern sound on "Tomorrow A Flower" for the London-based imprint Batov Records, blending indie pop, soul, hip hop, jazz, Brazilian rhythms, and West African grooves.

"Straight up, no one is having more fun than me when we"re up there!" beams DRAIN frontman Sammy Ciaramitaro, whose face is perpetually glued in a grin. For anyone that"s seen the Santa Cruz hardcore firebrands live, there"s no mistaking that fact. DRAIN isn"t just a good time as Sammy presides over the chaos of stage diving bodies and mic-grabbing frontline; it"s a party-and everyone is invited. (Dolphin shorts and boogie boards are optional but encouraged.) "The vibe of it is, enthusiastic, hectic," says the vocalist. "Five people deep singing and stagediving, then kids going berserk behind that. It"s a great vibe and I think people pick up on that." That, in a nutshell is DRAIN. The trio inject a serious dose of relatability-not to mention catchiness-into hardcore"s penchant for toughness and brutality on their new Epitaph album, ...IS YOUR FRIEND. Ciaramitaro"s desperate, snotty howl rides roughshod over thrash-leaning riffage as rhythms bounce in a big way. If you"re picturing the Pacific Ocean waves that rise and fall along the coastal town, occasionally violently so, you"re not far off.

From its modest beginnings as a university project, Anjuna has grown to become one of the most influential forces in electronic music. What began as, and remains, a passion project has evolved into a global electronic music powerhouse. Led by Jono Grant, Paavo Siljamäki, Tony McGuinness (better known as Above & Beyond) and label exec James Grant - Anjuna now spans three distinctive imprints: Anjunabeats, Anjunadeep and Anjunachill. To mark the label’s 25th anniversary, Above & Beyond and James have carefully curated a selection of picks from its rich catalogue that includes countless genre defining releases to present the label’s most expansive vinyl offering to date.

Covering the full spectrum of that 25 year journey, the ten vinyl box chronicles 84 of the label’s most iconic releases across all three labels, including a vinyl dedicated to label founders Above & Beyond. Encased in a custom outer slipcase box with a debossed foil Anjuna25 logo. Accompanying the ten vinyl is a 48-page perfect-bound booklet printed on premium art paper and textured cover stock, featuring track-by-track insights from artists and Anjuna HQ staffers delving into the stories behind each record and their reflections on 25 years of music. The Anjuna25 anniversary box set is a beautifully presented tribute to 25 years of innovation, artistry and emotional connection.

Los Angeles-based artist Sam Wilkes is known for his genre-defying solo work and collaborations in the experimental and jazz community. His debut release for Psychic Hotline, 104.3 is part of the label's ongoing Singles Series. Stepping away from his bass guitar, Wilkes explores new territory on a borrowed Fender Stratocaster, lent to him by longtime friend Brian Robert Jones (Paramore, Vampire Weekend). On the very night he brought the guitar home, Wilkes recorded a live, loop-based version of Tom Petty's "Learning to Fly" in a single take, later layering in bass and background vocals. The whole thing started as an experiment; more about exploring an instrument than making a record. A few weeks later on his last night with the Strat, Wilkes recorded what would become the A-Side: his reimagining of Fleetwood Mac's "I Know I'm Not Wrong." "I just wanted to document what was happening without any other intention. Half of my time on bass is spent trying to make it sound not like a bass, so actually getting to play a different instrument felt incredibly liberating," says Wilkes. Both arrangements are intuitive and spontaneous. Captured without pretense, the result is a pair of understated songs, perfect for a summer drive. This release is the latest installment in our long-running Psychic Hotline Singles Series, which has featured standout tracks from artists like Kieran Hebden, Sam Gendel, Blake Mills, Flock of Dimes, Anjimile, and Bartees Strange. With each new entry, the series continues to showcase boundary-pushing work from across our extended creative family.

Grim days call for fierce love. And Mavis Staples, one of the most enduring figures in American music, is laying it down. Sad And Beautiful World is the latest solo album from a national treasure and multigenerational talent. Produced by Brad Cook, Sad And Beautiful World spans seven decades of the American songbook - a range nearly as vast as Mavis" career - and includes reinventions of timeless songs by Tom Waits, Sparklehorse, Gillian Welch, Frank Ocean and more. Cook imagined an album in the tradition of Nitty Gritty Dirt Band"s Will the Circle Be Unbroken, a group of artists coming together to celebrate community - in this case, one centered on Mavis. Collaborators include Buddy Guy, Bonnie Raitt, Jeff Tweedy, Derek Trucks, Katie Crutchfield, MJ Lenderman, and Justin Vernon. Inducted into several halls of fame (Blues, Rock, and Gospel), a Kennedy Center Honoree, a winner of multiple GRAMMYs (including a Lifetime Achievement Award), Mavis is musical history. She"s collaborated with nearly every major figure of her era(s), from Bob Dylan to Prince, Aretha Franklin, and Willie Nelson - not to mention countless stars from subsequent generations.

Grim days call for fierce love. And Mavis Staples, one of the most enduring figures in American music, is laying it down. Sad And Beautiful World is the latest solo album from a national treasure and multigenerational talent. Produced by Brad Cook, Sad And Beautiful World spans seven decades of the American songbook - a range nearly as vast as Mavis" career - and includes reinventions of timeless songs by Tom Waits, Sparklehorse, Gillian Welch, Frank Ocean and more. Cook imagined an album in the tradition of Nitty Gritty Dirt Band"s Will the Circle Be Unbroken, a group of artists coming together to celebrate community - in this case, one centered on Mavis. Collaborators include Buddy Guy, Bonnie Raitt, Jeff Tweedy, Derek Trucks, Katie Crutchfield, MJ Lenderman, and Justin Vernon. Inducted into several halls of fame (Blues, Rock, and Gospel), a Kennedy Center Honoree, a winner of multiple GRAMMYs (including a Lifetime Achievement Award), Mavis is musical history. She"s collaborated with nearly every major figure of her era(s), from Bob Dylan to Prince, Aretha Franklin, and Willie Nelson - not to mention countless stars from subsequent generations.

