Search:u at

California-based couple Allie Schulz and Alex Pasternak are Florecer, a producer and vocalist combo who draw on the energy that having their daughters gave them. 'Babies' and 'energy giving' are not often heard in the same sentence together, given the demands newly born small people often have on parents' time and sleep, but judging by these sounds, this pair have been fully inspired. The title cut is tropical and dub and kosmiche all collide into an undulating rhythm that's bright and demanding of your attention. Coyote dubs it into a more smooth affair and then 'What I Knew' rides world dub with steel drums. 'Running Behind' slows to a deep, soft plod with whimsical vocals this time, and Chris Coco turns up the reverb for a lovely, sleepy dub of his own.

Scott Fagan’s new album Soon, 55 years in the making, revives songs from his lost 1971 Broadway rock opera.

Alongside songwriting partner Joe Kookoolis, Fagan conceived and wrote the rock opera, an age-old story of an artist forced to make a devil’s bargain between their principles and success, intending it to be the follow-up to his classic 1968 debut, South Atlantic Blues. But fate intervened. The production (which starred Fagan and a young Richard Gere) closed early, the album was shelved, never to be recorded or heard. Until now.

Recorded over seven days in July 2025 at the hallowed Sam Phillips Recording Service in Memphis with a crack rhythm section, the thirteen songs on Soon illustrate Fagan’s extraordinary facility and range as a singer and songwriter of great sensitivity, passion, and humour.

From its rousing gospel opener (“Let The World Begin Again”), through fiery, protest songs (“Faces Names and Places”, “Straight”), and tender-hearted ballads (“Child of Sympathy”, “To Touch the Sky”), the album is by turns, uplifting, mournful, righteous, giddy, soulful (title track, “Soon), and anthemic (closer, “Please Be Well”). This feels like an album of lost classics waiting to be rediscovered.

Scott Fagan has been waiting a long time for the world to hear these songs. The long, long wait is over, Soon.

- 2026 Edition, gepresst auf apricotfarbenem Vinyl - Erweitertes Gatefold-Cover - Enthält ein 20-seitiges Booklet mit seltenen Fotos und Liner Notes von Lenny Kaye sowie Beiträgen von Nick Cave und Devendra Banhart. Karen Daltons Album ,In My Own Time" aus dem Jahr 1971 gilt als wahres Meisterwerk einer der geheimnisvollsten, rätselhaftesten und nachhaltig einflussreichsten Künstlerinnen der Musikgeschichte. Das neu erweiterte, 20-seitige LP-Booklet mit selten gezeigten Fotos, Liner Notes des Musikers und Autors Lenny Kaye sowie Beiträgen von Nick Cave und Devendra Banhart rundet das Paket ab. Die in Oklahoma aufgewachsene Karen Dalton (1937-1993) brachte eine Vielzahl von Einflüssen in ihr Werk ein. Wie Lenny Kaye in den Liner Notes schreibt, hört man den Jazz von Ella Fitzgerald und Billie Holiday, die Intensität von Nina Simone, den Appalachen-Gesang von Jean Ritchie sowie den R&B und Country, die auf ihrem Weg nach New York unweigerlich in ihre Musik einflossen. Ausgestattet mit einem Langhalsbanjo und einer 12-saitigen Gitarre hob sich Dalton durch ihren unverwechselbaren, lebensmüden Gesang von ihren Kollegen ab. In den frühen 60er Jahren wurde sie zu einer festen Größe in der Folk-Szene von Greenwich Village, wo sie traditionelles Material, Blues-Standards und die Songs ihrer Zeitgenossen interpretierte, darunter Tim Hardin, Fred Neil und Richard Tucker, den sie später heiratete. Bob Dylan war unterdessen sofort von ihrer Kunst begeistert. ,Meine Lieblingssängerin dort war Karen Dalton", erinnerte er sich in *Chronicles: Volume One* (Simon & Schuster, 2004). ,Karen hatte eine Stimme wie Billie Holiday und spielte Gitarre wie Jimmy Reed." Wer Dalton kannte, wusste, dass sie kein Interesse daran hatte, sich den Launen der Plattenindustrie zu beugen. Auf der Bühne interagierte sie kaum mit dem Publikum. Im Studio fühlte sie sich beim Aufnahmeprozess ebenso unwohl. Ihr Debütalbum von 1969, *It's So Hard to Tell Who's Going To Love You The Best*, das 2009 von Light in the Attic neu aufgelegt wurde, entstand heimlich, als Dalton dachte, sie würde nur Songs proben. Als Michael Lang, Mitveranstalter von Woodstock, Dalton ansprach, ob sie ein Folgealbum für sein neues Label ,Just Sunshine" aufnehmen wolle, war sie, gelinde gesagt, skeptisch. Das Album musste nach ihren eigenen Bedingungen und in ihrem eigenen Tempo entstehen. Daraus wurde ein sechsmonatiger Aufenthalt in den Bearsville Studios in Woodstock, New York. Produziert wurde das Album von dem Bassisten Harvey Brooks, der bereits auf ,It's So Hard to Tell Who's Going To Love You The Best" an Daltons Seite gespielt hatte. Brooks, der stolz darauf war, unkompliziert, zuverlässig und unterstützend zu sein, verstand Daltons Arbeitsweise, war aber auch bereit, sie sanft zu ermutigen und die Künstlerin dazu herauszufordern, ihre kreativen Grenzen zu erweitern. ,Ich habe versucht, ihr einen flexiblen Rahmen zu bieten", erzählte er Kaye. ,Ich habe die Entscheidungen ihr überlassen - das Tempo, das Feeling festzulegen." Sie war sehr zurückhaltend, und ich habe ihr alles vorgelegt; wenn sie mehr brauchte, habe ich ihr Optionen angeboten. Alle gingen einfühlsam auf sie ein. Sie war die Anführerin. Dalton, die selten ihre eigenen Kompositionen aufführte, wählte eine Reihe von Stücken zur Interpretation aus - von traditionellen Liedern wie ,Katie Cruel" und ,Same Old Man" bis hin zu Paul Butterfields ,In My Own Dream" und Richard Tuckers ,Are You Leaving For The Country". Außerdem erweiterte sie ihr übliches Repertoire und fügte R&B-Hits wie ,When a Man Loves a Woman" und ,How Sweet It Is" hinzu. Im Gegensatz zu ihrer vorherigen LP bot Daltons neue Aufnahme vollere, poporientiertere Arrangements, an denen eine ganze Reihe talentierter Studiomusiker mitwirkte. Auch wenn das Publikum der 70er Jahre vielleicht noch nicht bereit für Daltons Musik war, stand eine neue Generation kurz davor, ihr Werk zu entdecken. In den Jahrzehnten nach ihrem Tod nannten viele Künstler Karen Dalton als Einfluss, darunter Lucinda Williams, Joanna Newsom, Nick Cave, Angel Olsen, Devendra Banhart, Sharon Van Etten, Courtney Barnett und Adele. In dem kürzlich gefeierten Dokumentarfilm ,Karen Dalton: In My Own Time" sinniert Cave über Daltons einzigartige Anziehungskraft: ,Es wird eine Art Anspruch an den Zuhörer gestellt", erklärt er. Ob man es mag oder nicht, man muss in ihre Welt eintauchen. Und es ist eine Welt voller Verzweiflung. Peter Walker, der ebenfalls im Film zu sehen ist, führt diesen Gedanken weiter aus: ,Wenn sie in ihrer Musik ein bestimmtes Gefühl empfinden und es so rüberbringen kann, dass man dieses Gefühl auch spürt, dann ist das wirklich das Magischste, was man tun kann." Er fügt hinzu: ,Sie hatte eine tiefe, tiefgründige und liebevolle Seele - das hört man in ihrer Musik."

