Search:un

Mongolian folk metal band The HU return with a new album on Better Noise Music called Hun, pushing the limits of rock and taking the world along with them. Building on the international breakthroughs of The Gereg and Rumble of Thunder, the band sharpens its fusion of traditional Mongolian instrumentation and throat singing with modern active rock production. The album, which features tracks like “The Real You," “The Men,” and “Lost Soul” continues the band’s global appeal with rock fans across all borders. Hun is available as a 2LP vinyl and digipak CD.

It's now 20 years since four teenagers from Melbourne assembled under the name Harlott – chosen largely because it would look good on a black t-shirt. After a scorching debut with Origin in 2013, the band carved their path through Proliferation, Extinction and Detritus Of The Final Age, sharpening their brand of breakneck, high-tension thrash with every release. Now, after a six-year gap, Exsequiis marks the boldest leap forward in their career. Denser, harsher and more confident than ever – a razor-sharp sound picture built on world-class guitar work, relentless momentum and lyrics that cast a jaundiced eye over our bitterly divided world. The death of the gods, delivered by thrash metal artisans in the prime of their lives.

Texas trio Riley! channel the restless energy of Midwest emo into something raw, chaotic, and unmistakably their own on TO LIVE AND DIE IN THE AMERICAN SOUTH, their debut release for Pure Noise Records. Built on twinkly guitars, explosive hooks, and deeply personal songwriting, the EP captures the feeling of growing up isolated while searching for connection and belonging. Featuring guest appearances from Tades Sanville of Hot Mulligan, Eric Egan of Heart Attack Man, and Gabe Wood of Saturdays at Your Place, Riley! deliver a fearless and emotionally charged collection that positions them as one of emo’s most exciting new voices.

Jess By The Lake’s fully analog sophomore album out in September Jess By The Lake’s highly anticipated second full-length album, HUMAN, will be released on September 11th via Svart Records. Jasmin Lempinen, the former vocalist of Jess And The Ancient Ones, is now focusing on her solo career and has this to say about the upcoming album. “This album is an analog counterattack and a celebration of live band music. It’s a statement against everything that modern society seems to be churning out from every nook and cranny: disposable, soulless, plastic, mindless output meant to be swallowed without question. The album is a carefully crafted work of art from start to finish and a tribute to both its creators and its listeners. In making it, we’ve strived for the best possible performance and sound quality that we were capable of at the moment of recording. And in that moment, we truly lived and channelled all our energy into it, which we hope will also reach the listeners. It unashamedly pays homage to the past, to the traditions of rock music.” The band began working on the album in 2019, when the first songs were written, and it was recorded live on magnetic tape in the summer of 2023 at the legendary Höyrybaari in Lapinlahti, Finland. The recording was handled by Tommi Saikkonen and the band’s guitarist Sampo Leksis, who also mixed the album. The old railway company’s log warehouse resonated beautifully, and at times the tape also picked up the rumbling of a train on the tracks right behind where the band was playing. However, making the album took time due to changing life circumstances and new additions to the family. Keeping the album entirely analog has also delayed the process

Jess By The Lake’s fully analog sophomore album out in September Jess By The Lake’s highly anticipated second full-length album, HUMAN, will be released on September 11th via Svart Records. Jasmin Lempinen, the former vocalist of Jess And The Ancient Ones, is now focusing on her solo career and has this to say about the upcoming album. “This album is an analog counterattack and a celebration of live band music. It’s a statement against everything that modern society seems to be churning out from every nook and cranny: disposable, soulless, plastic, mindless output meant to be swallowed without question. The album is a carefully crafted work of art from start to finish and a tribute to both its creators and its listeners. In making it, we’ve strived for the best possible performance and sound quality that we were capable of at the moment of recording. And in that moment, we truly lived and channelled all our energy into it, which we hope will also reach the listeners. It unashamedly pays homage to the past, to the traditions of rock music.” The band began working on the album in 2019, when the first songs were written, and it was recorded live on magnetic tape in the summer of 2023 at the legendary Höyrybaari in Lapinlahti, Finland. The recording was handled by Tommi Saikkonen and the band’s guitarist Sampo Leksis, who also mixed the album. The old railway company’s log warehouse resonated beautifully, and at times the tape also picked up the rumbling of a train on the tracks right behind where the band was playing. However, making the album took time due to changing life circumstances and new additions to the family. Keeping the album entirely analog has also delayed the process

Finnish prog-psych masterpiece Harvest Time by Elonkorjuu reissued in September The original pressing of Elonkorjuu's debut album Harvest Time is among the most valuable collector’s items in Finnish rock; its average price in 2026 is over 1200 euros, and even 1500 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Harvest Time is a best kept secret for many Scandinavian Prog aficionados. Inspired by groups like Cream and Free with a more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them unique and ahead of their time. Drawing influences initially from the schools of bands like Sabbath and Colosseum but expanding them with soulful church organ and cutting guitar from bandleader Jukka Syrenius, Harvest Time is entirely worth its reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over with great vocals sung in English, which is rare for a Finnish band of this era. After the sold out 2017 and 2021 reissues by Svart and due to a constant high demand, Harvest Time will be available on wax and CD again in September. If you have a place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably Harvest Time for you!

