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Fabio Nobile is a drummer and multi-instrumentalist who has been active on the music scene for over 25 years. Today, his musical
exploration draws from the deep roots of Afro traditions and the expressive freedom of jazz—two musical cultures that are an integral
part of his identity.
Sankofa Soul is a musical project born from the encounter between jazz, African traditions, and the search for a profound connection
between past and present. The term “Sankofa” comes from the Akan language (spoken in Ghana) and means “to go back and fetch what
is good” —an invitation to look to the past to better understand the future.
In an era where music is evolving at a rapid pace, Sankofa Soul looks to a rich and multifaceted cultural heritage, while also embracing a
modern voice—a universal call to reconnect with our European origins through the lens of African legacy.
Each track on Sankofa Soul reflects Fabio Nobile’s experiences, studies, and roots, forming a dialogue between past and present, the
sacred and the profane, individuality and community.
Sankofa Soul is a heartfelt tribute to West Africa, with a special focus on Nigeria.
Zuma Rock leads us into the rich and ever-changing soundscape of West Africa—a space where tradition meets innovation, and rhythm
tells stories older than words. Here, the legacy of Fela Kuti’s Afrobeat pulses through every beat, anchoring the music in political fire and
deep ancestral roots. At the same time, the unmistakable horn section weaves a vibrant fusion of Afro-Funk and Jazz. In Zuma Rock, we
enter a dialogue between past and present—a musical return to the source.
And then appears Kalakuta Republic, a heartfelt homage to the self-declared commune that was home to the legendary Fela Kuti—a
reminder not to forget the rebellious spirit of the Kalakuta Republic. This track gives voice to the very essence of Afro-jazz, wrapped in a
hypnotic 12/8 rhythm that echoes ancient African traditions. Its immersive pulse blends seamlessly with jazz’s boundless expressive
freedom, creating a vibrant, compelling dialogue suspended between ancestral roots and modernity.
Landed in Lagos and I Read the Stars naturally embrace the distinctive sound of Manu Dibango, while Say Your Prayer Now reminds us
how the evolution of Jamaican reggae—and its cultural and musical foundations—remains deeply linked to Mother Africa.
This is Sankofa: the soul’s journey back to the past to move forward.

The creative visionary behind a remarkable catalogue of widely celebrated releases and two critically acclaimed albums, Monolink returns this fall with his most thought-provoking and introspective project to date. Titled The Beauty Of It All, the multi-faceted German artist's third studio album is slated for worldwide release on September 26, 2025.
Marking a bold new chapter in Monolink's artistic evolution, The Beauty Of It All will dive deep into themes of beauty, impermanence and human connection, blending his signature fusion of live instrumentation, soulful song-writing and electronic innovation. The announcement arrives on the heels of two standout singles already this year - "Mesmerized" (January) and "Powerful Play" (March) - both of which will feature on the new album. With The Beauty Of It All, he builds on the foundations laid by his first two long players, pushing his sound into new, uncharted territory while staying rooted in the organic, humanistic qualities that have defined his career. The album is poised to be his most revealing and boundary-defying release yet; a sonic statement from an artist who continues to redefine what it means to be a modern musician.

The creative visionary behind a remarkable catalogue of widely celebrated releases and two critically acclaimed albums, Monolink returns this fall with his most thought-provoking and introspective project to date. Titled The Beauty Of It All, the multi-faceted German artist's third studio album is slated for worldwide release on September 26, 2025.
Marking a bold new chapter in Monolink's artistic evolution, The Beauty Of It All will dive deep into themes of beauty, impermanence and human connection, blending his signature fusion of live instrumentation, soulful song-writing and electronic innovation. The announcement arrives on the heels of two standout singles already this year - "Mesmerized" (January) and "Powerful Play" (March) - both of which will feature on the new album. With The Beauty Of It All, he builds on the foundations laid by his first two long players, pushing his sound into new, uncharted territory while staying rooted in the organic, humanistic qualities that have defined his career. The album is poised to be his most revealing and boundary-defying release yet; a sonic statement from an artist who continues to redefine what it means to be a modern musician.