2026 Repress

After a five-year hiatus, JKS makes a triumphant return to the iconic French label Molekul with a highly anticipated solo EP. Leading the release is the standout track, The Cult, a testament to JKSs evolution while staying true to the essence of his sound.

Built for the club, The Cult channels an undeniable sense of power through its driving rhythms and immersive energy. The tracks tribal undertones create an
almost ritualistic atmosphere, pulling dancers into its pulsating core. With expertly layered textures and a commanding structure, The Cult keeps the momentum
unrelenting from start to finish.

True to his roots, The Cult brings a distinct old-school vibe, laced with a plurality of influences that have defined his sound since the beginning. Its a journey through raw rhythm and immersive layers, a bridge between past and present, aimed squarely at making people move.

2026 Repress

Macedonia's own Stojche is Fuse's next guest for the club's freshly made imprint. The long standing DJ and producer has been known to keep Detroit's playfully hybrid style as the focus of his work and 'Metaphor' is the case in point. His four tracks bounce through a nostalgic balance of techno, house, and more with a modern crisp. A refreshing take on club music, Stojche keeps techno's sometimes nonchalant attitude at arms length with a charismatic record that hits its mark with every measure.


The record's first track 'Counterpunch' features heavily lined percussion but still brews up a storm far and wide with resonant dub stabs and open hi hats. The drum machine boasts a full spectrum, rolling through a light show of melodic flashes, perfect for a room compressing soundsystem. The maximalist, vintage detail that Stojche brings to his compositions blurs the lines between classic genres in a time of hasty hybridization, which gives it a sort of authenticity that can't be taken for granted. 'Chordal Tribe', on the other hand, raises the general euphoria of the EP. Luring in the listener with bright pads and full-on drums, Stochje's work is reliable main slot material that adds color to any mix while providing a persuasive low end. Shimmering hi hats give it an ethereal quality making it an appropriate interlude for almost any context. Moving on to the B side, the producer sharpens up his rhythm and emphasizes the hardgroove influence in 'Signal Drive'. Softening the pace of his drums with free use of melodic chord stabs, Stojche opens up his dance floor for a crowd bonding record once again, complete with filter transitions and pummeling toms. As the final contribution, his title track 'Metaphor' begins with a more obscure opening to conclude his EP for Fuse. Leaning more to a techno cut, the record remains flamboyant as ever with open hats and rides shuffling through his arrangement. A muted main synth becomes apparent to focus the energy of the track while allowing for liveset-like drum flickering to take shape beneath, claiming the immortality of old club records with the technical precision of a seasoned modern producer.

Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.

Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.

The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."

Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.

Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."

The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."

Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.

To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.

This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.

Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.

Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.

The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."

Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.

Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."

The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."

Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.

To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.

This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.

Private Mexican lounge that still burns long after the cruise ship disembarks. Armed with a single nylon string guitar , a toy chest of rudimentary percussion, and the emotional microtones of the Spanish tongue, Alejandro Bravo’s lone LP blends bossanova, samba, and the Brill Building into a horny margarita for the tourist class. Recorded at home in Acapulco in 1971, Bravo’s self-released LP slaps and thrills with its taps and trills. Pair with a pregnancy test for best results.

Lucio M makes his label debut with this brilliant 4 slicer of modern day atmospheric drum & bass. Pulling from the scene's learning tree while also adding to it. A Flicker Of Light channels the golden era of atmospherics DNA with authenticity and fervor.

,Manifold of Partially Actualized Realities" ist das neue Album bei Kou Records von Randall Dunn - Produzent, Komponist und einer der markantesten Gestalter von Low-End- und räumlichen Klängen in der zeitgenössischen Musik, bekannt für seine Arbeit mit Sunn O))), Oneohtrix Point Never, David Torn und unzähligen anderen aus den Bereichen Heavy-, Experimental- und Avantgarde-Musik. Das Album ist eine Meditation über zerbrochene Realitäten, Zeit und Sterblichkeit - ein Spiegel, der sich auf sich selbst zurückfaltet und darüber, wie zukünftige Ereignisse die Vergangenheit beeinflussen. Sein tragender Geist ist Philip K. Dicks ,Pink Light Experience" von 1974, in der der Autor berichtete, eine Übertragung von einer gewaltigen, außerirdischen Intelligenz empfangen zu haben: informationsreich, uralt und überwältigend. Dunn nähert sich dem sowohl als Konzept als auch als kompositorische Logik - Musik, die in Schichten auftaucht, zusammenbricht, sich neu formiert und sich einer Auflösung verweigert.? In vier Stücken setzt Dunn ein ganzes Arsenal an Vintage-Synthesizern ein - Korg MonoPoly, Korg MS-20, PPG Wave, CS-80, Juno-60, Waldorf Strings, Fizmo - neben einer außergewöhnlichen Ensemblebesetzung. Spoken-Word-Beiträge von Jim Jarmusch (basierend auf PKDs Prosa) und Laima Leyton (basierend auf Robert Graves' ,Time") verankern zwei der vier Stücke in Sprache, ohne sie zu erklären. Das Album bewegt sich von orchestraler Kammermusik über elektroakustische Abstraktion hin zu einem abschließenden Stück - ,Ayn" -, das sich zu ekstatischem Jazz entfaltet, mit Cyro Baptista, Briggan Krauss, Henry Fraser, Charmaine Lee und Robert Aiki Aubrey Lowe. Wahre elektroakustische Komposition im vollsten Sinne: spektral, körperlich und weit offen. Produziert und gemischt von Randall Dunn bei Circular Ruin, April 2026. Aufgenommen und gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Lackschnitt von Paul Gold bei Salt Mastering. Cover- und Rückseitengestaltung von Steve Rude.