Finnish prog-psych masterpiece Harvest Time by Elonkorjuu reissued in September The original pressing of Elonkorjuu's debut album Harvest Time is among the most valuable collector’s items in Finnish rock; its average price in 2026 is over 1200 euros, and even 1500 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Harvest Time is a best kept secret for many Scandinavian Prog aficionados. Inspired by groups like Cream and Free with a more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them unique and ahead of their time. Drawing influences initially from the schools of bands like Sabbath and Colosseum but expanding them with soulful church organ and cutting guitar from bandleader Jukka Syrenius, Harvest Time is entirely worth its reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over with great vocals sung in English, which is rare for a Finnish band of this era. After the sold out 2017 and 2021 reissues by Svart and due to a constant high demand, Harvest Time will be available on wax and CD again in September. If you have a place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably Harvest Time for you!

Friends of Jesse Malin: I Would Do It For You – Vol. 1 brings together musicians from the worlds of rock, punk, Americana, and the underground to celebrate one of modern rock's most respected songwriters. "I've been a fan of Jesse Malin for decades now so I was thrilled when Valley Lodge was asked to be a part of the tribute album,”says Dave Hill. The song originally appeared on D Generation’s 1996 album, No Lunch. "'Too Loose' has always been one of my favorites—a great and timeless rock song that we had a blast re-interpreting." Produced by Lyle Hysen, Friends of Jesse Malin: I Would Do It For You Vol 1. is the first in a two-volume series of nearly 80 songs (!) recorded by Jesse’s friends and community. Proceeds from the album will benefit Malin’s healthcare as he recovers from a paralyzing spinal stroke. Vol. 2 will feature Thurston Moore, Willie Nile, and many more. "Friends, collaborators, and artists from every corner of Jesse's world wanted to be involved," says Hysen. "The songs just kept coming. What started as a single collection quickly grew into something much bigger, encompassing almost the entire Malinverse. We're excited that this is only the first chapter." The compilation features contributions from Amanda Cross, Bebe Buell, Trapper Schoepp, Valley Lodge, Danny Sage, James Maddock, Gogol Bordello, Ursa Minor, Sami Yaffa, Prima Donna, Das Damen, Rene & Grace Mata, Dead Milkmen, Cat Popper & Sasha Dobson, Robinlee Garber, The Seashore Sharks featuring Jesse and Alexei Sanoff, Derek Cruz, Jill Fiore, Matt Madly & Co., Davey La, American Dream, Joe McGinty, Randy Schrager, Stephen Chopek, Ben Foley, and Kelley Swindall. Friends of Jesse Malin: I Would Do It For You – Vol. 1 will be available digitally, on vinyl, and as a deluxe double-CD edition. The vinyl release features twelve tracks across two sides and includes a download code for the complete digital collection, while the CD edition presents all 26 songs across two discs.

There is a pivotal scene in “August in the Water” (dir. Sōgo Ishii, 1995) where the surface of a pool turns into a stone wall. The water that gave the protagonist's life its meaning becomes a threat. As you fall through this stone wall, you appear in a set of underwater coral-reef corridors, and one of the most beautiful musical themes begins to play: Aquatic Ambience, composed by David Wise for Donkey Kong Country (1994). It's a theme that represents the weightless vibe of your new deep-sea life, where you go about your mundane errands, collecting bananas while driving on a swordfish, or, as HerzMayhem put it: "Poor monkey... always swimming, never going anywhere..."

Synthetic Water Music is the second of three compilations, following Synthetic Bird Music and timed to mappa's 10th anniversary. As with the birds, it gathers friends of the label, artists who have released with mappa or played our shows. Most of the music is new, made to measure for this compilation, much of it from Central and Eastern European hands. Birds and water mix well, so please feel invited to play them together, creating your own environments.

Where the birds were in one flock, water is dispersed across four chapters. You live your life as a droppity drop: vapour in the heavens, condensing in clouds, falling into a swamp, trickling into the deepest sea.

Tlālōcān (Cassette 1, Side A)
A place of eternal spring, of aquatic energy that nourishes everything and allows all things to bloom. Bubbly and splishy-sploshy, it is full of dripping sounds and moist caverns (“Emerald Pool” by Pauline Anna Strom), a landscape filled with living fountains (“Oh, to be a Fountain” by Eva Sajanová) and winding streams that flow through the area, forming part of its organic architecture. It is also a paradise reserved for those whose deaths were water-related, where the aquatic and terrestrial beings live in symbiosis and perspectives shift rapidly, from observing a single droplet (Shakali, Lau Nau) to dew (Feronia Wennborg & Lucy Duncombe) and on to flowing currents (Visible Cloaks) that gradually transform into river music (Ursula K. Le Guin & Todd Barton).

Nephelora (Cassette 1, Side B)
A celestial anti-gravity sound world made of evaporation, steam and the formation of clouds, as if looking at “The Sky At The Bottom of the Well” (by Natalia Beylis) or at “The Cloud That Never Rains” (by Henrique Vaz).

If a cloud never rains,
it is not a cloud at all, but a veil that parches the earth with its gaze.
It generates only its own shadow —
a looming mass of suspended longing,
a sky that hoards but never yields,
a reservoir that swallows every river and returns nothing but echoes.