Trailblazing outlet for forward-thinking Danish Jazz, April Records proudly presents the debut from trumpeter/composer Rolf Thofte; a vivid and personal record that blends lyrical melodies, inventive rhythms, and subtle harmonic exploration. Written while Thofte adjusted to fatherhood - the album captures moments of joy, reflection, and experimentation, brought to life by a handpicked quintet of Denmark"s most exciting young jazz talents. Martha"s Dance is set for release on September 19th, 2025 via April Records. The title track is a tribute to Thofte"s three-year-old daughter - a playful, clapping, goat-hoof-stomping tune in quirky 5/4 that channels the spirit of childhood joy and spontaneity. "It"s just a fun tune to play, and I feel like it really captures Martha"s spirit," says Thofte. "This band came together at a time when I was trying to get a foothold in a new life situation as a father, so it felt perfect to make this the title track." The album moves between moods and textures with elegance: from the rich harmonic language of "Vice Versa" - inspired by Wayne Shorter"s ability to cast simple melodies in shifting harmonic light - to the understated power of "Changing Tides," a piece about imperceptible gradual changes in our lives, nature, and politics. "Bendico," written in 15 minutes as a conservatory assignment, showcases Thofte"s gift for strong melodic statements, while "Dunkelflaute" evokes melancholic Nordic greyness through sparse, emotive phrasing. From the swaggering second-line feel of "The Big 5" to the hypnotic pulse of "All...", the album explores rhythm as both a driving force and a canvas for creative interplay. Throughout, Thofte"s trumpet and flugelhorn lead the ensemble with warmth and clarity. The quintet features some of Copenhagen"s top next-generation players: Andreas Toftemark (tenor saxophone), a powerhouse improviser and composer who brings NYC-honed energy and detail to the group dynamic. Rasmus Sorensen (piano), a rising star of the European scene, known for his sensitive, exploratory playing and fearless interaction. Jakob Roland (bass) and Henrik Holst (drums) - two of Thofte"s oldest musical collaborators - round out the rhythm section with deep swing, taste, and musical empathy.

Can a self-portrait be a collage? Can empathy be autobiographical? What's the point of living if we're not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday's new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that_like many of the most arresting passages from the North Carolina band's highlight reel so far_thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record_it's also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman_founder, frontwoman, and primary lyricist_credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. "Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential `Wednesday Creek Rock' album," Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. "This is what Wednesday songs are supposed to sound like," she said. "We've devoted a lot of our lives to figuring this out_and I feel like we did." Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates _X andy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake "M.J." Lenderman (guitar) _ worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism_not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection. Every image or scene is filtered through Hartzman's agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman's specific obsessions and vulnerabilities, about the fragmented way she processes the world. Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else's.

Can a self-portrait be a collage? Can empathy be autobiographical? What's the point of living if we're not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday's new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that_like many of the most arresting passages from the North Carolina band's highlight reel so far_thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record_it's also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman_founder, frontwoman, and primary lyricist_credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. "Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential `Wednesday Creek Rock' album," Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. "This is what Wednesday songs are supposed to sound like," she said. "We've devoted a lot of our lives to figuring this out_and I feel like we did." Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates _X andy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake "M.J." Lenderman (guitar) _ worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism_not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection. Every image or scene is filtered through Hartzman's agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman's specific obsessions and vulnerabilities, about the fragmented way she processes the world. Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else's.

Impressed is partnering with Burning Rope Records & Faction Records to bring you an exclusive Australian pressing of James Vincent McMorrow's debut album - Early in the Morning, celebrating it’s 15th anniversary and his forthcoming tour.

Originally released in 2010, and recorded in isolation at a house on the Irish coast, James Vincent McMorrow produced every sound on the album himself, including piano, guitar, and drums - resulted in an album that captivated the world.

The album quickly garnered critical acclaim for its warmth and intimacy. Critics highlighted McMorrow's soft falsetto and the Americana/Folk influences present in the tracks. The opening song, If I Had a Boat, begins with a cappella harmonies before developing into a reflective ballad, illustrating the album’s understated style.