,Ma Waraa Al-Shaabi" - ,Beyond Shaabi" - ist das neue Album bei Kou Records von Rizan Said, dem legendären kurdisch-syrischen Keyboard-Virtuosen aus Ras Al Ain in der Region Jazeera im Nordosten Syriens und dem wichtigsten musikalischen Kopf hinter Omar Souleyman. Rizan Said ist ein musikalischer Botschafter aus einem verschwundenen Syrien. Es war einmal vor nicht allzu langer Zeit, als die Jazeera - ein kulturell reiches Grenzgebiet kurdischer, arabischer, syrischer und armenischer Gemeinschaften - von einer unverwechselbaren musikalischen Tradition geprägt war: Handtrommeln und Rohrflöten, Hochzeiten, die tagelang dauerten, Dabke, die schon seit Jahrhunderten getanzt wurde, lange bevor Electro, Disco oder Orientalismus auftauchten, um ihr einen Namen zu geben. Rizan war das Wunderkind dieser Szene, ein Ausnahmetalent an Percussion- und Rohrblattinstrumenten, das zum Meister der Synthese in der Region wurde - er programmierte Korgs so, dass sie Zurna, Saz, Tanbura und Buzuq nachahmten, und vereinte die traditionelle Instrumentierung in einem einzigen Paar Hände, das sich blitzschnell bewegte.? Dies ist sein drittes Soloalbum nach ,King of Keyboard" (Annihaya, 2015) und ,Saz U Dilan" (Akuphone, 2019) - und sein bisher weitreichendstes. Aufgenommen im Sundlaugin Studio von Sigur Rós Sundlaugin Studio in Island aufgenommen und von Randall Dunn produziert, in Koproduktion mit Mark Gergis (Syrian Cassette Archives), führt ,Ma Waraa Al-Shaabi" syrische und kurdische Dabke in unbekanntes Klanggebiet: sieben Stücke, die die Hitze und Geschwindigkeit der Kassetten-Szene in etwas Weites, Fremdes und Lebendigeres als je zuvor übertragen.? Aufgenommen im Sundlaugin Studio, Island, im Mai 2026. Produziert und gemischt von Randall Dunn. Koproduziert von Mark Gergis. Zusätzliche Produktion: Ulfur Hansson. Gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Lackschnitt von Paul Gold bei Salt Mastering. Cover-Artwork von Rebeka Arce; Porträt auf der Rückseite von Randy Ortiz.

Limited repress of mu tate's sought after LP on soft lilac vinyl!

Utter (in collaboration with 3XL) presents mu tate's second album 'they're with you always', featuring Joshua Inyang (Space Afrika), Nikolay Kozlov, Desirèe Monique, Igor Dyachenko and Mathilde.

Housed in a high-gloss sleeve artworked by Lucas Dupuy and Art Crime. Mastered by Ike Zwanikken then transferred and cut by Anne Taegert at D&M.

they're with you always
inspired by a true story

,The Long Ear" ist das Debütalbum von Noh Age _ Charmaine Lee (Parabolmikrofon, Feedback, Gesang), John McCowen (Kontrabassklarinette, Bb- Klarinette, Blockflöte) und Li-Chin Li (Sheng) bei Kou Records - live aufgenommen über drei Tage bei Brooklyn Recording im März 2026 live aufgenommen und von Randall Dunn (Sunn O))), Oneohtrix Point Never) produziert. Das Parabolmikrofon hat seine eigene Geschichte: ein Überwachungsinstrument aus dem Kalten Krieg , das dafür konzipiert war, aus der Ferne zu lauschen, um das zu orten und zu verstärken, was sonst unhörbar bleiben würde. Hier ist es nach innen gerichtet - nicht auf einen Feind, sondern auf den Klang selbst, der durch vier Vintage-Röhrenverstärker geleitet wird. Die Parabolantenne spürt Resonanzen auf, die durch den Raum übertragen werden, und stellt sich auf Frequenzen ein, die von Kontrabassklarinette, Sheng und Gesang erzeugt werden, bis sich eine Rückkopplung entlädt - ein vierter Interpreter mit eigener, unvorhersehbarer Wirkmacht. Das Ergebnis ist spektrale Musik in ihrer viszeralsten Form - verwurzelt in der Tradition von Gérard Grisey, Kaija Saariaho und Iancu Dumitrescu, doch herkommend von der Überwachungsstelle, dem Abhörposten, der Abhörleitung. In sechs Stücken, die auf kompositorischen Rahmenwerken aus zellulären Automaten und grafischen Partituren basieren, bewegt sich das Trio zwischen extremen Registerbereichen - CBC-Grundtöne gegen dichte Sheng-Cluster-Klänge , die kristallklaren Obertöne von Blockflöte und Mini-Sheng - während das Feedback durch all das wandert, sich verdichtet, auslöscht, wiederkehrt. Cover- und Rückseitengestaltung von Shintaro Kago - einem in Tokio ansässigen Manga-Künstler und Pionier der ,Ero-Guro"-Tradition, der international für seine Arbeit an Flying Lotus' ,You're Dead!" (Warp, 2014) bekannt ist. Aufgenommen, gemischt und produziert von Randall Dunn. Zusätzliche Synthesizer und Sounddesign von Randall Dunn. Gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Schablonenschnitt von Paul Gold bei Salt Mastering.

LP with insert

In the artist’s own words:

"Thank Goodness brings together an overdubbed ‘chamber band’ of bass guitar, viola, piano, harpsichord, voice and drums. Made on my own in London and Ireland between 2023-26 as a slow channelling inward of a lot of social energy.”

Seán Being is a committed figure at the sharp edges of Irish music, including being the key instigator of the band Princ€ss, touring bass player with Maria Somerville, and a long-time affiliate of Dublin label wherethetimegoes. Their various collaborations include contributions to live and recorded projects with the likes of Spellcaster, Nashpaints, Florian TM Zeizig, Jennifer Moore, Olan Monk, Dylan Kerr, Asa Nisi Masa, Life is Beautiful, Polido, Adriana João and Usof.
Not always in the business of ‘popular music’, Seán also has Gregorian Chant and car horn performances in their repertoire.