Später, in den Tagen der funkelnden weißen Overalls, erreichte Elvis einen Höhepunkt, als die Musik ihn so tief bewegte, ihn in solche Höhen hob, dass es nur noch eines zu tun gab: "die umgekehrte Klaue". Wenn Musik dich dazu bringt, ist das ein wirklich großartiges Gefühl. "Die umgekehrte Klaue" ist das, worum es bei Deerhoof geht. Ihre jubelnde Musik zieht dich in den Moment hinein, und dort freust du dich. Auf dem transzendenten Album ,Friend Opportunity" überrascht die Musik immer wieder: Songs wie ,Perfect Me" haben drei oder vier Abschnitte mit atemberaubenden Offenbarungen des Erhabenen; ,Matchbook Seeks Maniac" zieht in der Mitte einen ,99 Luftballoons"-Breakdown-Move durch, rockt ein Brahms-Intervall im pop-narkotischen Refrain, und die Beach Boys und The Who sind überall im Mix zu hören - es ist eines der glorreichsten Dinge, die man je hören wird. Auf früheren Alben war eine der Hauptwaffen von Deerhoof der negative Raum - die atemberaubenden Stille zwischen den Beats und Akkorden schlugen härter zu als jedes Klirren und Klirren von Gitarren und Becken. Deerhoof waren wie Maler, die leere Stellen auf der Leinwand ließen, um ihre Pinselstriche hervorzuheben; jetzt neigen sie dazu, jeden Quadratzentimeter auszufüllen und laden uns ein, jeden brillanten Winkel zu genießen. Und Songs wie ,Perfect Me", ,Believe in E.S.P." und ,Choco Fight" sind weitaus groove-orientierter - und ja, auch sexier - als alles, was sie bisher gemacht haben. Das alles ist in Gegenüberstellungen integriert, die eigentlich irritierend sein müssten, aber einfach nur erstaunlich klingen. ,Believe E.S.P." beginnt mit Deerhoofs Interpretation von funkiger Slinkopation, aber der nächste Abschnitt klingt wie etwas aus Palestrina; wie so viele dieser Songs ist es eine malerische Fahrt, die von einer erstaunlichen Aussicht zur nächsten führt, von weiten, schimmernden Wüsten über neblige Schluchten bis hin zu atemberaubenden, schneebedeckten Berggipfeln. Wie Mike Watt einmal über seine Band The Minutemen sagte, schreiben Deerhoof keine Songs, sondern Flüsse. Woher kommt dieses Zeug? Da ist das hoch aufragende, ungerade getaktete Gitarrenriffarama von Chavez, der Heavy-Metal-Donner von Strawinsky, die beschädigten Schnörkel von Gastr del Sol, der Klang und Stomp von Led Zeppelin, Japans illustre Reihe atemberaubend innovativer, von Frauen dominierter Bands wie Ex-Girl und Melt Banana. Und jetzt gibt es diese Mensch-Maschine-Beatbox-Rhythmen, bei denen der titanische Schlagzeuger Greg Saunier die Technologie übertrifft wie ein John Henry mit zwei Holzstiften in den Händen anstelle eines Vorschlaghammers. Manchmal erinnern sie an The Who - wie ,Underture" aus Tommy oder die großartige Live-Version von ,A Quick One", eine Rockband, die die Arbeit eines Orchesters leistet, fesselnde Träumereien im Wechsel mit kraftvollen Ausbrüchen gewundener Melodien, lyrischen Machtspielen und Inverted Claws, die überwältigende Freude hervorrufen. Aber es gibt noch eine weitere wichtige Quelle: Seit mindestens 20 Jahren hat der Hip-Hop die ausgefallenste und experimentellste Musik hervorgebracht, die die Popmusik je gesehen hat. Warum kann Rockmusik nicht das Gleiche tun, auf ihre eigene Weise? Während ,Friend Opportunity" also tangential den Hip-Hop (und verschiedene Epochen des Rock in seiner abenteuerlichsten Form) zitiert, wendet es meist nur die gleiche Denkweise an - was wäre, wenn wir einfach unserer Fantasie freien Lauf lassen würden? ,Friend Opportunity" ist eine Meisterleistung der Neuerfindung, die nur von Künstlern kommen konnte, die bereit waren, alles zu überdenken. ,Es ist, als wäre man wieder ein Kind", sagte Saunier einmal zu Pitchfork, ,denn das ist es, was Kinder die ganze Zeit tun. Jeden Tag lernen sie neue Dinge, von denen sie nicht wussten, dass sie sie tun können." Mann, wenn man von Sonic Youth spricht - Deerhoofs Frühling ist ewig. - Michael Azerrad

None other than Nick Cave helped director John Hillcoat with the screenplay for the movie Lawless, while he also took great care of the movie’s soundtrack. Cave and fellow musician Warren Ellis form the core of The Bootleggers, a country and bluegrass ensemble that welcome a string of guests artist like Emmylou Harris, Ralph Stanley and Mark Lanegan. The Lawless soundtrack contains cover versions of artists such as Velvet Underground and Captain Beefheart and also features original compositions by Cave/Ellis and the great Willie Nelson. Lawless is a studded movie by director John Hillcoat (The Road, The Proposition) about a gang of bootleggers in Virginia during the Great Depression. And when we say star-studded, we really mean it: Guy Pierce, Gary Oldman, Tom Hardy and Shia LeBoeuf signed up for the gritty and evocative story about brothers who try to create their own American Dream during Prohibition. Lawless is available as a limited edition edition of 750 numbered copies on smoke coloured vinyl and includes an 8-page booklet with movie pictures and liner notes by Hal Willner and director John Hillcoat.

PING is back - playing experimental Norwegian rock since last millennium. Inspiration from diverse artists like Zappa, Melvins, Fred Frith, Ween, dEUS, Tom Waits and Wilco can be heard through all albums, combining elements from 60s roots to modern metal and electronica. Did you know there are worlds awaiting in the void? Ping's new concept album Songs from the Nebula bends time and space with melodic yet dissonant progressive rock from the outer reaches. Songs from the Nebula bring words from that emptiness and the hope of space-time companions to be found. You'll hear claims of accelerating time; that black matter lives; a maiden voyage ship-wreck in the multiverse; bad boy recycling a funeral cake; and Calisto's lament at always being number two. Play loud and travel light!

"Straight up, no one is having more fun than me when we"re up there!" beams DRAIN frontman Sammy Ciaramitaro, whose face is perpetually glued in a grin. For anyone that"s seen the Santa Cruz hardcore firebrands live, there"s no mistaking that fact. DRAIN isn"t just a good time as Sammy presides over the chaos of stage diving bodies and mic-grabbing frontline; it"s a party-and everyone is invited. (Dolphin shorts and boogie boards are optional but encouraged.) "The vibe of it is, enthusiastic, hectic," says the vocalist. "Five people deep singing and stagediving, then kids going berserk behind that. It"s a great vibe and I think people pick up on that." That, in a nutshell is DRAIN. The trio inject a serious dose of relatability-not to mention catchiness-into hardcore"s penchant for toughness and brutality on their new Epitaph album, ...IS YOUR FRIEND. Ciaramitaro"s desperate, snotty howl rides roughshod over thrash-leaning riffage as rhythms bounce in a big way. If you"re picturing the Pacific Ocean waves that rise and fall along the coastal town, occasionally violently so, you"re not far off.

Chris Thile meldet sich mit einer persönlichen Fortsetzung von Bachs Violin-Sonaten & Partiten über Nonesuch Records zurück!