Tin Fingers takes on a darker, melancholic direction on their second full album. Felix Machtelinckx' weeping vocals, preaching, searching, and trying to understand God, form the leitmotif. With rich melodies, haunting piano sounds, improvisations, first takes and no overdubs, Tin Fingers is searching for pureness and keeping things human and simple. The band is playing together intuitively, without a computer, without ego, just for the sake of music

The creation of the album was very fluent and spontaneous. Singer Felix wrote the backbones of the songs and the lyrics on acoustic guitar and piano. He wanted to have songs ready in order to be able to record and write arrangements fast. With an eye for details but without overthinking, keeping the ideas fresh. 'I wanted to stay in love with the music.' he explains. 'It needed to go fast, very fast, in just two weeks the entire album was recorded and ready to be mixed.'

In the studio, the band especially focused on picking the right mood rather than playing the right notes.

They were fed up with working on a computer for many hours, overthinking production choices, and adding instruments on top of each other as if they were Lego blocks. This time they decided to work in a more traditional way, going for first takes, jams, and essentially working with analog gear. No computers, no screens, no distractions. Only four humans in a studio trying to make a sound together by keeping things spontaneous and raw. They said goodbye to perfection and worked towards an unfinished product, a snapshot.

Tin Fingers also didn't want to sound like any other artist on this record. They decided not to listen to music during the sessions, and to never express ideas by referencing other bands. Just before the studio session, however, bass player Simen Wouters broke the rules and shared Bonnie 'Prince' Billy's, I See Darkness. Its dark and searching sound ended up inspiring the band unmistakably.

Once the recording was finished, the band decided to keep the volatile rhythm going and asked reputable NYC-based mixer and producer D. James Goodwin to finish the job. Goodwin, known for his analog folk productions with a real American punchy sound but a tender touch, proved the right man for the job. He opened up the songs and kept things poetic, minimal but impressive.

"This is brilliant" - Gilles Peterson

Azymuth bassist Alex Malheiros doesn't remember recording this single. It's understandable—the sessions happened over forty years ago, and at the time, Malheiros, Ivan Conti and José Roberto Bertrami were backing countless MPB artists throughout the genre's golden age. As one of Brazil’s most influential groups, Azymuth's story is well known. Vocalist Luisa, however, remains something of an enigma. She recorded this, her one and only single, in 1981 for Carlos Lemos' Piramide Label.

With Luisa’s powerful yet understated vocal, Bertrami's futuristic synths and José Carlos Bigorna's brow-raising tenor sax licks, the stirring early-80s pop ballad "Romantica" should have been a radio hit. On B-side, "Lenha na Fogueira", Azymuth lock into an exceptional samba-funk groove with legendary guitarist Paulinho Guitarra. The record also features backing vocals from the lesser-known vocal group Arco Iris.

Luisa will be reissued for the first time on 7" vinyl and digital on September 5th, 2025, via Far Out Recordings.

Mutant, in partnership with Back Lot Music and Focus Features are proud to present the premiere physical release of David Holmes masterful score to Steven Soderbergh's latest thriller BLACK BAG. Ever since their first collaboration on OUT OF SIGHT, and throughout their OCEANS-trilogy, Holmes and Soderberg create an energy and verve with their productions. BLACK BAG is no outlier; percussive and inventive, and vibey throughout, this score is equal parts pulse-pounding and seductive. Playfully underscoring spy-tropes with kitchy 60's intrigue instrumentation and modern electronic sensibilities, Holmes has crafted something truly unique.

Amazing Deep! Introspective textures with rolling rhythms. Romanian producer RQZ lands on Dreams Come True with a hypnotic slice of microhouse finesse. Known for his precision-cut grooves and subtle yet infectious energy, RQZ delivers a sophisticated trip that floats between deep minimalism and understated warmth. Adding his signature touch, NTFO steps in on remix duties, twisting the original into a deeper, more dancefloor-driven interpretation - fluid, heady, and perfectly in tune with the late-night hours.

A release that connects introspective textures with rolling rhythms - made for both thoughtful listening and immersive club moments.