Aspects of all of this activity have made their way, directly or otherwise, into this first full-length album.

The music on ‘Remanens’ is the result of a commission by Art Cinema OFF off and B.A.A.D.M to score the short silent film ‘Positano’ made by french actor and filmmaker Pierre Clémenti in 1969. The film itself is an ever-shifting series of glimpses, without much context, of a family vacation to the island Positano. The short cuts are similar to a dream or obscured, residual memories where chronology has fallen apart.

The score was reworked into album format on ‘Remanens’, the title being the Swedish word for remanence. The word has several meanings, most commonly residual magnetism left behind in a material. It is consequently used when referring to residue on magnetic tape, as well as data remanence, which is the residual digital data that remains even after attempts have been made to erase a hard drive. The music was reworked with remnant traces of memory in mind, of the film, but also of how glimpses of memories from another life, when the future was undecided, can make a person feel – and how it can unveil one’s own traces of what the future felt like.

Linus Hillborg (b. 1989) is a Swedish composer, musician and multidisciplinary artist based in Stockholm. His diverse creative practice spans experimental music across both electronic and acoustic realms, as well as compositions for film, theatre, and interactive installations. In 2021 he released his acclaimed solo-debut 'Magelungsverket' through Moloton, derived from the installation 'Orphan Works' which he built with an obsolete computer game engine. In 2023 he released 'Four Works' through Kali Malone and Maria W Horn’s label XKatedral, which featured a series of instrumental works by himself and Theodor Kentros.

On November 6th, Asthmatic Kitty Records will release Worst Christmas Ever!, a single-LP collection that distills Sufjan Stevens’ expansive holiday catalog—drawn from the box sets Songs for Christmas and Silver & Gold—into one definitive collection. The album pairs fifteen favorites, selected from more than one hundred Christmas recordings, with the newly released original song "On This Christmas (It Only Gets Better)," Sufjan's first new Christmas song in nearly fifteen years.


Available on LP, CD, and cassette, Worst Christmas Ever! is the perfect introduction for new listeners and an essential addition for longtime Sufjan Christmas devotees.
"Part of what makes Sufjan Stevens' contributions to the Christmas canon so enduring and remarkable is that they're almost overpoweringly effort-intensive. He views the holidays as a labor of love—worthy of creativity and care, hard work and an ocean of ideas."
— NPR


"9 EPs and 100 recordings later, Stevens has undoubtedly accepted his reputation as a Bing Crosby for the thirtysomething NPR listener."
— Consequence of Sound

On November 6th, Asthmatic Kitty Records will release Worst Christmas Ever!, a single-LP collection that distills Sufjan Stevens’ expansive holiday catalog—drawn from the box sets Songs for Christmas and Silver & Gold—into one definitive collection. The album pairs fifteen favorites, selected from more than one hundred Christmas recordings, with the newly released original song "On This Christmas (It Only Gets Better)," Sufjan's first new Christmas song in nearly fifteen years.


Available on LP, CD, and cassette, Worst Christmas Ever! is the perfect introduction for new listeners and an essential addition for longtime Sufjan Christmas devotees.
"Part of what makes Sufjan Stevens' contributions to the Christmas canon so enduring and remarkable is that they're almost overpoweringly effort-intensive. He views the holidays as a labor of love—worthy of creativity and care, hard work and an ocean of ideas."
— NPR


"9 EPs and 100 recordings later, Stevens has undoubtedly accepted his reputation as a Bing Crosby for the thirtysomething NPR listener."
— Consequence of Sound

Devotional and visceral, patient and euphoric, a poem, a hymnal. Shygirl calls Swallow! a reintroduction. Her 2022 debut Nymph announced an artist fluent in sonic languages: slippery club structures, toothy pop hooks, juicy production—music that invites you to come closer, pay attention, keep up. That magnetism took her from the electronic underground to the foreground of contemporary pop. She’s collaborated with producers Sega Bodega and Mura Masa, Charli xcx, Arca, SOPHIE, fka twigs, and Björk, and performed on stages across the globe. Swallow! is a new kind of rapturous indie songwriting, woven through the electronica she came from, recorded with Karma Kid and Casey MQ. It is the scripture of the cult of falling in love—radiant, clear-eyed, all-encompassing, divine transformation. “I want people to remember how big the world is even when you feel so small and singular,” she says. “Swallow! is the soundtrack to that experience. “This record is my message in a bottle. Let’s see who picks it up.”

Bondage-Music proudly welcomes back Mihai Popoviciu with his latest EP, “Pick Up The Phone.” A familiar name on the label, Popoviciu returns with another refined selection of deep, groove-driven house music, combining his trademark rolling rhythms, warm basslines and subtle atmospheric elements.
With a sound that effortlessly balances depth,­ hypnotic grooves and dancefloor energy, Mihai Popoviciu has established himself as one of the distinctive voices of contemporary house music. “Pick Up The Phone” continues this signature approach across four tracks, delivering a focused and timeless club release.
For this edition, Bondage-Music presents the EP as a Limited Splatter Edition on 180G vinyl. Adding to its collectability, two tracks are available exclusively on vinyl, making BOND12086 a special release for DJs and vinyl enthusiasts alike.

Although nearly two decades after its release the legendary album Eksel by D'Arcangelo has achieved cult status, it is worth remembering that it all started in the early 90s in Rome. The twin brothers Fabrizio and Marco D'Arcangelo sculpted this electronic IDM treasure with a minimalist arsenal of hardware and analog synthesizers, achieving a raw though sophisticated sound that immediately caught the attention of Aphex Twin & Grant Wilson Claridge, Rephlex record label heads themselves.

While in 1993 and 1994 a large part of the European scene was carried away by the faster, more commercial rhythms of hardcore or eurodance, the D'Arcangelo brothers preferred to look toward the mental landscapes and abstract textures coming out of Detroit and Warp Records. By fusing the machine-like coldness of electro with melancholic melodies and complex rhythm structures, the Italian duo became one of the undisputed pioneers of braindance music in Mediterranean Europe.

Looking back, Eksel—released on Rephlex in 2007—stood as a challenge to the listening habits of its time. Positioned between mental experimentation and dancefloor functionality, the album moves effortlessly between hypnotic club contexts and intimate, detail-rich home listening. Now twenty years later, its legacy continues to resonate among collectors and lovers of analog sound. Eksel stands as proof that electronic innovation extended far beyond the major hubs of London or Berlin, strengthening the dialogue between British IDM and the Italian school, and establishing D'Arcangelo as architects of a distinctive sound.