The water in this world is often invisible but sometimes all the more present, as Bint Mbareh describes it: “Recently been obsessed with invisible waters because I come from a place where you have to imagine the water is there even though you cannot see a river, a sea, usually no rain, so water is in the air, the voice and the imaginal realm, drought is imagined to be negotiable.”

Žaboglach Zha-bo-glahch (Cassette 2, Side A)
A fusion of Scottish lochs and Slovak ponds: a misty, foul-smelling, swampy realm, the kind of place that swallowed Artax from The NeverEnding Story. Stagnant waters full of decay become a blooming habitat for sirens (“thereby losing the weightless delight of being swept along with it” by Adam Badí Donoval) and beings straddling the line between fauna and flora, inventing their own communication systems (“Water-lily phase” by Action Pyramid).

R'lyeh (Cassette 2, Side B)
A brooding sunken city at the bottom of the ocean. It’s a journey to get there. Let this chapter guide you, from the shore down to the depths, to the gates of an unexplored world that is inherently dark, unfathomable, and beyond the limits of human perception: starting with seasickness ("Seasick" by Nikolaienko), passing through a classic Poe-esque maelstrom ("Flurry at the Whirl-pull" by Atte Elias Kantonen), a gateway into the darkness and emptiness of the ocean floor, and finally traversing the city itself (“last waves of 2025” by Jules Reidy).
But what is pulling you to a place like this that only a few explore and even fewer leave? Maybe “the darkness that water can contain, the expanse of things we don't know and that can trigger fear instincts even as we try to rationalise them and think we are in control of the rest of nature” (“supercritical fluids” by Diane Barbé).

Dive in and surface wherever you like. Always swimming, never going anywhere. Just don’t forget to take water breaks.

P.S. Birds, then water, can you guess what comes next? Synthetic Soil Music, an elegy for insects and worms? Synthetic Glaciers, or maybe Pollinators? Which sounds would you miss the most if they disappeared? Or what if the third one never comes at all, and somebody, or something, makes Synthetic mappa Music instead. Don't you worry, with the right training data, it can all be replicated, better than the real thing.

Die Debüt-EP mit vier Songs des bayerischen Quartetts Morgan Pines, besetzt mit (ehemaligen) Mitgliedern von Point Baker, Irish Handcuffs und Worst Advice. Musikalisch bewegt sich die Band irgendwo zwischen Indie, Heartland-Rock, Country und Punk - mit eingängigen Melodien, warmen Harmonien und genau der richtigen Portion Melancholie. Wer Bands wie Limbeck, Chamberlain oder Racquet Club schätzt, sollte hier unbedingt reinhören.

The final collaboration between Eliane Radigue and Important Records is this double LP edition of Triptych. Radigue insisted that her music only be released on vinyl if the pieces would fit without being edited or cut. Triptych met those requirements leaving room for an etching on the 4th side.

Back to music after three years of silence... On the suggestion of Robert Ashley, Douglas Dunn commissioned Triptych from Eliane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall/Theatre of Nancy on February 27 1978. Recorded in the composer's studio in Paris.

After the 1974 premiere of Adnos in San Francisco, a group of French students introduced Eliane Radigue to Tibetan Buddhism. When she returned to Paris, she†began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from "the spirit of the fundamental elements, water, air, fire, earth" Eliane Radigue likes to add that this has often been useful to her in her moments of research and transitions.

This three-part composition, with its great humility and contemplative simplicity, heralded a new period of her work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos Trilogy (1980), Songs of Milarepa (1983) - with the voices of Lama Kunga Rinpoche and Robert Ashley , "Jetsun Mila"(1986), as well as the Trilogy of Death: Kyema (1988), Kailasha†(1991) and Koume†(1993).

-Manu Holterbach (translation: Maxime Guitton)

Time Heals Everything is the fifth studio album from Blu and Exile, a duo that first connected in 2007 and has spent nearly two decades refining a chemistry that continues to evolve. The ten-track LP follows 2024’s Love (the) Ominous World and leans deeper into their core strengths: soul-forward production, incisive writing, and left-field choices that feel instinctive rather than experimental.
The album opens with “Soul Unusual,” a mission statement that builds on the lineage of “Soul Provider” and “Soul Amazing,” reframed through Blu’s present-day perspective. “The word special comes to mind,” Blu explains. “This is my perspective of those songs now.” Exile adds that the record went through multiple iterations before landing in its final form. “Once I changed the beat, it really came together for me, and his words hit differently,” he says, setting the tone for a project rooted in refinement and intention.
“Crumbs” pairs Blu with Rome Streetz and ICECOLDBISHOP on a golden era-inspired backdrop, taking aim at the ‘crumbs’ people are expected to accept from corrupt systems of power. The track underscores one of the album’s central themes: clarity through experience, and the perspective that comes with time.
Time Heals Everything finds Blu and Exile honoring their foundation while continuing to push forward, proving once again that soul and risk-taking can coexist without compromise. “We took a different approach with the direction while still staying true to the culture our music has built with our fan base,” Blu says. In 2026, that culture remains alive, evolving, and resonant as ever.

With the album 'El Ritmo' Delinquent Habits mark their 30th anniversary with 11 tracks blending West Coast vibes and Latin spirit. Featuring guests like Sick Jacken and Reverie, the album celebrates resilience, culture, and community, carrying the unmistakable spirit of East L.A. worldwide and underlining the band’s timeless impact on global hip-hop and the voice of the Latino community.