Seeking overlooked beauty and prizing reflection in a distracted world, Hammock creates cinematic music for the road less traveled. In stirring works of shimmering post-rock ambience that swell with hope and melancholic nostalgia, the Nashville-based duo of Marc Byrd and Andrew Thompson immerse listeners in living visions of moments long past, animating life's fond remembrances and scarring losses with gentle lens-flare harmonics, heart-surging neoclassical drama, and pensive silence. A direct challenge to the passive existence of modern life, where everything can be experienced but precious little is felt, Hammock demands, and richly rewards, patience and contemplation. One of Hammock's career defining works, the Mysterium, Universalis, and Silencia trilogy came to a close in 2019. The first chapter, Mysterium, was written following the death of Byrd's 20-year-old nephew and dealt with incomprehensible, shattering loss. Difficult understanding came on Universalis, and an altered reality understood through quiet reflection took hold on Silencia. Emerging from the silence, a period that brought with it the global pandemic of Covid-19 that has kept loved ones apart, conscripted months upon months of isolation, and roused directionless longing for escape, Hammock presents Elsewhere. Recorded by Byrd and Thompson at their homes, apart and with minimal equipment, Elsewhere serves as a gateway to another place, materializes feelings of separation and loss without closure, and calls listeners back to live their lives - not spend them longing to be something or somewhere else. - Wyatt Marshal

Phantasy are delighted to introduce Greek duo Boys' Shorts for their debut EP on the label, ‘Athena’. The project of music obsessives Vangelis and Tareq, the Boys’ Shorts sound has helped redefine timeless strains of disco, house and Italo for Europe’s queer club underground, with similar charisma spilling into their collaborative productions on labels including Live at Robert Johnson, Permanent Vacation and Polari.

Boys' Shorts appearance on Phantasy is coupled with their most ambitious and fulfilling songwriting to date. Featuring a rare vocal performance from beloved selector and cosmic disco expert Budino, appearing alongside Elisa Paradiso, the instantaneous lead cut ‘Summer’s Here and Summer’s Missing’ recounts a sun-drenched romance cut short. The duo’s soft, bittersweet synthesis mingles with Budino’s Italian-language lyrics, gently pulsing to find closure, or at least further pleasure, while up late in a Balearic discoteque.

Under those same hot lights, Boys' Shorts go deeper still with the leading oscillations of ‘Stereo on Acid’, in which classic, wobbly-hearted 808 sounds flirt playfully with a bassline that bumps like downtown traffic on a sweltering Athens afternoon. Reflecting the hidden pleasures and true underground culture of the city after nightfall, title track ‘Athena’ is a sensual and sophisticated groove with an epic yet understated touch, that one can imagine soundtracking a future soiree or centuries of ancient history alike.

In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother's apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn't help but notice the disconnect between the glow of his grandmother's temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared - there was a nobility in their failure, reflective of the dignity of the city's vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb's musical podium for this undertaking. Raised in a music-centric household, Deb would find the time to teach himself to play his father's right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt's Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry's Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy's falsetto reflecting the sepulchral ambiance of church visits with his grandmother. Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of "mid-fi" synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, "Unarian Dances", he also shared a split 12" with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled Careless. Written over the course of 2 years, "Careless" is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.

Through the album trilogy Misanthropical House, Algorithm and Blues and Research and Destroy, The Good The Bad and The Zugly have limped their way through midlife crises and pubescent antics. Loud-mouthed and bitter, we have embraced our fate as mediocre losers on the narrow and winding Scandirock path. Haunted by a constant bad conscience over the outcome of our miserable lives, which in addition to bitterness, have resulted in substance abuse, pettiness, greed, spiritual lethargy, bastard offspring, excessive self-confidence, understated self-awareness, and of course - bodily decay. In breif; A urinal without a drain. The question has always been nagging: Why us? Why have we, since the dawn of time, been made to curse the day we were born? Well, the truth shall set you free, as they say.

Limited pink vinyl. Through the album trilogy Misanthropical House, Algorithm and Blues and Research and Destroy, The Good The Bad and The Zugly have limped their way through midlife crises and pubescent antics. Loud-mouthed and bitter, we have embraced our fate as mediocre losers on the narrow and winding Scandirock path. Haunted by a constant bad conscience over the outcome of our miserable lives, which in addition to bitterness, have resulted in substance abuse, pettiness, greed, spiritual lethargy, bastard offspring, excessive self-confidence, understated self-awareness, and of course - bodily decay. In breif; A urinal without a drain. The question has always been nagging: Why us? Why have we, since the dawn of time, been made to curse the day we were born? Well, the truth shall set you free, as they say.

Big Thief will release their sixth studio album, Double Infinity, on 5 September 2025.