Marco D'Arcangelo looks back on the album's origins with characteristic wit: "Eksel was conceived to celebrate our 40th Birthday. At Rephlex, they thought we should include a Roman attribute, just to remind people of our so-called 'ancestry'—which isn't really anything, but being born in Rome did sound cool. The XL in Roman numerals is 40, spelled 'Eksel'. And funnily enough, this year we are turning 60 (oh my god!), and 60 in Roman numerals is LX, spelled 'Leks'."

For this release, the partnership brings together a range of elements into a cohesive and refined sonic language. D'Arcangelo seamlessly blend leftfield electronica, avant-garde techno, and glitch, shaping a forward-thinking sound. Vintage synthesizers intertwine with crisp programmed percussion, while melodic structures interact with classic 808 rhythms. This deluxe reissue also exclusively includes RFLX1902 and Electronic Lounge, two tracks from the same era never before pressed on vinyl. The result is a warm and reflective body of work, deeply rooted in electro's legacy, yet unmistakably oriented toward the future.

,Smoking the Bunny" ist das zweite Album einer geplanten Trilogie von Wilder Maker und verbindet Avant-Pop, Indie-Rock, Free Jazz und Ambient zu einem vielschichtigen, nächtlichen Klangbild. Bandleader Gabriel Birnbaum setzt auf experimentelle Kompositionen, die aus improvisierten Bandsessions entstanden und anschließend kreativ neu zusammengesetzt wurden. Die 17 Songs begleiten eine Figur durch eine Nacht voller Erinnerungen, Selbstreflexion und Rauschzustände. Inhaltlich kreist das Album um Themen wie Familie, Identität, Vergänglichkeit und das Älterwerden. Mit zahlreichen Gastmusikern und einem atmosphärischen, genreübergreifenden Sound präsentiert sich ,Smoking the Bunny" als ambitioniertes und emotionales Werk, das 2027 mit dem dritten Teil der Trilogie seinen Abschluss finden soll.

,Settle Down City" war 2006 das Debütalbum von Young Widows und markierte den Neubeginn der Musiker nach dem Ende der Hardcore-Band Breather Resist. Die Gruppe aus Louisville entwickelte darauf ihren charakteristischen Stil aus Post-Hardcore, Noise Rock und düsterem Post-Punk, geprägt von schweren, basslastigen Grooves, kantigen Gitarren und einer intensiven, oft beklemmenden Atmosphäre. Einflüsse von Bands wie Fugazi, Hoover, The Jesus Lizard und den Melvins sind deutlich hörbar, werden jedoch zu einem eigenständigen Sound verarbeitet. Im Zentrum stehen das kreative Gitarrenspiel von Sänger Evan Patterson sowie das kraftvolle Zusammenspiel der Rhythmussektion mit Nick Thieneman und dem damaligen Schlagzeuger Geoff Paton. Die Songs verbinden rohe Energie mit ungewöhnlichen Songstrukturen und legten den Grundstein für die spätere Entwicklung der Band zu einer der wichtigsten Noise-Rock-Formationen ihrer Generation. Zum 20-jährigen Jubiläum erscheint ,Settle Down City - Anniversary Edition" in einer umfassend überarbeiteten Fassung. Das Album wurde von James Plotkin neu remastert, mit restauriertem Original-Artwork versehen und um den bislang unveröffentlichten Bonus-Track ,White Water" erweitert, der bereits während der ursprünglichen Aufnahmesessions entstand. Die limitierte Neuauflage auf opak-gelbem Vinyl bietet damit die definitive Version eines Albums, das den Beginn der inzwischen zwei Jahrzehnte andauernden Karriere von Young Widows dokumentiert.

,Every Martyr Is A Universe" ist das Constellation-Debüt des palästinensisch-kanadischen Gitarristen, Komponisten und Community-Organisators Bilal Nasser. Das Album entstand während der studentischen Protestbewegungen gegen den Krieg in Gaza und setzt sich mit der Frage auseinander, welche Bedeutung Kunst in Zeiten von Gewalt, Verlust und politischer Krise haben kann. Daraus entwickelt Nasser eine musikalische Reflexion über Trauer, Solidarität, Erinnerung und Widerstand. Bekannt für seine Verbindung von klassischer Gitarre, Folk-Traditionen und zeitgenössischen Einflüssen erweitert Nasser auf diesem Album seinen bisherigen Solosound erstmals um ein größeres Ensemble. Gemeinsam mit neun Musikerinnen und Musikern aus seinem kreativen Umfeld in Windsor, Ontario, schuf er vielschichtige Arrangements für Streicher, Bläser, Elektronik und Gitarren, die dem Album eine orchestrale und zugleich intime Atmosphäre verleihen. Das Ergebnis ist ein tiefgründiges, emotionales und ambitioniertes Werk, das klassische Komposition, Folk, Post-Rock und experimentelle Klänge miteinander verbindet. ,Every Martyr Is A Universe" ist zugleich persönliches Statement und kollektiver Ausdruck von Erinnerung, Hoffnung und Widerstandskraft.

“I am not sure which of us it is that's writing this page” - Jorge Luis Borges. There are places where a river runs through the story even when you cannot see it. Austin Cash grew up in the Arkansas Delta, and Nathan Smerage in the Chicago suburbs, their paths crossing years later in Fayetteville, Arkansas, where both became members of the Ozark Free Music Society, a loose congregation of musicians who made free and experimental music in non-traditional venues across the city. ‘River Season’ began as an impulsive text sent to Smerage in the summer of 2024, Cash suggesting they should make an album of guitar duets. Calling his bluff, Smerage returned a folder of recordings within a week. Cash had a handful of pieces of his own, originally written for an unreleased film about an Ozarks ceramicist. The songs began traveling back and forth between them by email, however, after opening for the Magic Tuber String Band and playing the compositions live for the first time together, realised the decision to record them live was the only true option. For four days, in the basement apartment where Cash lived, they recorded River Season live. The result is a meticulously composed collection of steel-string guitar music: part folk record, part road map.