Für seine zweite Aufnahme von Bachs Violin-Sonaten und Partiten, zwölf Jahre nach der ersten Volume, wählte Chris Thile einen anderen, persönlicheren Ansatz für die Werke des verehrten Komponisten. Diesmal erlaubte er sich, Freiheiten mit den Partituren zu nehmen, die er an verschiedenen, etwas unkonventionellen Orten von persönlicher Bedeutung aufnahm: den Reservoir Studios und dem Tompkins Square Park in New York; der Farrell Recital Hall an der Murray State University in Murray, KY; und der Blackberry Farm in Walland, TN. Statt sich zu fragen, ob Bach seine Aufnahme gefallen würde, wie er es bei Volume 1 getan hatte, stellte Thile sicher, dass sie ihm selbst gefiel. Er vertraute auf die Gültigkeit seiner eigenen Vorlieben und Abneigungen und versuchte, in seinen Interpretationen der bekannten Stücke etwas Einzigartiges zu finden und zu vermitteln. Darin und in vielem mehr war er erfolgreich: Bach: Sonatas and Partitas, Vol. 2 klingt sehr nach Chris Thile.

British South African composer & producer Galina Juritz presents 'One Weird Trick', her debut solo album on London's home for interdisciplinary oddballs, Kit Records.

As a classically trained violinist, Galina has worked in bands and ensembles such as ShhArt Ensemble, Inclementine, and in various combinations featuring leading musicians from Cape Town and Johannesburg's classical and jazz scenes.

Galina composed the music for Madness: Songs Of Hope and Despair, a cantata made in collaboration with Dizu Plaatjies, with a libretto by psychiatrist Dr Sean Baumann. Madness debuted at the World Psychiatry International Congress in 2016, and had a two week run at Cape Town's Baxter Theatre in 2017. As a composer she writes frequently for film, animation and ensemble.

She has collaborated with the likes of composer Neo Muyanga, Mr Beatnick, Cara Stacey, Kelpe, Juliana Venter, Violeta Garcia, Kit Records head Richard Greenan & more. Galina has been remixed by the likes of Photay, Memotone and Tom Skinner (Sons of Kemet, The Smile).

'One Weird Trick' is the culmination of her solo material. Still rooted in the ornate, technical world of string composition and arrangement, the album is stubbornly unclassifiable.

Opening with time-dilated ambient ('Leaves') before segueing into rippling, florid techno ('Skeleton and Tiger fighting'), Galina twists again and again, shifting gears through stoned, jazz-inflected r'n'b ('Things I Know to be True'), string-led widescreen songcraft ('Come Back') and orchestral minimalism for standing on vast shorelines ('Time Split at the Seams of Your Departure [everything is now before and after]').

On the B side, Galina flexes her composition chops with the storming jazz of 'Spirit Level', recorded by Cape Town-based musicians Buddy Wells, Andrew Lilley, Jonno Sweetman & Stephen de Souza. Galina is then joined by the Stockholm Sax Quartet on 'In Rebellion of Time', a stately Reichian revelation that moves from solemn ballet to ecstatic multiharmonic denouement. To close, Galina retrieves oozing electronics and smeared journal entries from the guts of a black hole - a fitting conclusion to a truly unique, unpredictable, delightful, sad, infectious, and bizarre record.

Influences / sounds like: Louis Cole, Matthew Herbert, Darkside, Thundercat, Eiko Ishibashi, ECM, Oliver Coates.

'One Weird Trick' is out 7th November 2025 via Kit Records, available on vinyl & digital formats.

Kit Records will throw an album launch party at Servant Jazz Quarters in Dalston, London on 30th October 2025. Tickets TBC.









[g] 07: Time Split at the Seams of Your Departure (Everything Is Now Before and After) [feat. sir kay]

Kai Winding (1922 -1983) was a Danish-born American trombonist and jazz
composer, particularly remembered for his collaborations and solo
exchanges with fellow trombonist JJ Johnson
Fans of their classic album 'The Great Kai & JJ' (Impulse!) will welcome 'Duo Bones'
with Kai trading solos with renowned Italian valve trombonist Dino Piana (1930 -
2023). The programme includes three original compositions by Kai, 'Duo Bones', 'Lady
H', and 'Stop Following Me', and one by Piana aptly titled, Kai & Dino. The rest of the
programme includes Cole Porter's 'Get Out Of Town', Bronislawl Kaper's 'On Green
Dolphin Street', Gorden Jenkin's 'This Is All I Ask', and an original composition by
producer Enrico Pieranunzi titled 'Soul Dance'.
"A series of pieces played very well, characterised by a marked swing and with solos
that transmit to the ear the joy felt by the musicians in performing them. An album of
pure fun, impeccable in execution, full of dizzying and spectacular phrasing,
impressive in the speed with which Winding and Piana intertwine their sounds in
elaborate counterpoints." - Marco Giorgi, from the liner notes
Kai Winding: trombone
Dino Piana: valve trombone
Enrico Pieranunzi: piano
Giovanni Tommaso: bass
Tullio De Piscopo: drums
Recorded by Francesco Melloni, Giovanni Fornari, Emmequattro Studio, Rome, Nov. 17
& 18, 1979.

"Amir ElSaffar (b. 1977, USA) is a composer, trumpeter, vocalist, santur player, and modular synthesizer artist whose innovative compositions blend elements of jazz, classical, and traditional Arabic music. His newly established label, Maqām Records, released its first album earlier this year, Maqam Al-Iraq, by legendary vocalist, Hamid Al-Saadi and is now following up with an album of ElSaffar’s work, New Quartet Live at Pierre Boulez Saal. Recorded live in Berlin in 2023, the album captures the ineffable magic of ElSaffar’s first encounter with Greek pianist Tania Giannouli, a star on the European jazz scene, alongside his NYC-based collaborators: acclaimed drummer and bandleader, Tomas Fujiwara, and saxophonist Ole Mathisen, who is also a featured member of ElSaffar’s Two Rivers and Rivers of Sound orchestra. The quartet merges Arabic maqām with jazz harmony and features microtonal and prepared piano. In addition to the concert itself, the album features alternate takes that were recorded at Pierre Boulez Saal the next day without an audience.

RIYL: Classic artists: Miles Davis - “Sketches of Spain,” “Kind of Blue,” John Coltrane - “A Love Supreme,” “Ballads,” Don Cherry - “Relativity Suite,” Ahmed Abdul Malik - “Jazz Sahara,” “East Meets West,” Cecil Taylor, John Hassel, Hossam Ramzy, Ziad Rahbani.
Contemporary artists: Vijay Iyer, Ibrahim Maalouf, Ambrose Akinmusire, Rabih Abou-Khalil, Dhafer Youssef"