Double Infinity is the follow-up to 2022’s Grammy-nominated album, Dragon New Warm Mountain I Believe In You, recorded last winter at the Power Station, New York City. For three solid weeks, the trio would ride bicycles on frozen streets between Brooklyn and Manhattan, meeting in Power’s Station’s warm wood-panelled room. Together with a community of musicians (Alena Spanger, Caleb Michel, Hannah Cohen, Jon Nellen, Joshua Crumbly, June McDoom, Laraaji, Mikel Patrick Avery, Mikey Buishas) they would play for nine hours a day, tracking together – simultaneously – improvising arrangements and making collective discoveries. Double Infinity was produced, engineered and mixed by longtime Big Thief collaborator Dom Monks.

“How can beauty that is living be anything but true?” Adrianne asks as she drives nose against the future with childhood mementos on ‘Incomprehensible’. She understands, “everything I see from now on will be something new.” The silver hairs on her shoulders are new as well. Yet fear of aging is cracked by proof. If a life is shaped by living, “Let gravity be my sculptor, let the wind do my hair.” Being born, then staying a while, remains the greatest mystery. Adrianne claims her place and time. “Incomprehensible, let me be.”









g 7. Grandmother ft. Laraaji







[g] 7. Grandmother [ft. Laraaji]







[g] 7. Grandmother [ft. Laraaji]

In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother's apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn't help but notice the disconnect between the glow of his grandmother's temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared - there was a nobility in their failure, reflective of the dignity of the city's vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb's musical podium for this undertaking. Raised in a music-centric household, Deb would find the time to teach himself to play his father's right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt's Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry's Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy's falsetto reflecting the sepulchral ambiance of church visits with his grandmother. Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of "mid-fi" synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, "Unarian Dances", he also shared a split 12" with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled Careless. Written over the course of 2 years, "Careless" is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.

Big Thief will release their sixth studio album, Double Infinity, on 5 September 2025.

Double Infinity is the follow-up to 2022’s Grammy-nominated album, Dragon New Warm Mountain I Believe In You, recorded last winter at the Power Station, New York City. For three solid weeks, the trio would ride bicycles on frozen streets between Brooklyn and Manhattan, meeting in Power’s Station’s warm wood-panelled room. Together with a community of musicians (Alena Spanger, Caleb Michel, Hannah Cohen, Jon Nellen, Joshua Crumbly, June McDoom, Laraaji, Mikel Patrick Avery, Mikey Buishas) they would play for nine hours a day, tracking together – simultaneously – improvising arrangements and making collective discoveries. Double Infinity was produced, engineered and mixed by longtime Big Thief collaborator Dom Monks.

“How can beauty that is living be anything but true?” Adrianne asks as she drives nose against the future with childhood mementos on ‘Incomprehensible’. She understands, “everything I see from now on will be something new.” The silver hairs on her shoulders are new as well. Yet fear of aging is cracked by proof. If a life is shaped by living, “Let gravity be my sculptor, let the wind do my hair.” Being born, then staying a while, remains the greatest mystery. Adrianne claims her place and time. “Incomprehensible, let me be.”







g 7. Grandmother ft. Laraaji







g 7. Grandmother ft. Laraaji







[g] 7. Grandmother [ft. Laraaji]







[g] 7. Grandmother [ft. Laraaji]







[g] 7. Grandmother [ft. Laraaji]

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother's apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn't help but notice the disconnect between the glow of his grandmother's temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared - there was a nobility in their failure, reflective of the dignity of the city's vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb's musical podium for this undertaking. Raised in a music-centric household, Deb would find the time to teach himself to play his father's right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt's Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry's Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy's falsetto reflecting the sepulchral ambiance of church visits with his grandmother. Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of "mid-fi" synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, "Unarian Dances", he also shared a split 12" with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled Careless. Written over the course of 2 years, "Careless" is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.

"Roll With The Punches"" ist das mit Spannung erwartete 17. Studioalbum des gefeierten Singer-Songwriters und weltweiten Rock-Ikone Bryan Adams. Es ist Adams" erstes Album mit neuem Material, dass er auf seinem eigenen, unabhängigen Label Bad Records veröffentlicht. Das von Adams mitgeschriebene und produzierte Album enthält 10 neu aufgenommene Titel, darunter "Roll With The Punches", "Make Up Your Mind" und "Never Ever Let You Go". Zu den Co-Autoren gehören Mutt Lange, Eliot Kennedy und sein langjähriger Mitstreiter Jim Vallance.