2020 album from Colorado’s freewheelin’ melodist Josephine Foster. Revolving between her adopted Spain and her native American West, Josephine was stationed this spring in Nashville with maverick guitarist and comrade-in-arms Matthew Schneider. The result: ‘No Harm Done’, a spacious and enveloping love letter of an album. Eight new slow-burning songs branch forth from idiosyncratic country folk blues, sung with sibylline wit and a hint of the absurd, awash in sensually anachronic lyricism. “The Wheel of Fortune”, nearly a title track by virtue of its refrain: 'No harm will come/if there's no harm done', are words of a homebound wanderer finding refuge in healing stillness with her beloved, having 'time to kill' in the midst of 'hard times to feel at home'. All delivered with calm sagacity upon the pedestal of Mr. Schneider's pedal steel and underscored by a knowing trebled chorus in Foster's lower register. Going nowhere never felt like so righteous of a destination before. Devotion in all its permutations, spiritual to carnal, are seamlessly explored. In 'Conjugal Bliss', overtones of the 12-string and autoharp gently interplay, sounding like some unearthed Carter family wedding hymn (it bears the subversive subtitle '69' ) while 'How come, Honeycomb?' bounces low in the hips like a sultry old music hall number à la Harry Nilsson. The obliquely sapphic 'Leonine', it's unquiet harp scaling right out of ancient Lesbos, dreams of a kingless land; in 'Sure Am Devilish', a stargazer humbly confesses to a lowercase lord. 'Old Saw', the mesmeric album closer, is a medium's petition to cross the threshold and merge with the holy spirit. Josephine's enigmatic voice captured once more by frequent co-producer Andrija Tokic in his analog Bomb Shelter studio, where layers of her guitar, piano, organ entwine with Schneider's 12-string, pedal steel and electric bass to rouse a spectral yet full blooded band. The ensuing cycle of songs pulse and glow within the ruins and deep fundamental roots of American song. “Remarkable, ghostly music” The Guardian.

Tash, founding member of Tha Alkaholiks, returns with a new EP that brings his signature voice, charisma, and West Coast energy back to the forefront. Known for sharp lyricism, humor, and effortless flow, Tash delivers six tracks that connect his legacy to a fresh chapter.
The project's centerpiece is the "Attention is a Drug" remix, a stacked lineup featuring Sway Calloway, King Tee, Defari, Tha Liks, Xzibit, Will.i.am, and Q-Tip. The EP also includes a classic Wake Up Show remix, bringing in DJ Revolution, Sway and Tech, and the Likwit Crew.
Pressed on limited clear vinyl, this is a collector's release built for Tash's core audience: Tha Alkaholiks fans, 90s and underground hip-hop heads, and Fat Beats regulars who've been true fans since day one.

If you’re as obsessed with unfairly unheralded bands as we are, bringing out a proper, well-deserved official re-release to change that course is always an honor. Case in point, Jackpot Records proudly announce GANDALF’s 1969 self-titled release as one of our proudest moments. Working alongside band member Peter Sando from the original master tapes, it is time for the rest of the uninitiated to catch up with this beautifully crafted haunting psych-pop record (fans of THE LEFT BANKE, KALEIDOSCOPE, THE MILLENNIUM, and THE ZOMBIES, take note!). Recorded at Century Sound in Manhattan with Grammy-winning producer Brooks Arthur (who engineered Neil Diamond’s “Sweet Caroline” and Van Morrison’s “Brown Eyed Girl”), the production of the album was created on the spot in the studio with arrangements being thrown about and the incredibly haunted vocals being recorded directly from the band’s PA using a Binson Echorec to make this innovative sound (Pink Floyd later used the same echo unit to great effect). Add to that sitars, vibes, B3 organs, harpsichord, minor tragic guitar chords, and bass drones aplenty, and you’ve got the recipe for an album that bears listening to with eyes closed, music cranked, mind open. So get in on the beauty of this record, and as Sando says on the liner notes: “Put the needle in the groove, sit back, and take the trip with GANDALF.” Enough said.

The bleak, hard-driven third LP by the Wipers (originally released in 1983) offers Greg Sage at his most chased and breathless, lashing out with sharp staccato notes as if melody were his only defense. The 3rd LP from the PDX punks finds them tightening up their sound to create what is arguably the Wipers' definitive album statement. Kurt Cobain listed it in his top 50 albums of all time. A distant cousin of the preceding Youth of America but undoubtedly no less excellent and no less venomous, Over the Edge is a return to the easily digestible song lengths of Is This Real?; however, it all but leaves that debut in its wake. On the strength of some brave/smart radio stations that decided to play this album's "Romeo" (a propulsive horn-flecked slammer in the vein of "Youth of America"), Wipers solidified their status as a certifiable force in the American underground of the early '80s. Songs like "Messenger" and "What Is" show Greg Sage's increasing skill as a pop songwriter. Despite the fusion of punk and pop, the record hardly mirrors the bands that would later be called punk-pop. In fact, this collision of the two elements makes what followed decades later seem twee.