Thank You For Almost Everything is the sophomore album for Headache, a collaboration between writer and poet Francis Hornsby Clark and music-producer Joseph Thornalley aka Vegyn. This new album follows on the surprise underground success of their debut: The Head Hurts But The Heart Knows The Truth (released 31 May 2023) releasing on Vegyn's own PLZ Make It Ruins label. The debut record has streamed over 19.4 million times on Spotify alone and sold over 8,000 physical copies worldwide. The debut gained its popularity entirely organically with zero marketing or PR spend. Since its release, Headache has built a dedicated global fanbase, with several fans even going so far as to get lyrics or the project's logo tattooed on themselves. Thank You For Almost Everything continues the original's distinct style of Trip-Hop / Downtempo Electronica but combining with its own unique (and now imitated) AI-voiced spoken word. For this new album, Headache steps away from the hum-drum of Blighty and instead focuses his gaze to sunnier shores. Recalling personal histories of ruffled hair and school cafeterias, ancient unsolved Albionic riddles, Rome's changing seasons and its poignant graffiti, arguments with girlfriends at luxury hotel beachfront restaurants, and what it truly feels like to be alive in this inscrutable but beautiful world. The project features a further collaboration with artist Cali Thornhill DeWitt who returns to design the packaging and cover for this new album. This double 12" vinyl release, like the first, includes the instrumental versions exclusive to the vinyl version. The album, mixed and mastered by Margo Broom at RAK Studios, will use a similar surprise drop strategy as with the first album. "Follow up to the 2023 debut that gained its popularity entirely organically with zero marketing or PR spend. "Total Streams Since Release (31 May 2023): 19,413,173 (Spotify alone) "Previous vinyl album sold over 8,000 physical copies worldwide. "2nd Disc contains instrumental versions exclusive to vinyl format

C"mon Tigre announces their new instrumental project,Instrumental Ensemble - Soundtrack for Imaginary Movie Vol 1. This album oï¬Çers an alternate view of cinematic music: a soundtrack composed for a fictional film using a challenging and inventive method.This project investigates an alternative approach in which music shapes and guides visual storytelling. It"s the first in a series of albums dedicated to as-yet-unmade films, enabling listeners to explore music as a key component in cinematic narrative. The original story that inspired this music was created in partnership with a large language model, which was taught and instructed in substance and style to best fit the project"s artistic concept. C"mon Tigre works with AI to achieve collaborative harmony while contemplating on the unavoidable future ahead. Each track on the album depicts a scene, delivering stories about humans jugglingpersonal issues and contacts with advanced technology. The end result is a story told by sound and text, designed to immerse listeners in a multisensory universe

Nach dem gefeierten Debüt Star (1993), das Belly zwei GRAMMY-Nominierungen einbrachte, stand die Band an einem Wendepunkt. Mit Bassistin Gail Greenwood stiegen Tanya Donelly und die Brüder Chris und Tom Gorman in ein gemietetes Haus in Rhode Island, um gemeinsam Songs zu schreiben. Anschließend zog es sie ins legendäre Compass Point Studio auf den Bahamas, wo bereits AC/DC, Grace Jones oder Tom Tom Club aufgenommen hatten. Unter Produzenten-Ikone Glyn Johns (Led Zeppelin, Rolling Stones, The Who) nutzten Belly die entspannte Umgebung, spielten viel live ein und reduzierten Overdubs - um ihre Chemie unverfälscht einzufangen. Das Ergebnis war King: ein komplexeres, schwereres Werk mit den Singles Now They"ll Sleep, Seal My Fate und Super-Connected. Mit politischeren und persönlicheren Texten sowie Gail Greenwoods kraftvollem Bass markierte das Album künstlerisches Wachstum statt Kommerzialität. Das SPIN Magazine sah darin den Schritt von "Indie-Lieblingen zu Rock-Kandidaten". Erstmals seit 30 Jahren wieder erhältlich, erscheint King nun als lange erwartetes Repress auf schwarzem Vinyl, inklusive Original-Artwork und Fotografien von Christopher Gorman und Stephen DiRado.

Peace and love in late 60s America did not come without parallel feelings of fear and confusion about the social situation – specifically about Vietnam. “Safe In My Garden” is the latest Ace compilation in an acclaimed series compiled by Bob Stanley – it’s a companion piece to the much-praised “State Of The Union (The American Dream In Crisis 1967 – 1973)” Ace CDCHD 1533/XXQLP2 057 2018).

The music on “Safe In My Garden” is harmony-laden, beautifully produced soft rock. Sunshine pop, even - a melodic, innovative style of American music that grew in the mid-60s out of the folk and surf scenes, exemplified by the Beach Boys and the Mamas and Papas. You will hear orchestral arrangements, and soft boy-girl vocals. But it wasn’t made in isolation from what was going on in the outside world. There are clouds and minor chords, plenty of melancholy in those harmonies.

“Safe In My Garden” includes songs of escape (Mark Eric’s ‘Move With The Dawn’, the Groop’s ‘A Famous Myth’), loss (the Eighth Day’s ‘How Can I Stop Loving You’, the New Colony Six’s ‘Prairie Grey’), dreamscapes (Tommy James and the Shondells’ ‘She’, Nancy Priddy’s ‘Christina’s World’), rebirth (Smokey and his Sister’s ‘Creators Of Rain’), a simpler world (the Free Design’s ‘My Brother Woody’) and a philosophically sounder future (Chad & Jeremy’s ‘The Ark’, Best of Friends’ ‘Summer Sound’).

It contains some surprisingly dark messages paired with beautiful melodies, as well as songs of hope. Thousands of young musicians in cities, suburbs and small towns across the States from the mid to late 60s spent their mornings hiding from the mailman, dreading the draft. This is the Sound of Young America in the late 60s, keeping its fingers crossed.

Serie mit unbekanntem Ausgang. Diary of Dreams starten eine Serie von Mini Alben, deren finale Anzahl noch nicht beschlossen ist; Mastermind Adrian Hates erklärt: "Die Serie endet, wenn die Geschichte zu Ende erzählt ist." So beginnt nun am 31.10.2025 die neue musikalische Traumreise mit dem Kapitel "Dead End Dreams". Der Titel ist ursprünglich eine Textzeile aus dem Song Panik? vom 2002er Mini Album PaniK Manifesto, welches für DoD das erste seiner Art war. Die Zeile blieb für Adrian jedoch bis heute inhaltlich unvollendet; es gab dazu noch so viel mehr zu sagen. Es war also höchste Zeit, dieses Sinnbild zu vollenden. Begeben wir uns dafür nun gemeinsam in völlig neue Klangwelten des Tagebuchs. Der Titel verrät ein wenig, womit zu rechnen ist - düstere und apokalypische Szenarien und ein Rückzug in die eigenen Gedanken, um das auszublenden, was kaum fassbar mehr scheint: die Realität; Eine Welt am kollektiven Abgrund. Gegründet wurde die Band 1989 und erspielte sich seitdem mit über 700 Konzerte in 43 Ländern ein treues Publikum.

A psych-pop cult classic tracks.
The Orange Bicycle blends Beatles/Beach Boys‑inspired psychedelic-pop style and sun-drenched melodies.
The Orange Bicycle captures the kaleidoscopic charm of late-’60s British psychedelia. Featuring lush arrangements, sitar-laced textures, and soaring vocal harmonies, this LP is a must for fans of The Beatles, The Beach Boys, The Zombies, Tomorrow, or early Pink Floyd.

f *Goodbye, Asshole* was the wild night—tequila-sharp riffs, sticky floors, and last-call chaos howled into the void of a disappearing city—then *Boone* is the merciless morning after. The sun cracks the blinds. The brain throbs. Every bad decision gleams in the hard light, raw and undeniable.