"Roll With The Punches"" ist das mit Spannung erwartete 17. Studioalbum des gefeierten Singer-Songwriters und weltweiten Rock-Ikone Bryan Adams. Es ist Adams" erstes Album mit neuem Material, dass er auf seinem eigenen, unabhängigen Label Bad Records veröffentlicht. Das von Adams mitgeschriebene und produzierte Album enthält 10 neu aufgenommene Titel, darunter "Roll With The Punches", "Make Up Your Mind" und "Never Ever Let You Go". Zu den Co-Autoren gehören Mutt Lange, Eliot Kennedy und sein langjähriger Mitstreiter Jim Vallance.

"Roll With The Punches"" ist das mit Spannung erwartete 17. Studioalbum des gefeierten Singer-Songwriters und weltweiten Rock-Ikone Bryan Adams. Es ist Adams" erstes Album mit neuem Material, dass er auf seinem eigenen, unabhängigen Label Bad Records veröffentlicht. Das von Adams mitgeschriebene und produzierte Album enthält 10 neu aufgenommene Titel, darunter "Roll With The Punches", "Make Up Your Mind" und "Never Ever Let You Go". Zu den Co-Autoren gehören Mutt Lange, Eliot Kennedy und sein langjähriger Mitstreiter Jim Vallance.

'it’s his loosest, dreamiest dispatch yet, an enveloping and atmospheric collection that constantly comes together and breaks apart.'

Maxo releases his new album Mars Is Electric. Earlier this week, Maxo released a third haunting video, directed by Vincent Haycock, from the visual world of ‘Mars’ for the title track. Maxo previewed the album with the release of singles “Human?” and “Donahoo’s Chicken” this spring, which arrived with equally raw, inventive, and unnerving music videos.

Mars Is Electric is Maxo’s first official release since he dropped two critically acclaimed albums in 2023 with Even God Has A Sense of Humor and Debbie’s Son. His fifth full-length album finds the Southern Californian artist self-aware and mature. Having lived the last decade of his musical life intentionally creating specific bodies of work rooted in imagery, observation, and capturing moments, Maxo spent this previous year freely creating without a specific plan, relieved from all obligations and restrictions.

“This is the first time that I really didn’t care, I didn’t approach things so seriously,” the artist shrugs off, meaning that without expectations or specific goals, his creativity flourished. This opening finds the artist having conversations he’s been avoiding, having lived silently in the pain of those topics for the past few years. Exploring uncomfortable themes about personal life, relationships, and family fractures, life before and after the loss of innocence, and an abundance of existential spirals.

The exploration was not only thematic but also musical in nature. During the creation process, Maxo was immersed in a wide array of music from past to present - France Joli, $amaad, Steve Spacek, Cherelle, DJ Quik, Lisha G - influences that seeped their way into these songs. The album opens in a loose, dreamlike state—experimental and searching, mirroring the emotional fog of someone looking for something real to hold onto. But as it progresses, so does Maxo’s energy as he fiercely rides and weaves on songs with a contagious confidence, producing some of his most kinetic and lyrically impressive music to date.

As the work and vision coalesced into a body of work, Maxo found that he was unlocking a creative language with his collaborators that felt wholly new - a new understanding of why and how he was making art for this world. What emerged from this year-long process was a new musical journey and a future where Maxo refuses to be another bad example of what could be, refusing to mind the blueprint set down. Maxo is the sole voice on the album featuring production by lastnamedavid, Quelle Chris, Baird, Groove, and more.

Listen to Mars Is Electric above, see full album details below, and stay tuned for more from Maxo very soon.