Recorded in Los Angeles over the course of a single day at a studio in the Eagle Rock neighborhood, Dois Desertos was produced by Mario Caldato Jr. and emerged without a predetermined plan or schedule. The project took shape during Portuguese musician João Pimenta Gomes' stay in Los Angeles with his family. During that time, through Rodrigo Amarante, João met Mario and Samantha Caldato, as well as musicians Abe Rounds (drums and percussion) and Gabe Noel (bass and cello). From those encounters, the album began to unfold organically.

Working from simple scores—some containing little more than chord progressions—the sessions left plenty of room for improvisation. Every performance was captured live, in a single take, with no overdubs. The mixing process, also carried out live by Mario Caldato Jr., followed the same philosophy: effects and level adjustments were performed in real time and printed directly to the final two-track master.

At the heart of the album's sound is the Cristal Baschet, a rare instrument played by rubbing glass rods with the hands, causing metal resonators to vibrate and produce an ethereal, resonant tone. João describes its sound as "a trace, almost like a shadow." Rather than taking the lead, the instrument serves as a textural foundation, while the bass and cello carry the melodic lines. Some of these melodies are original compositions, while others draw from traditional Portuguese fado, reimagined through an open and exploratory approach.

The album has a dreamlike atmosphere, reflecting the perspective of someone experiencing Los Angeles from the outside—not in a rush to belong, but fully receptive to the city's unique energy. Two films helped shape this imaginary landscape: Model Shop (Jacques Demy, 1969), in which the French filmmaker uses Los Angeles as a pretext to simply observe and inhabit the city, and Thom Andersen's Los Angeles Plays Itself. The result is Dois Desertos, an album that, in João's own words, "could never have been made anywhere else."

With Dois Desertos, João Pimenta Gomes invites listeners into a deeply immersive experience, revealing a more exploratory side of his artistic practice while reinforcing Amor in Sound's commitment to releasing original works that engage with the many languages of contemporary music.

2026 Repress

Jordan Fields Remix

Tokyo's EXPLORATIONS deejay crew strikes again with this unreleased disco cover version of STEVIE WONDER's classic "AS ALWAYS". With additional production by Chicago's own JORDAN FIELDS. 1-sided heavy weight green colored vinyl in paper sleeve. VERY limited like the last one!

They live! If this summer’s endless bout of heatwaves seems an odd setting for a new Altar Of Eden record, maybe we should consider that the fast-accelerating destruction of life on Earth is an appropriate setting for more deathrock. The eagle-eyed among you might recognise guitarist Ben Redman from recent lineups of symphonic noiseniks …And You Will Know Us By The Trail Of Dead, while vocalist Albert Efraim has been making a thrillingly unholy racket with Texan hardcore faves like the Creamers and Nosferatu - and they both played together in gothed-out sensations Altar Duata before that band’s untimely demise. Altar Of Eden have thus far produced two mighty LPs of smartly chilling post-punk for Drunken Sailor - 2020’s wondrous The Grotto Screams and 2022’s superb follow-up Chimeras - but now they return with a sequel to their debut: The Grotto Screams II.

In keeping with their previous offerings, it’s superb. Redman’s guitar is brittle and minimal, but lurches into eardrum-lacerating strafes of deafening, brutal noise without warning, while Jake Cloud brings driving, pulsating basslines to the fore, dripping with the influence of Killing Joke’s Youth as they hold it all together somehow. Efraim intones his lyrics solemnly over the top, drenched in reverb and tucked deep into the mix; as much a texture as a means of delivering hooks. He’s cited the poetry of Jean-Pierre Duprey and Rene Daumal as influences in the past, and tracks like The Erasure and Light And Shade certainly contain their own suffocating sense of surrealism and obfuscated reality. It all builds to the epic finale of closing track The Moon, which handles their signature tricks in moodily grandiose fashion - a bleakly compelling version of post-punk that sears and soars even as it chills the heart. Arguably Duprey’s most famous line goes, “I shouldn't have got stuck in this galaxy,” and as humanity brings about its own destruction, it’s worth suggesting that this applies to us all. But at least Altar Of Eden bring a hell of a soundtrack while we all burn.

Following international tours across Australia, Southeast Asia, China and Europe, as well as a live session for KEXP, Saigon Soul Revival return with their new album “Chốn Ta Về” (“The Place We Return To”).

Their single “Ai Thật Lòng Yêu Ai” was recently included in the permanent exhibition of the Philharmonie de Paris, underlining the band’s growing cultural impact.

Produced by Jan Hagenkötter and recorded in Ho Chi Minh City, the album blends Vietnamese musical heritage with global influences. Singer and songwriter Nguyễn Anh Minh describes it as a journey of finding one’s way back home through love, loss and self-discovery.

Building on 2024’s “Mối Lương Duyên,” the album expands its sound with traditional instruments such as the T’rung and Sáo Trúc. Guest appearances include Vietnamese multi-instrumentalist Đinh Nhật Minh and renowned jazz saxophonist Trần Mạnh Tuấn, featured on “Ơ Kìa, Em Ơi.” Longtime collaborator Nguyễn Thị Hải Phượng returns on Đàn Tranh and Đàn Bầu, while guitarist Indy Laville plays Đàn Nguyệt on selected tracks.

Tracks like “Lý Qua Dub” and “Khúc Tình Yên Vui” highlight connections between Vietnamese and regional musical traditions, while “Chachacha Ngây Thơ” reflects Latin influences long embraced in Vietnam.