Fuckwolf’s second album pares their scuzz-wave blitz down to exposed nerves: Eric Park’s basslines stalk like a hangover pulse, Simon Phillips’ drums land like a palm slapping the alarm into silence, and Tomo Yasuda’s guitar wirings spit like diner coffee left to burn on the hotplate. The fog has lifted; the damage is inventoried. These ten tracks are crime scene Polaroids, tales of longing and woe, fresh mystery bruises and eulogies.

There’s no wallowing here, just the tight, terrible beauty of a band that’s stared down the void and come back swinging.

The party’s dead. Long live the reckoning.

Fuckwolf have been around the SF scene for a while, and it took Ethan Miller (Silver Current / Comets On Fire / etc) ages to get them to record the debut album, they then toured Japan and released a limited split mini with Green Milk From The Planet Orange. They reconvened late 2024 and recorded Boone..

This new album "Boone", polishes and extrapolates the fizzing psychedelia of their first album, and turns Fuckwolf into the heirs to the crown of mass-consumptive Sike-rock. This album is in the same vein as Mercury Rev's "Yerself Is Steam", Butthole Surfers' "Rembrandt Pussyhorse" and Flaming Lips "Telepathic Surgery", there's sheer pop in amongst the mind's eye rattling dollops of psychedelic wallop... the Koolaid was drunk and the songs were made.. plug it in, turn on...drop out.

Master by the one and only Mikey Young!!

Let the Good Times Roll (Terlinde Music Shop, St. Paul, MN, 1956)
I Got a New Girl (Informal Recording, Hibbing, MN, 1959)
Jesus Christ (Informal Recording, Minneapolis, MN, 1960)
K.C. Moan (Informal Recording, Madison, WI, 1960)
Remember Me (Informal Recording, East Orange, NJ, 1961)
Railroading On the Great Divide (Gerdes Folk City, NYC, 1961)
Man of Constant Sorrow ('Bob Dylan' Rehearsal, NYC, 1961)
He Was a Friend of Mine ('Bob Dylan' Outtake, NYC, 1961)
Ramblin' Round ('Bob Dylan' Outtake, NYC, 1961)
Story: East Orange, New Jersey (Party, Minneapolis, MN, 1961)
Po' Lazarus (Party, Minneapolis, MN, 1961)
Dink's Song (Party, Minneapolis, MN, 1961)
I Was Young When I Left Home (Party, Minneapolis, MN, 1961)
Cocaine (Party, Minneapolis, MN, 1961)
Talkin' New York (Gerdes Folk City, NYC, 1962)
Corrina, Corrina (Gerdes Folk City, NYC, 1962)
(I Heard That) Lonesome Whistle ('Freewheelin'' Outtake, NYC, 1962)
Rocks and Gravel ('Freewheelin'' Outtake, NYC, 1962)
Let Me Die in My Footsteps (The Finjan, Montreal, 1962)
Tomorrow Is a Long Time (Party, Minneapolis, MN, 1962)
Don't Think Twice, It's All Right (The Gaslight Cafe, NYC, 1962)
The Cuckoo (The Gaslight Cafe, NYC, 1962)
The Ballad of the Gliding Swan (BBC-TV, London, 1962)
John Brown ('Broadside Ballads' Album Version, NYC, 1963)
Dusty Old Fairgrounds (Town Hall, NYC, 1963)
House of the Rising Sun (Informal Recording, NYC, 1963)
Seven Curses ('The Times They Are A-changin'' Outtake, NYC, 1963)
Masters of War ('Freewheelin'' Alternate Take, NYC, 1963)
Girl from the North Country ('Freewheelin'' Alternate Take, NYC, 1963)
Liverpool Gal (Party, Minneapolis, MN, 1963)
Boots of Spanish Leather ('The Times They Are A-changin'' Outtake, NYC, 1963)
Moonshiner ('The Times They Are A-changin'' Outtake, NYC, 1963)
The Lonesome Death of Hattie Carroll (Party, Los Angeles, 1963)
The Times They Are A-changin' (Informal Recording, Los Angeles, 1963)
Who Killed Davey Moore? (Carnegie Hall, NYC, 1963)
Lay Down Your Weary Tune (Carnegie Hall, NYC, 1963)
Blowin' in the Wind (Carnegie Hall, NYC, 1963)
North Country Blues (Carnegie Hall, NYC, 1963)
A Hard Rain's A-gonna Fall (Carnegie Hall, NYC, 1963)
Talkin' World War III Blues (Carnegie Hall, NYC, 1963)
Only a Pawn in Their Game (Carnegie Hall, NYC, 1963)
When the Ship Comes In (Carnegie Hall, NYC, 1963)

Die ultimative karriereumspannende Sammlung: von den Anfängen des Post-Punk bis hin zu stadiontauglichem Synthie-Pop und darüber hinaus.
„Industry & Seduction“ ist die erste Retrospektive der Thompson Twins, die in Zusammenarbeit mit den
Bandmitgliedern Tom Bailey, Alannah Currie und Joe Leeway kuratiert wurde. Die Sammlung vereint
Musik aus ihrer gesamten bahnbrechenden Karriere und fängt die gesamte Entwicklung einer der abenteuerlustigsten und einfallsreichsten Pop-Bands der 1980er Jahre ein. Sie enthält auch Musik aus ihrem
späteren, von Kritikern übersehenen Projekt „Babble“.
Von frühen experimentellen Stücken und Underground-Kuriositäten bis hin zu Welthits wie „Hold Me Now“,
„Love On Your Side“, „Doctor! Doctor!“ und „We Are Detective“ beleuchtet die Sammlung die ständige
Neuerfindung der Band – vom Chaos der Kunsthochschule über makellosen Pop und Dub-beeinflussten
Dance bis hin zu verträumten Post-Rave-Klanglandschaften. Es ist eine mutige, brillante musikalische
Reise, die auf Kontrasten basiert: Digitale Grenzen treffen auf emotionale Anziehungskraft – „Industry &
Seduction“.