Fahey and Ackerman are somewhere in the distance, alongside Bert Jansch, Nick Drake, Marisa Anderson, Nathan Salsburg, Loren Connors, and others. But River Season belongs to neither Arkansas nor Chicago entirely. Cash grew up in Arkansas before moving to Chicago, whereas Smerage grew up in Illinois before moving to Arkansas. River Season catches the two musicians at an intersection in their paths; it belongs to the stretches of road and rivers between them, real and imagined. "This new collaboration between Austin and Nathan is intimate and tonally diverse. Many of the tracks see Austin playing acoustic and Nathan on electric. The statements are succinct (all but two clock in under four minutes) and idiosyncratic. "Bell Harp" and "Painting Friend" are two stand out examples for me in which the textures of the electric/acoustic pairing play off each other in a way that I can't say I have encountered before." -Evan Morgan (Magic Tuber Stringband)

Lower the drawbridge, raise the gates. Texas-based composer Graham Reynolds (A Scanner Darkly, Before Midnight, Hit Man) returns to the world of The Portcullis with a brand-new LP of music. This deluxe edition brings together the original album and The Portcullis Expansion Pack across two LPs, housed in a die-cut slipcase.


Following the original album’s release in May 2026, the Expansion Pack ventures deeper into a medieval world of knights and merchants, almoners and thieves. Percussive medieval textures, fretted guitars, brass fanfares, atmospheric strings and piano reshape dungeon synth into something vividly Reynolds’ own: an imagined soundtrack steeped in folklore, fantasy and adventure.


What began as an investigation into Reynolds’ family lineage, tracing his name back to Launceston Castle, has grown into a world extending beyond the record.



Released via Fire Records as part of the Weird Walk Record Cult, the deluxe edition arrives alongside an expanded dice game and a special Portcullis porter created with Skipton Brewing Company.


“One of the most unique and addictive albums of 2026 so far” - Loud and Quiet


“Of all the RPG-infused dungeon synth, medieval ambient records released this year, Graham Reynolds’ will be the finest.” - Loud And Quiet


“Ominous, stark environment that rumbles with sounds evocative of the natural world, in both its beauty and despair” - The New York Times


“A work of great scope, subtlety, and powerful suggestion. (…) Prepare yourself for an immersive experience, full of color and personality.” - Time Out


“Quite extraordinary” - ---- Uncut

alex albrecht returns to mule musiq with his second release for the label, following his 2022 ep “a clearing.” while “a clearing” explored a more delicate and slow-moving side of his sound, this new four-track ep finds albrecht moving deeper into the rhythm. warm, organic textures, subtle melodies and hypnotic grooves come together to create a sound that feels both deeply electronic and strangely natural.
“in service” opens the record with a driving, spacious groove, gradually revealing layers of melodic detail. the title track, “in the turpid heat of the afternoon,” follows with a deeper and more hypnotic ap-proach, balancing a steady pulse with hazy, atmospheric textures.
on the b-side, “shutter encoder” pushes the rhythmic element further, with a restless, intricate groove and a more kinetic energy. “folding & unfolding” then brings the ep to a more spacious and reflective conclusion, slowing the pace while retaining the subtle movement that runs throughout the record.
across all four tracks, alex albrecht finds a beautiful balance between club music and more contempla-tive listening. it is a natural continuation of his relationship with mule musiq, but also a clear step for-ward from “a clearing” — deeper, more rhythmic and quietly psychedelic.

welcome back, alex albrecht.

DJ Support: Louie Vega, Terry Hunter, Kenny Dope, Jazzy Jeff, Natasha Diggs, Wayne Williams & More

Broken at the Chosen Few Picnic in Chicago by Terry Hunter, where 40,000 people were singing along to it, after which the label received dozens of requests from a who’s who of DJ’s asking for a copy.

It’s since become one of the biggest tracks around played from Chicago to Ibiza.

Grab your copy now, Limited Pressing act fast!

Alek Lee and vocalist Margeeah come together for a boutique 7″ pressing limited to 200 copies, featuring two tracks blending soul, reggae, disco and dub. Lee, whose catalogue includes releases on Antinote and Isle of Jura, brings his background in slower, dub oriented productions to a collaboration built around Margeeah’s vocals and live instrumentation. The sound sits somewhere between Massive Attack’s Blue Lines and Grace Jones.

Margeeah comes from the Israelite community, whose musical history includes The Soul Messengers. Her debut album, Looking for Love, was recorded in 1983 with Kingdom Sounds, originally issued as a private press LP and reissued by Frederiksberg Records in 2025. Its musicians included Abshalom Ben Shlomo, associated with Sun Ra. Her vocal style spans soul, jazz, funk and reggae, with reference points including Roberta Flack and Doug & Jean Carn.

For this release, Lee records his own live drums and percussion for the first time, alongside his signature smoky melodica lines. The production develops the reggae elements of Margeeah’s singing, combining bass driven arrangements with live rhythms, spacious guitar lines and dubby approach.

On the A side, “The Music Inside”, Margeeah effortlessly projects Lee’s lyrics about optimism and the desire for inner and outer freedom. Built around a recurring vocal refrain, the track places her voice over a rooted reggae arrangement.

The B side, “Can You Feel It?”, moves seductively towards a slower disc-dub sound. Bass and drums provide the foundation, with the percussion developing from a restrained groove into a fuller live kit arrangement. Melodica and guitar weave around Margeeah’s lead vocal and the hypnotizing title phrase.

Initially recorded in 1996 and officially released February 1997, 2nd Family's Killaz from the Blackside tape is one of the most distinctive examples of unpolished, stripped-back & paranoid mid-90s Memphis rap. Recorded by King JC together with 2nd Family MCs Pistol Grip & Killa Chrome in a home-studio set up at the group's base in Southern Hills Apartments in Whitehaven, South Memphis (known locally as Blackhaven or the Blackside, a short trip from Graceland) the sparse, brooding and somewhat introspective production sets the record apart from the more raucous, overdriven precedent of the period. Pressed on vinyl for the first time via Death Is Not The End in an edition of 300 copies.

In August 2022, Australia-based, French born fourth-world music legend Ariel Kalma was invited to participate in BBC Radio 3"s Late Junction series of special collaborations. The program pairs artists that have not previously collaborated to create new music together. Kalma was quick to suggest working together with two musicians whom he has never met - the International Anthem recording artists Jeremiah Chiu & Marta Sofia Honer, whose critically-acclaimed duo debut Recordings from the Âland Islands had been released just a few months earlier. Kalma sent an invitation to Chiu and Honer, which was received with great enthusiasm. Chiu had been a fan of Kalma"s work for a long time, even citing him as a major influence on his approach to electronic music composition. After meeting their goal of 20 minutes worth of music for the program (which was four pieces total), the three musicians were satisfied in what they would present, and sent along their work to the producers of Late Junction; but simultaneously they felt like there was much more to be said, more work to be done. There were several pieces that they had nearly completed that weren"t sent for inclusion in the radio program, and there were many ideas for refining those that had. The three musicians collectively agreed that they would continue work together and try to push the music further. The Closest Thing to Silence is the result of their efforts to take the collaboration further.