Recorded and mixed fully analog at In The Box Studios in Saigon by engineer Benjamin James, the album embodies the band’s self-described style: “Global Pop” rooted in Vietnamese culture and open to the world.

The band also contributed music to the upcoming James Bond game “007 First Light” and the documentary “Y Vân: The Lost Sounds of Saigon.”

Mit „Everglow" veröffentlichen Lifespark. ihr Debütalbum - einen Longplayer, der modernen Alternative Rock und Post-Hardcore mit atmosphärischer Tiefe und internationalem Anspruch verbindet. Die Band aus Koblenz hat sich mit starken Singles und intensiver Live-Präsenz bereits europaweit einen Namen gemacht.

Für Sänger David Lukacs markiert „Everglow" einen echten Neuanfang. „Everglow eröffnet uns zum ersten Mal die Möglichkeit, unsere Vision von Lifespark auf einer deutlich größeren Skala zu leben", sagt er. Er beschreibt das Album als eine Art Lifespark 3.0: Nach den Anfangsjahren zwischen 2018 und 2022 - geprägt von Corona, Besetzungswechseln und ersten kleinen Shows - festigte sich von 2023 bis 2025 das heutige Line-up, mit erster großer Support-Tour, erster eigener Headline-Tour und der Debüt-EP. Mit den „Everglow"-Singles beginnt 2026 die nächste Stufe - mit dem klaren Ziel, Lifespark. auf die ersten großen Festivalbühnen zu bringen.

Nach Support-Shows für We Came As Romans, Our Last Night, Hands Like Houses, Escape The Fate und Rain City Drive hat sich die Band eine stetig wachsende internationale Fanbase erspielt und sich europaweit als vielversprechender Newcomer etabliert. 2026 setzen sie diesen Weg konsequent fort – unter anderem als Support für Acres auf großer Europa-Tour im Herbst 2026 mit Stopps in Großbritannien, Deutschland, Österreich und weiteren Ländern.

„Everglow" ist weit mehr als ein Debüt. Es ist das geschlossene Statement einer Band mit klarer künstlerischer Vision: Musik zu schaffen, die verbindet, Kraft spendet und lange nachhallt - und die Menschen für einen Abend zusammenbringt, ganz gleich, woher sie kommen. Zwischen Verletzlichkeit und Stärke entsteht ein Sound, der ehrlich, packend und bereit für die nächsten großen Bühnen ist.

Die A-Seite stammt von den weitgehend unbekannten Modettes – einer von George Kerr produzierten Gruppe, die über eine außergewöhnliche Leadsängerin verfügte. Die Dame lässt ihren Emotionen freien Lauf und beklagt die Unvernunft ihrer jüngsten Beziehung. Auch die Shaladons sind eine rätselhafte Formation; sie nahmen drei exzellente Songs für Larry Banks bei GWP Productions auf – noch bevor das Label überhaupt offiziell an den Start ging. Es handelt sich um eine großartige Sweet-Soul-Interpretation von Banks’ Titel „Showdown“, der bereits ein Highlight der ersten CD aus der Reihe „Dave Godin’s Deep Soul Treasures“ darstellte.

Ezra Collective's Here Because Of Hope is the most ambitious and personal record of their career - conceived as a body of work split into three spiritual and geographical movements, the album traces the movement of Black people across continents and decades, from the music of Africa to the rhythms of the Caribbean, and home to the streets of London. Formed in the youth clubs of London, Mercury Prize and BRIT Award-winners Femi Koleoso, TJ Koleoso, Joe Armon-Jones, James Mollison and Ife Ogunjobi have now spent over a decade making jazz joyful, urgent and undeniable. On Here Because Of Hope, they push that vision further than ever, asking a simple but profound question: why does so much Black music born out of pain sound so joyful? Their answer is hope: the belief, carried across generations and oceans, that something better is possible. Anchored by collaborations with Pa Salieu, Lila Iké, Leona Lewis, and reaching across the full breadth of the global African diaspora (including America, where those same African and Caribbean roots gave birth to jazz itself) Here Because Of Hope is a record of remarkable warmth, ambition and humanity, and the sound of Britain's most vital band at the peak of their powers.

Bonobo alias Simon Green returns with "Distance In Static", his new album, which will be released on September 11, 2026, by Ninja Tune.

On "Distance In Static", Bonobo collaborates with a characteristically impressive lineup of artists, including Arooj Aftab, Joy Crookes, Nilüfer Yanya, Ichiko Aoba, Nicole Miglis (Hundred Waters), and Aanya Martin. The lyrics are written in English, Urdu, and Japanese, while historical Iranian samples and guzheng recordings stand alongside Bonobo's carefully crafted instrumental sounds. These were created during recording sessions in Los Angeles, Tokyo, London, and beyond: a significant part of the album was completed at Neil Young's legendary Broken Arrow Ranch in California, where he had retreated for several weeks earlier this year.

The album's title - "Distance In Static" - aptly describes Bonobo's current situation: it evokes images of distorted transmissions and fleeting frequencies, memory fragments and glimmers of meaning that echo through more than two decades at the forefront of electronic music. He sees the traces of his work reflected in a younger generation rediscovering trip-hop, downtempo, and experimental electronic music of the 1990s from a contemporary perspective. "I think the beginning of my work is relevant to younger people today," he says. "I liked the idea of listening for a distant signal - finding something in the noise," he continues. The entire album conveys the feeling of a search for transcendence: music that hovers between intimacy and vastness, the familiar and the unknown.