Deep black, with ghostly glimmers of an old car melting into the tarmac: the cover of Never En-ding Rodeo sets the tone. This isn't just a late-night drive, but a controlled skid across the borders of Post-Rock, Noise and Psych. The engine roars, the ground shakes, the white lines blur. Six years after the release of Ain't That Mayhem, the Lyon-based band returns with a dense, smoke-veiled record. Never Ending Rodeo: a deceptively playful, almost cartoonish title for such an intense album. As if, after circling endlessly around dust, bucking, and stampedes, Zëro had carved out its own orbit. Unstable, inevitably. But magnetic. Éric Aldéa (guitar, vocals), Franck Laurino (drums), Ivan Chiossone (Persephone, synths), and now Varou Jan (guitar, bass) - (Le Peuple de l'Herbe, Condense) - have lost none of their bite. Better still: this new album marks a turning point in production quality, thanks in particular to the mixing work of Niko Matagrin. The sound is broader, more inhabited. Every snare crack, every synth layer sits precisely in a meticulously sculpted space. "As if Tom Waits had collided with Nine Inch Nails. Before a frightening modernity hurled this so-nic convoy into a headlong rush." ~ Indiepoprock "You don't simply pass through Never Ending Rodeo: you step inside, you lock yourself in, drawn irresistibly by its magnetism." ~ Solénopole

Chris Menist pares his sound right back for A book of imaginary beings, his fourth Awkward Corners outing with a project of electronic and abstracted global grooves. Experimenting with simple melodies and uncluttered arrangements, as well as taking inspiration from the Borges' short stories alluded to in the title, the project took shape in the early part of 2025, in the shorter days and dark evenings of January.

The initial challenge was to knock a basic track into shape each evening after work, then refine it later. There's a melancholy in the air in late winter, compounded by the creeping threat of national and geopolitical instability. Ulla, Natural Information Society, Jabu, Torso and Dawuna formed some of the background soundtrack as each tune took shape.

The track titles came after sitting with the sounds for a while, giving shape to images of people, creatures and their stories for a book that is yet to be written.

Two former friends sets the tone for the album perfectly as a minimal electronic piece with a slowly simmering synth bassline underpinning the groove whilst the trademark Awkward sound of the Shahi Baaja enters drenched in effects. It's the first demonstration of Chris' unique ability to create a world from apparently very little.

Dance of the silver beetles is completely unique in that we can hear chopped up Illimba samples seemingly playing backwards and forewords sometimes alone, sometimes together in duet with Chris' conga rhythms. Add to that a more conventional Illimba melody and added shaker percussion and you have one of A book of imaginary beings most curious chapters.

Anxious shadow puppets is closer to the Awkward Corners sound from previous albums as electronic pulses move around the arrangement with the urgency that the track title suggests. Chris' percussive roots move to the fore with the congas that tie down the Paradise Bangkok Molam International Band's sound. Here, the bassline is more playful and works together with one of Chris' many African Illimbas.

Fans of Chris' adventures on his Roland 808 will dig A leopard with no spots, although the minimal mood continues to flow through on this track. The lolloping, but hard-hitting rhythm track provides the grounding for strange and twisting feedback-sounding tones to work the soundscape.

Abandoned boy (left in charge of the family business) is Awkward Corners at his atmospheric best. Drift off to the sublime sounds of Chris exploring the Shahi Baaja, whilst a soft, repetitive synth line and abstracted pads give the listener that feeling of meditation and peace.

Flamingo with bandaged neck is A book of imaginary beings' perfect coda and is exclusively Shahi Baaja draped in reverbs and delays. It feels like the resolution and the closing of a book that – as of yet – remains unwritten.

Awkward Corners is Chris Menist, a musician, DJ and writer. It started life as a small project in Islamabad, where Chris was living at the time. Initial recordings were made with local musicians in Pakistan and then subsequently in Thailand. This culminated in the Sweet Decay LP that came out on Finders Keepers' Disposable Music in 2014, and in turn led to a limited tape release on Boomkat/Reel Torque of original compositions and re-edits of Thai 45s the same year. Chris released – Dislocation Songs – his second LP proper with Shapes of Rhythm in May 2020, collaborating on many of the tracks with award-winning performer Sarathy Korwar. The LP was picked up by many radio stations including NTS, Resonance FM, BBC 6 Music, Balamii and many more. It made Tom Ravenscroft's LPs of 2020. Amateur Dramatics, Chris' second LP arrived just a year later in 2021 and was a more ambitious project featuring more jazz-focussed compositions and featuring Tamar Osborn and Kitty Whitelaw. Shortly after that came another pivot with the heavier, dancefloor-friendly EP Somebody Somewhere. Somebody Somewhere is Dancing in a Field brought the House (yes House!) vibes, whilst Hector Plimmer turned in a remix of No Words in the same club mood.

As one of NTS Radio's longest-standing presenters, Chris continues to hold down the Paradise Bangkok show. Playing drums and percussion since he was a kid, Chris is the percussionist for The Paradise Bangkok Molam International Band as well as co-founding the record label of the same name. Chris has curated compilations for labels such as Finders Keepers, Soundway and Dust-To-Digital. He has been featured on the Boiler Room, Vinyl Factory Collections, played at the Four Tet curated Nuits Sonores festival, and has put together an edition of Volumes which featured unreleased Awkward Corners compositions.






[d] 04: All the Goodbyes (You Tried to Defer) [Original]





[j] 10: Abandoned Boy (Left in Charge of the Family Business) [Original]

Riding the wave of recent re-evaluation of city pop, Kobayashi Izumi has once again been in the spotlight both at home and abroad, and is reissuing her
second solo album, released in 1982, on LP! The sound has a Latin and New Wave flavor, and Tomoyasu Hotei also makes a guest appearance on guitar.

Zum 20-jährigen Jubiläum erscheint A Certain Trigger gemeinsam mit der 2006er B-Sides- und Demo-Compilation Missing Songs als hochwertige 2LP auf schwarzem Vinyl im Gatefold-Cover. Die Zusammenstellung enthält seltene B-Seiten und Demo-Aufnahmen aus den UK-Singles dieser Ära und wird ergänzt durch ein beidseitig bedrucktes, farbiges 60 × 90 cm Poster auf luxuriösem Kunstdruckpapier. Ein Sammlerstück für alle Fans des energiegeladenen Indie-Rock-Sounds von Maxïmo Park.

Format: 2LP schwarzes Vinyl, Gatefold, inkl. beidseitigem Farbposter (60 × 90 cm)

Es ist alles überlebensgroß, düsterer als der Tod und das beste Album, das die Horror-Punks von Creeper je aufgenommen haben.

Das Album "SANGUIVORE" hat Creepers ohnehin schon überlebensgroße Ambitionen auf neue Höhen geführt, was zu den positivsten Kritiken ihrer Karriere führte und in ihrem ersten Headliner-Konzert in der OVO Wembley Arena in London gipfelte. Historisch gesehen schließt die Band am Ende einer Creeper-Ära den Sargdeckel, um sich erneut neu zu erfinden. Doch dieses Mal trotzt die fünfköpfige Band den Erwartungen, indem sie das kreative Universum des Vorgängeralbums erweitert und am 31. Oktober mit "Sanguivore II: Mistress Of Death" aufs Neue ins Vampir-Universum eintaucht.