Taylor Ashton kehrt mit Charades" zurück, seinem dritten Solo-Album, das am 6. November 2026 bei Birthday Cake Records erscheint. Produziert und mitgeschrieben von Benjamin Lazar Davis (Cuddle Magic, Okkervil River, Maya Hawke), abgemischt von Jacob Blumberg und gemastert von Philip Shaw Bova, bettet das Album Ashtons warmen Bariton und sein einfallsreiches Clawhammer-Banjo in kantigen experimentellen Pop und klassische Harmonien ein: atmosphärische Kurzgeschichten über Treue, Freundschaft, Schicksal und Selbsttäuschung. Die Gästeliste liest sich wie ein Gipfeltreffen der Brooklyn-Folk-Szene: Maya Hawke, Theo Katzman (Vulfpeck), Aoife O'Donovan und Ashtons Frau Rachael Price (Lake Street Dive) singen alle auf dem Album mit. "Ich habe Taylor Ashtons Stimme als sehr ehrlich erlebt wie Balsam, ganz ohne Künstlichkeit", sagt Leslie Feist.

Following their self-proclaimed LP trilogy (2020-2024), Straw Man Army returns with a new songwriting experiment in the form of True North; a collection of 11 songs written for acoustic instruments over three 72 hour sessions at a cabin, isolated in the woods north of NYC. The result is a concept album in practice as opposed to subject alone. Attuned to both the spiritual and political dimensions of seeking refuge in our times, it asks what exactly we mean by “peace” in this era of increasing violence, incarceration, and skepticism towards a future worth living. Does it feel like relaxation, does it tend towards silence? Is it the cooling of our collective rage? Not here. On True North, peace is a spiritual contradiction; a chimera incorporating our innermost desires and the brutality of the world that surrounds us. The album’s central character is a “sleepwalker” trudging through the waking nightmares that have defined daily life since the release of 2024’s Earthworks. Because True North is music that dreams. Sonically, the band toys with the aesthetics of psychedelia, folk, and kosmiche music for contrast, creating a still pool into which their deepest anxieties ripple and flow and flower into ever darker shapes. And while the musical palette plays on tropes of peace—lush piano instrumentals, fingerpicking guitars, gong, vocal harmony—the subject remains steeped in environmental collapse, death, mental breakdown, and the rejection of our most closely held myths. The clash of these forces is the engine that turns the musical wheel. True North is the sound of music mourning a future that never took place and a bout of anticipatory grief for something that’s only just begun…

An acclaimed international cast of forward-looking artists – Jan Jelinek, KMRU, Lia Kohl, J. Albert, Laurie Torres, Jefre Cantu-Ledesma, Giuseppe Lelasi, Jung DJ and Smoke Point – remixes/remodels tracks from Arp’s transfixing late 2025 album Drifts for Barcelona-imprint Modern Obscure Music (Actress/ Sakamoto, Merzbow). Reflecting Arp’s stylistically-omnivorous approach, each remixer on Echo–Variations represents a unique corner of the music landscape, from the jazzy ambient glitch of storied German producer Jan Jelinek to the overdrivendrone landscapes of Kenyan ambient auteur KMRU to Smoke Point’s no frills club-tool to the haunted ambience of cellist Lia Kohl’s gorgeous electro-acoustic work. One can hear elements of hauntology, post-rock, minimal techno, glitch, spiritual jazz at play. Arp adds a few alternate mixes and two new tracks for good measure, ambient techno floater “Chlorophyll (1998 Mix)” and perhaps the most surprising of all, the dub techno heater “MMXXVI (Dub Mix).” Heart all together, its classic sounding heart RIYL Touch, Millie Plateaux: Creative,meditative, brain cleansing, thought provoking hauntological futurism.

Jozef Van Wissem and Jim Jarmusch’s Bocca di Lupo and Mouth of the Wolf were recorded in July 2025 in Bologna, Italy. The recording sessions took place just after several live dates in New York and Chicago, and a week before they began a short European tour which included Paris, London, Ghent, Porto, and a first date in Bologna.

Below are notes from Jozef and Jim directly.
“With thanks to Gian Luca Farinelli and Rosanna Mordini from the extraordinary Cineteca di Bologna, we were able to secure recording days in the very cool Fonoprint Studios — located on Via Bocca di Lupo in Bologna, hence the titles of these two LPs. (“In bocca al lupo” — in the mouth of the wolf — is the Italian idiom for wishing one good luck; equivalent to “break a leg” in English.)

Bocca di Lupo starts with a new version of our own “Only Lovers Left Alive,” and “Apology” is a new version of a pre-existing piece by Jozef. All other tracks are new originals. We were honored to have guest duet vocals from the iconic Courtney Barnett on “Never Like You Said.” The lyrics of the song arrived spontaneously in a single take in the studio. It’s not directed at a specific person, but more an emotional response to several disingenuous, deceitful people — a closing of the door on their toxic behavior. And a casually recorded conversation (concerning the haunted auras of particular pieces of vintage women’s clothing) between Adriana Coppi and Veronica Mayrr (from Deux Femmes) is woven as a background into the track titled “Pour Deux Femmes.” “Black Roses” is an original poem written in Bologna, and recited from within its own musical setting. All other tracks are instrumentals.

Mouth of the Wolf, the second LP, consists of two longer, darkly ecstatic instrumental studio tracks — “In A” and “Massa Damnata.” Both were created with two electric guitars, and derived from our live performances. We consider it to be a musically separate album, and is therefore presented in its own sleeve and with its own artwork.