Within the universe of "Distance In Static", there is also a sense that this album marks something truly monumental. It is a moment of transition, a celebration of Bonobo's 25th anniversary, but perhaps also his last album in the traditional sense: with numerous guest contributions and a multi-year world tour with a full live band.

Whatever comes next, one thing is certain: "Distance In Static" is arguably Bonobo's best album to date; as ambitious and forward-thinking as ever and a reminder of why he has influenced so many people so strongly for so long.

Prunk is taking a journey back to where it all began with 'Footprints'. Over the years, he has become known for many things: the driving force behind PIV, a tastemaker with an ear for exceptional new talent, and a respected figure shaping the future of house music. However, beyond the label, showcases, and the artist development lies the foundation of it all, which is Prunk, the artist. This album is a deeply personal statement and a return to his roots. Stripping away expectations and industry roles, 'Footprints' focuses on what has always been at the heart of his career, which is creating authentic house music driven by soul, groove, and emotion. Across the album, Prunk brings together a unique blend of established legends and the next generation of artists, bridging the past, present, and future of house music. The result is a body of work that honors the sounds and influences that shaped him while continuing to push the genre forward with a fresh perspective. 'Footprints' is a tribute to artistic identity. It reflects the path Prunk has traveled, the people who inspired him along the way, and the musical values that remain unchanged. Every track leaves a mark of who he was, who he is, and where he's headed next.

Unless you’ve been living under a rock you will have bound to have heard Prospa and Cloonee’s 2026 Summer anthem Free Your Mind which reimagines the iconic vocal from this legendary Fibre Foundation track. Featuring Sybil’s vocals originally heard on Oh, How I Love You, produced by Victor Simonelli, Prospa & Cloonee’s track introduces the beloved hook to a new generation of House music fans.

Now for the first time since it’s initial release in 1995 Free Your Mind by Fibre Foundation, one of the many aliases of New York house mainstay Victor Simonelli, is available again on the original label, Victor’s own Big Big Trax.

Driven by uplifting piano riffs, soulful vocal touches and groove-led rhythms, the track captures the essence of classic US garage house, delivering a feel-good energy that continues to resonate on modern dancefloors.

Featuring a selection of mixes including UK Mix, NJ Mix, Instrumental and Bonus Dub, the release offers strong versatility for DJs across house and garage sets, from peak-time moments to deeper transitions.

Rooted in the New York house tradition, Simonelli’s productions sit comfortably alongside artists such as Masters At Work, Todd Terry and Kenny Dope, making this a natural fit for stores supporting classic US house and garage.

Back on fresh 12" vinyl, this iconic release maintains strong appeal for both collectors and DJs looking for reliable, time-tested dancefloor material.

One of Australia’s unsung house heroes Jeremy Joshua (AKA Avon Stringer) returns in time for Summer with a brand new vinyl-only release - 4 The Heads EP. From Latin groovers to Filtered Disco & Soulful House, these 4 joints will work poolside just as much as in the club.

One of the biggest electronic tracks of 2001, "Diabla" was championed by some of the world's most influential DJs, including Pete Tong, Dave Clarke, Sven Väth, and many more. Widely regarded as a true classic and a genre-defining record, Diabla successfully bridged the gap between house and techno, earning its place as a timeless dancefloor anthem.

This fully licensed reissue arrives courtesy of Armada and the original label, Soma Quality Recordings. The package features a brand-new interpretation from Joris Voorn alongside the much-loved Heavenly Mix and Revisited versions, rounded off with the legendary remix from Kevin Saunderson.

Lars Sandberg, better known as Funk D'Void, has been at the forefront of the global electronic music scene since the mid-1990s. Beginning his DJ career at just 15 years old, Lars discovered his passion for music early in life. Raised by his mother, a professional concert pianist, he always knew music would define his future. Over the decades, Funk D'Void has built a reputation as one of electronic music's most respected DJs and producers, consistently delivering innovative productions and unforgettable sets around the world.

There is an important difference between "mature" club vibes (leather porkpie hats) and "adult" club vibes (a post-ego-death experience of the world through the eyes of an Eames chair). Extrawelt's Jamborghini EP exemplifies the latter in ways that extend beyond sophisticated wordplay*. Well beyond.

Sophisticated electro-techno hybrids occupy an incredibly dangerous space. One false move and you corner listeners into an unsolicited conversation about "gain staging." The four tracks on the vinyl EP thread the needle in thrilling fashion, and then use that needle to stab at the sweet spot between sentient cell tower admin software vibes and the kind of architecture hot people like.

And with the digital exclusives, we've once again saved you from the depths of "bonus beats" hell by supplying three tracks that are as good as anything that has ever been pressed to vinyl. If your knee-jerk reaction is to doubt this, we would simply point out you haven't even heard them yet, and here you are talking shit. Go push your hateful agenda somewhere else.

Extrawelt are fast becoming a Turbo Recordings staple, and don't think the globalist EDM cabal hasn't taken notice. Jamborghini has already received heavy DJ support from Jumpin' Josh Junior, Monoburglar, Now or Never, Tiga, Never Say Never, Rumpled Glory, Moment of Truth, and the Hamburg Chamber of Commerce.