"Sanguivore II: Misstress Of Death" ist eher eine thematische Fortsetzung als eine direkte Weiterführung der ursprünglichen Geschichte. Wie eine klassische Horror-Anthologie spinnt es eine neue Geschichte aus derselben Blutlinie wie das Original, diesmal mit dem blutigen Vampirherz als roter Faden, um eine brandneue Erzählung einzuführen.
Die Geschichte führt uns zurück in die moralische Hysterie der Satanic Panic und ihre Auswirkungen auf die Welt des Hardrock und Heavy Metal der 80er Jahre. Es war eine Zeit, in der der verstorbene Prince of Darkness, Ozzy Osbourne und Judas Priest von Gerichtsverfahren verfolgt wurden. Iron Maiden spielte tief im Herzen Amerikas, während W.A.S.P. und Mötley Crüe mit ihrer skandalösen Theatralik und Dekadenz die Gemüter der Konservativen erhitzten.

Wie schon das Original wurde auch "Sanguivore II" von Tom Dalgety (Ghost, Rammstein, Royal Blood) produziert.

Es ist alles überlebensgroß, düsterer als der Tod und das beste Album, das die Horror-Punks von Creeper je aufgenommen haben.

Das Album "SANGUIVORE" hat Creepers ohnehin schon überlebensgroße Ambitionen auf neue Höhen geführt, was zu den positivsten Kritiken ihrer Karriere führte und in ihrem ersten Headliner-Konzert in der OVO Wembley Arena in London gipfelte. Historisch gesehen schließt die Band am Ende einer Creeper-Ära den Sargdeckel, um sich erneut neu zu erfinden. Doch dieses Mal trotzt die fünfköpfige Band den Erwartungen, indem sie das kreative Universum des Vorgängeralbums erweitert und am 31. Oktober mit "Sanguivore II: Mistress Of Death" aufs Neue ins Vampir-Universum eintaucht.

"Sanguivore II: Misstress Of Death" ist eher eine thematische Fortsetzung als eine direkte Weiterführung der ursprünglichen Geschichte. Wie eine klassische Horror-Anthologie spinnt es eine neue Geschichte aus derselben Blutlinie wie das Original, diesmal mit dem blutigen Vampirherz als roter Faden, um eine brandneue Erzählung einzuführen.
Die Geschichte führt uns zurück in die moralische Hysterie der Satanic Panic und ihre Auswirkungen auf die Welt des Hardrock und Heavy Metal der 80er Jahre. Es war eine Zeit, in der der verstorbene Prince of Darkness, Ozzy Osbourne und Judas Priest von Gerichtsverfahren verfolgt wurden. Iron Maiden spielte tief im Herzen Amerikas, während W.A.S.P. und Mötley Crüe mit ihrer skandalösen Theatralik und Dekadenz die Gemüter der Konservativen erhitzten.

Wie schon das Original wurde auch "Sanguivore II" von Tom Dalgety (Ghost, Rammstein, Royal Blood) produziert.

System Olympia presents a bold, cinematic compilation that redefines the sound of sensuality. Love Language is an
18-track double-vinyl release pressed on deluxe heavyweight black vinyl.
It’s accompanied by a provocative, limited-edition 24-page fanzine, exclusive to 18+ audiences.
This is not just a compilation, Love Language is a manifesto. A carefully curated sonic journey through eroticism, artistic rebellion,
and liberation, it spans nearly five decades of music and features exclusive edits and rare gems that illuminate System Olympia’s
radical aesthetic vision.

****
Since her emergence on the electronic underground, System Olympia has carved out a distinct, sensual sonic universe, equal parts
vulnerable and defiant. With Love Language, she presents her most audacious project to date: a compilation rooted in what she
calls The Aesthetics of Sexual Desire in Sound.

It’s a daring declaration that desire is more than a feeling - it’s a language. Across 20 tracks, including her own sultry opener “The
Heat Of The Night (feat. REINEN)” and a rare System Olympia edit of Working Men’s Club’s “Ploys”, this compilation speaks in
rhythms and textures that evoke longing, intimacy, and ecstatic release.
This is not a traditional compilation. System Olympia’s sequencing is cinematic and deliberate. Every track a scene in a film that exists
only in the listener’s imagination. From the retro-futurist seduction of Flavia Fortunato’s Italo gem “Se Tu Vuoi” to the deep, extended
tension of Musclecars’ “Running Out of Time,” each piece plays its part in an arc of anticipation, climax, and reflection.Uniting artists as diverse as Daniele Baldelli, Piero Umiliani, and DJ Rocca, Love Language refuses boundaries of genre, era, or
expectation. It dances between vintage Italo-disco, dreamy electronica, sweaty club tracks, and avant-garde jazz, forming a rich
tapestry of sound and sensation.

System Olympia explains, “This is music for lovers, outsiders, and dreamers. It's a rebellion made of velvet and
basslines.

The accompanying 24-page fanzine insert, restricted to adults, further deepens the narrative, with erotic visual fragments and
poetic texts that amplify the compilation’s raw, sensual energy. A tangible extension of the music’s spirit, the zine invites listeners to
step into Olympia’s world and engage their senses fully.

As much a provocation as it is a celebration, Love Language is a deeply personal curation and a radical act of creative freedom. It
champions eroticism as art, desire as dialogue, and music as a liberatory force.

a A1. System Olympia - The Heat Of The Night (feat. REINEN) 3:44
b A2. Flavia Fortunato - Se Tu Vuoi 3:38
c A3. See Thru Hands - Hot City 3:57
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]

[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]

[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]

[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]

Mit seinem neuen Album Who Is The Sky? schlägt David Byrne ein weiteres spannendes Kapitel seiner künstlerischen Laufbahn auf. Nach dem weltweiten Erfolg von American Utopia - gefeiert als Album, Broadway-Show und HBO-Film - richtet Byrne nun den Blick nach innen: Was bedeutet es, kreativ zu sein? Was ist Liebe? Was ist unser Platz in der Welt? Gemeinsam mit dem Grammy-prämierten Produzenten Kid Harpoon (Harry Styles, Miley Cyrus) und dem New Yorker Kammerensemble Ghost Train Orchestra ist ein Werk entstanden, das persönliche Geschichten mit orchestraler Klangvielfalt und popmusikalischem Feinsinn verbindet. Gäste wie Hayley Williams (Paramore), St. Vincent und Tom Skinner (The Smile) verleihen dem Album zusätzliche Tiefe. Songs wie "My Apartment Is My Friend", "She Explains Things to Me" oder "I Met the Buddha at a Downtown Party" erzählen Alltagsbeobachtungen mit Witz, Menschlichkeit und einem Hauch Absurdität. Byrne gelingt es wie kaum jemand anderem, komplexe Gedanken in eingängige Musik zu verpacken und so stets zugänglich zu bleiben. Who Is The Sky? ist verspielt, tiefsinnig und durch und durch Byrne: voller Fragen, Überraschungen und Momente echter Verbundenheit. Ein Album, das zum Zuhören, Nachdenken und Tanzen einlädt, ein orchestraler, verspielter und tiefgründiger Blick auf das Menschsein selbst.