Our music has many inspirations — everything from our friends in Sunn O))) and Swans to Terry Riley and Morton Feldman; from Hildegard Von Bingen and WIlliam Lawes to Psychic Ills and Spacemen 3; from Les Rallizes Dénudés and NEU! to Nadja and Glenn Branca; from Ian Svenonius and Dead Skeletons to Son House and Gwenifer Raymond…from sunset to sunrise…full moon to new moon…”

a 01. Only Lovers Left Alive 4:36
b 02. Never Like You Said 5:23
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

****COVER WITH AUGMENTED REALITY**** Argentinian producer Translate synthesises states of consciousness and perceptions into his semantics of sound, creating a distinct language of mental techno through hypnotic repetition, precision and deeply immersive atmospheres. His presence in this realm extends through his label Relativity, whose latest EP brings together tracks by Mike Parker and Oscar Mulero, while his own productions have appeared on Svreca’s Semantica Records. For his DIG release, Translate shifts into a broader spectrum, revealing a side of his production that has remained unexplored until now. DIG Curated captures this moment of a new sonic expansion between his signature hypnotic journeys and a stripped-down techno sound. Expansive opens the record with Translate’s distinct mental techno, pushed into an added psychedelic dimension. With a vast and trippy sound, the track steadily fills the space, inviting the dancers to go inward and simultaneously reach out into a collective morphic field. With Discursive, the coordinates shift, introducing a very stripped-down techno side of Translate’s production and a palette rarely heard from him before. Reduced to its essential elements, the track cuts directly through the floor with a functional groove, whilst retaining the tension embedded in his sonic DNA. On the B side, Fuse accelerates with fast-moving pads, mechanical drums and swerving loops that gradually lock the body into trance. Quirky textures spiral throughout, with robotic glitches sounding like organic beings. Coefficients closes the record by pulling the listener into rich bass and expanding loops over a cold melody that guides the final journey into a cosmic unfold. Hypnotic sci-fi vocals emerge from an interplanetary future, traversing space in search of earthly traces. The record ends suspended somewhere between the transmission and unknown, like a sonic threshold. Words by Lora Mateeva Animation/Artwork - Marcin Pospiech Master - Nihad Tule Graphist - Ferdinand Prat

Warnings have a way of attracting the right people. Those who could read between the lines always found their way. On Parental Advisory, Horsemen deliver Deep Steppe's first full solo record, further strengthening the pipeline between Berlin and California with four carefully crafted cuts drawing from various shades of house music.

DJ Support: Ben Wal, Lammer, Helena Lauwaert, Kyle Starkey, Two Faced, OLLIE LISHMAN

Smoke Signals is a cornerstone release in my discography — five tracks that trace the arc of the biggest run of my career to date, from the closing weeks of his second European tour through into an Australian summer that felt like a genuine turning point for me personally. The A-side carries three of the biggest tracks from that run, road-tested in front of crowds from Europe to home soil long before they ever had a release date. The B-side turns inward, a more introspective look at his sound and the world behind it. Five tracks, one defining period of my life.

With the stunning Planes In Reverse, Sascha Funke, the Berlin-born producer and DJ, and long-time member of the Kompakt family, releases his first album in almost a decade, since 2017’s Lotos Land. It’s a welcome return for one of the most eloquent and elegant producers in electronic and dance music, someone who’s always been able to say more with less, and the ten tracks here, moving effortlessly between techno, house, minimalism, disco house, and home listening tunes, are all gorgeously sculpted miniatures. With guest appearances from partner Julienne Dessagne (Fantastic Twins), with whom Funke has also worked in Saschienne, there’s something homely and family about it, too; a family of sounds, a home of tone. There’s also something consummate about Planes In Reverse, as though Sascha Funke has perfected the album format. There’s no flab here, no excess – it plays out like a perfectly designed experience, ten tracks, coming in under fifty minutes, an album where every moment matters.

It’s full of variety, but everything has the unmistakable Funke thumbprint, one that was developed during the late ‘90s / early ‘00s minimal techno and microhouse moment, but which was always open to other ideas and other sounds, too. Planes In Reverse came together quickly for Funke: “Last winter, I had two or three new tracks, which gave me a core feeling: ‘Ah, this could be the direction of something like an album.’ Sometimes it can be very easy that you wrap it up and then it becomes something coherent and solid. This happened within two or three months; it was very fast and direct.” Everything fell into place – the ten tracks revealed themselves, the album sat together as a whole, and the final piece of the puzzle was returning home again to Kompakt, who have supported Sascha Funke from the very start, releasing his first single, “Campus”, back in 1999.

Planes In Reverse opens stealthily with “What You See”, where rhythms percolate and bass prowls while gaseous textures fill the sonic spectrum. It’s also the first appearance of Fantastic Twins on the album; here, she speaks a hypnotic mantra, a prelude to the title track, where Dessagne has a pure pop moment, her voice ecstatic and vibrant. Indeed, Planes In Reverse plays out like thesis and antithesis ending in synthesis, the tracks nestling next to each other even as they shuttle between sounds, genres, perspectives. There are some beautiful moments dropped throughout Planes In Reverse – the heavenly textures that make the title track feel so cloud-bound; the glassy and orbital tones that drop from the skies through the disco house inspired “Karat”; the clamour and clatter of hyper-edited voices shuffling through “Splitter”; or the field recordings of Sascha’s son football training session that drop “Zockers” into a different place and space, slowly giving way to a beautifully paced electro-pop mantra. “In Germany,when the kids play a computer game, or when they play football, we describe it as zocken. They’re the players, they’re the Zockers.“ Funke explains.

Planes In Reverse winds down with the beautiful “Kruso”, where ticklish, loving arpeggios careen around the room, and drift-work chords shimmer and shuttle between your ears. It’s a perfect comedown to an album that feels breathes in and out at an organic pace, nothing above 130 BPM, everything sitting together just so. Indeed, that’s the feeling you take away from Planes In Reverse; it sums up the spirit of Sascha Funke productions perfectly, while also existing beautifully as its own world dreamt unto itself. It’s Sascha Funke down to the very essence. Nothing unnecessary, nothing extraneous: Pure Funke.

Hope & Sorrow turns 20: Wax Tailor announces a limited collector's edition in Orange & Black Marbled double vinyls.


Twenty years ago, Wax Tailor released Hope & Sorrow, his second album. Following the success of Tales of the Forgotten Melodies, this new record confirmed and amplified a trajectory already well underway. Gold record certification, a world tour, an Indie Music Award in the United States, and a nomination at the Victoires de la Musique in the "Best Electronic Artist" category: Hope & Sorrow would firmly establish his singular world, blending trip-hop, finely cut samples, and cinematic arrangements, far beyond French borders.


Two decades later, Hope & Sorrow has lost none of its power. To celebrate this anniversary, Wax Tailor unveils a limited collector's edition on double gatefold vinyl, crafted both for those who have followed the album since its release and for those discovering it today.


An opportunity to revisit a pivotal record in his discography, one that played a major role in establishing Wax Tailor on the international stage.