*Our best guess is that the title is meant to evoke a Lamborghini you can have a musical "jam session" in, and not the striking metallic purple Diablo SE30 driven by Jamiroquai frontman Jay Kay in the 1996 video for "Cosmic Girl."

''Boo Williams - Galaxy House EP (Island Life Records) Island Life Records proudly welcomes Chicago house music icon Boo Williams with the Galaxy House EP, a powerful collection that bridges timeless underground house music with fresh contemporary reinterpretations. Leading the release are three original Boo Williams productions: the deep, groove-laden title track ''Galaxy House'', the soulful ''Need Yo Luv Tonite'', and the driving club workout ''House Me Up''--showcasing the unmistakable sound that has made Boo one of Chicago's most respected producers. The EP is completed by a quality selection of remixes. DJ Entropic delivers two contrasting takes on ''Need Yo Luv Tonite'' with a rave-fuelled Hardcore Mix and the darker, hypnotic Skeleton Mix, while Island Life label boss Garry Todd, under his Clouds of Kouros alias, reimagines ''Galaxy House'' with a deep, atmospheric interpretation that perfectly complements the originals. The whole EP blends authentic Chicago house heritage with forward-thinking club energy, the Galaxy House EP is another essential release from Island Life Records crew.''

Self-made producer Farron debuts on Delsin's Inertia series. Growing up in Southern Germany, Farron has a long history with electronic music, releasing under multiple aliases and for many labels. Since 2015 he launched his own Shaw Cuts imprint as his own personal playground for releasing his own music and from his likeminded peers. Over ten years later it became an essential catalogue for DJ's who are into forward-thinking broken and dub heavy techno. His 'Since Eleven' EP emphasizes this typical sound, four tracks of playful, dub driven classy techno.

Inspiration Information Is Presented In An Opaque Metalic Silver Pressing. Well before Shuggie Otis cut his debut album, musicianship and performance had long been a part of his life. The son of rhythm and blues legend Johnny Otis, Shuggie learned to play guitar as early as the age of two, and performed professionally with his father's band at eleven. Throughout his long and illustrious career he performed on records for the likes of Frank Zappa, Al Kooper, Etta James, and George Duke, to name a few. Despite only moderate success upon its initial release, Shuggie Otis' third album Inspiration Information turned into underground smash decades later and has since maintained a level of cult status normally reserved for mysterious, unearthed legends like Sixto Rodriguez or Lee Fields. Inspiration Information is also noteworthy among Shuggie's other releases, as it was entirely self-produced, as opposed to being overseen by his father Johnny Otis. Shuggie's signature blend of baroque funk is on full display, but with a heavy dosage of psychedelic soul blended in, resulting in an album that's equally swarthy, lush, funky, and emotional; gathering all the best bits of Marvin Gaye, Love, Miles Davis, and even Os Mutantes. Inspiration Information is more than worthy of all acclaim awarded to it, despite the delayed reverence. Track Listing: A1. Inspiration / Information A2. Island Letter A3. Sparkle City A4. Aht Uh Mi Hed B1. Happy House B2. Rainy Day B3. XL-30 B4. Pling! B5. Not Available

Wondrous ethereal folk songs by a reclusive pen pal of Maxine Funke, first introduced to A Colourful Storm by Funke while sharing music and ideas during her Australian tour. Ghost faced pansies. A moth coloured cat. Cauliflowers, cabbages undying. I hear the spine of the dictionary crack. Is what they call a creature who only wakes at dusk. And turning backs. My afternoon has turned pitch black. For a trace. For a shape. I wipe the steam from the window like the bloom on a grape. Ghost faced pansies. A moth coloured cat. Light of stars long since died.

Father's Children, die der schwarzen Musik ebenso treu waren wie dem schwarzen Islam, sind aus dem Dreck und Schmutz von Washington, D.C. hervorgegangen. Ihr gefühlvoller Funk-Stil fand vielleicht seine großartigste Bühne auf ihrem selbstbetitelten ,Debüt" von 1979 bei Mercury - ein Album, das den rauen Soul der Band mit einer Schicht erstickenden L.A.-Glanzes überzog, kaum Aufmerksamkeit erregte und den Anfang vom Ende für Father's Children markierte. Jahre bevor sich der Kokainstaub gelegt hatte, war bereits Material für ein weiteres Album aufgenommen worden - jene kreative Supernova, die die Gruppe schon Jahre zuvor ins nationale Bewusstsein hätte rücken sollen. ,Who's Gonna Save the World" ist diese Explosion aus dem Jahr 1973, die verfrüht konzipiert und dann erst Jahrzehnte später nach einer langen Reifezeit in der Garage von Produzent Robert Hosea Williams am Vorort-Ringstraßenrand entdeckt wurde. Bisher unveröffentlicht, ist dieses echte Debüt von Father's Children ein Werk, das sich aufrichtig mit seiner eigenen Zeit und seinem eigenen Ort auseinandersetzt und kometenartigen Funk, sonnige Gruppenharmonien, Fuzz-Gitarrensoli, schimmernde Keyboards, sprudelnde Percussion, spirituelle Prophezeiungen und Dub-Experimente vereint.