Mit seinem neuen Album Who Is The Sky? schlägt David Byrne ein weiteres spannendes Kapitel seiner künstlerischen Laufbahn auf. Nach dem weltweiten Erfolg von American Utopia - gefeiert als Album, Broadway-Show und HBO-Film - richtet Byrne nun den Blick nach innen: Was bedeutet es, kreativ zu sein? Was ist Liebe? Was ist unser Platz in der Welt? Gemeinsam mit dem Grammy-prämierten Produzenten Kid Harpoon (Harry Styles, Miley Cyrus) und dem New Yorker Kammerensemble Ghost Train Orchestra ist ein Werk entstanden, das persönliche Geschichten mit orchestraler Klangvielfalt und popmusikalischem Feinsinn verbindet. Gäste wie Hayley Williams (Paramore), St. Vincent und Tom Skinner (The Smile) verleihen dem Album zusätzliche Tiefe. Songs wie "My Apartment Is My Friend", "She Explains Things to Me" oder "I Met the Buddha at a Downtown Party" erzählen Alltagsbeobachtungen mit Witz, Menschlichkeit und einem Hauch Absurdität. Byrne gelingt es wie kaum jemand anderem, komplexe Gedanken in eingängige Musik zu verpacken und so stets zugänglich zu bleiben. Who Is The Sky? ist verspielt, tiefsinnig und durch und durch Byrne: voller Fragen, Überraschungen und Momente echter Verbundenheit. Ein Album, das zum Zuhören, Nachdenken und Tanzen einlädt, ein orchestraler, verspielter und tiefgründiger Blick auf das Menschsein selbst.

Mr Bongo proudly presents, ‘AFIM’, the second solo album by one of Brazil’s most exciting new talents, Zé Ibarra. You may be familiar with the hypnotic, entrancing tones of Ibarra’s vocals through his work with the Latin Grammy award-winning, four-piece, Bala Desejo and the band Dônica. He has also toured with the musical titan, Milton Nascimento, performing guitar and vocals, which is quite the honour and a testament to Ibarra's craft. As a solo artist, he has performed headline solo shows in Japan, Portugal and the US, as well as recently completing a support tour with the great, Seu Jorge.

‘AFIM’ is comprised of eight tracks, featuring Zé’s own compositions as well as cover versions of tracks by contemporaries and friends, Sophia Chablau, Tom Veloso, and Dora Morelenbaum. It combines elements of MPB, jazz, pop and progressive rock in a bold, authoritative style. The album represents the intersection between different facets of the artist, from the stripped-down, intimate, guitar singer-songwriter, to dense arrangements with sweeping strings sections. Writing this album allowed Ibarra "to explore sides of myself that had not yet been organized in an album: a certain darkness, a more cinematic musicality, a desire for new soundscapes.

The album features the single, 'Transe', a song with an instantly comforting tone reminiscent of classic Brazilian songs of the past (think Caetano Veloso). It is built on a rhythmic guitar that supports dynamic sound layers, opening space for Ibarra's intense interpretation. Cinematic atmospheres that lend an air of mystery come courtesy of string arrangements by Jaques Morelenbaum.

His unique cover version of Sophia Chablau's 'Segredo' is equally compelling, taking Sophia's punky-indie original in a different direction and making it feel like his own. 'Essa Confusão', a song celebrating the intensity of love and co-written by Dora Morelenbaum, is steered into epic, 70's AOR, singer-songwriter territory with wind arrangements by Ibarra, Jorge Continentino and strings by Jaques Morelenbaum.

The album is the result of the collaboration of experienced musicians and long-time partners of Ibarra. Fellow Bala Desejo and Dônica member Lucas Nunes co-produced the album. The core band featured on the record consists of Lucas Nunes on organs, Alberto Continentino on bass, Daniel Conceição and Thomas Harres on drums and percussion, Rodrigo Pacato on additional percussion, Chico Lira on Fender Rhodes and Guilherme Lírio on guitar.

The overall feel of the record is archetypically quintessential without slipping into retro mode. It is a stunning album from one of the finest musicians of his generation. A true star of Brazil’s blooming contemporary scene.

Four cuts of unapologetic, immediate Jungle that capture Tim Reaper’s frantic energy and Fracture’s deadly sonics — a perfect balance of aggression and detail. No holds barred, examined with a fine-tooth comb. Precision Pandemonium. Alongside the music, the collaboration extends to artwork, with each label’s iconic logo reimagined in the other’s style. This visual partnership spans the 12” label and sleeve design, as well as an extensive range of streetwear merch.

Fracture says:

I’ve known Ed for over 15 years, going back to the forum days of Subvert Central and Dogs On Acid. Even then, his approach to Jungle was authentic and compulsive. He’s stayed on that path with unwavering focus, never chasing trends—just pure, raw Jungle. What he’s built with Future Retro London is so desperately needed in this day and age: a space where music and community come first, shining a light on artists and DJs often overlooked by mainstream channels that favour gimmicks. His passion for Jungle is infectious, and I’ve always wanted to work with him so doing a full label collaboration feels completely right. Working with Ed is a real eye opener - he’s so full of ideas and the speed at which he can generate patterns is scary. Watching him fly around his laptop, chopping breaks and writing basslines is like watching a Grandmaster play speed chess—always on, never off. Shout out Tim Reaper each and every. An incredible DJ as well.

Tim Reaper says:

I think this is probably the longest ever I've spent on any release for Future Retro London, clocking in at just over 3 years of back & forth between me & Fracture in the making of this. There's a lot of backstory behind this project, so excuse my ramblings below.

The story starts with me hearing Sully playing a tune by Fracture called "Booyaka Style" which I really liked and thought would be great to release. I reached out to Fracture about it and found out later that he already made plans to include it on an album project (0860) that he was working on at the time which later came out on his label Astrophonica. He asked if I would be up for sending him any tunes to be considered for release on Astrophonica, but in response to this, I suggested a joint label project that both of us would have tunes on & he seemed keen to do it.
Few months later, I got back in touch to ask if he had done any tracks for this release but he was still busy with other things and instead sent me a track he had been working on, with the suggestion of us collaborating on it. We finished a track together that we both liked & felt as if it was a good starting point for the release. We then got a few more collabs done with a fair bit of back & forth, but upon reflection, he felt as if they could be a lot better than what they currently were and so, the release started to change in format a bit. Fracture suggested that we should meet up in his studio and work on some tunes together in person, with the aim of getting a few bits done over a bunch of sessions and getting it all sorted out in a much quicker timeline. Thankfully, this actually worked, we managed to get some collabs done that both of us are very happy with (even managing to sample a recording of Blackeye from a set from a Future Retro London event!)

Thanks to Fracture for his co-operation & perseverance with this release, helping to see it through to the end & not allowing it to be anything less than the best possible version of itself, thanks to Mark at Sequence for his role in helping with the logistics/manufacture of this release, thanks to Utile for assisting on the design on this release and most importantly, a very special thanks to all the obstacles along the way that I faced in the making of this release, which helped me appreciate getting to this point so much more than I ever could have!