"This digitally re-mastered version of ""Generator"" contains two bonus tracks for ""Heaven Is Falling"" and ""Fertile Crescent"" that originally appeared on the split 7"" with Noam Chomsky put out by Maximum Rock"N Roll in "91. ""Generator"" knocks about stirringly with a steadfast, mid-tempo punk roar, keeping the songs simple but continually on the upsurge. Brett and Greg Hetson"s guitars piggyback to ever-rousing heights, utilizing the essential chords and keeping limits on flashy things like solos or effects, never letting the enthusiasm or sentiment wane. With all players striving to turn each listening experience into a placard-waving melee, Bad Religion emblazons honest, dissatisfied-with-the-status-quo lyrics with an Uberpunk spirit, Greg Graffin"s vocals growing more gravelly and endearing with each record. With the implicit understanding that strength lies in brevity, Bad Religion hew mighty exhortations to action out of a well-trampled happy-punk base, and the sheer motivational impact of ""Generator,"" ""Only Entertainment,"" ""Atomic Garden"" and ""No Direction"" sweeps clear any charges of oversimplification or sameness. Generator is a brutal noise that is louder, faster & angrier than ever! A plethora of power punching punk pedagogy."

Shawn Rudiman returns to Pittsburgh Tracks with his first full length since 2021’s Flow State.

“Reality in Quotes” is a complete statement from beginning to end... in the artist’s own words:

"Our perception, rational thought and intellect are the only way we discern what we even dare call reality. You can use any information you like, but we make our own realities from moment to moment.

Thank you to: my lady for understanding me; Pittsburgh Tracks for the friendship and wanting to release this album; Chase Smith for the great equipment help; Angie Linder / DTM for the live gig help and representation.

Thank you to everyone who has supported this release, and any release I've done over the last 27 years. It's humbling to still be able to make music and to play out.

Reality is the only word in the language that should always be used in quotes."

"We are Honeypuppy. Your worst nightmare. Sleep tight." Born from the liminal space between the head and pillow of Songwriter Josie Callahan, Athens Georgia's Honeypuppy interrupts your regularly scheduled programming with an exciting and fresh one-time TV offer: a sparkly new album for your listening pleasure. Experience the bliss and despair, anxiety and indifference, and present yet absent-minded glee of this episodic saga in Honeypuppy's glowing new sonic collection, DIRTY TV. A nostalgic and poppy delight complete with twists, turns, and plenty of surprises, don't miss a second of DIRTY TV. Honeypuppy formed in 2020 as Callahan (lead vocals, guitar) recruited friends and roommates Adam Wayton (bass, vocals), and Will Wise (lead guitar) to help bring her songs to life. The group released "Nymphet", their soft and brutal debut EP, in January of 2024.

Blaney describes A Room With A Door That Closes as “a love letter to her blue,” an emotional state that she defines as “a kinetic, intense, and dark energy that needs to be expressed as soon as it is felt.” The eleven songs on the album span radioactive kiss offs, sorrowful meditations on yearning, and gossamer reveries about self image.

The music has a fittingly tumultuous, intricate sound: 1960s soul samples melt into warm drum n bass percussion, blips of glitch ping pong against grating synth, and Blaney’s vocals range from searing punk exclamations to gentle, exploratory croons. It’s the sound of a singer peering deeply within herself and presenting the world with everything she finds, unadulterated, in real time. Blaney produced the new project along with a tight team of three producers: Emerson Fossett, Harlan Steed (Show Me The Body), and Alex Farrar (MJ Lenderman, Wednesday, Squirrel Flower, Snail Mail).

Blaney had just started playing guitar and producing around the time she began writing the songs that would become the album. Being new to both producing and guitar playing opened up a sense of exploration and freedom for her. She felt emboldened to employ more adventurous riffs and unconventional song arrangements when she was writing. A Room With A Door That Closes is a collection of songs that rigorously pursue honesty, that present feelings as they arise without rushing to categorise them or explain them away. In the process of understanding her rage or discomfort, Blaney often lands on a sense of pride and assurance, but that’s never the ultimate goal. She eschews the easy comfort of neat resolution for the excitement of ongoing discovery. The album is an exercise in unfiltered self-expression, and a celebration of life at its messiest.

In 2047, amidst the deafening yet oh-so-familiar soundscape of the Movement Festival in Detroit, we met again: I, pdqb, and Scape One, known as two of the most respected electronic music composers worldwide. The air pulsed not only with the latest beats but also with a barely perceptible energy only the two of us knew. We hadn't simply flown in; we'd arrived with our fantastic "Diskmind" time-travel machine, an incredible invention, capable of effortlessly catapulting us through the centuries.

"It's unbelievable, isn't it?" I shouted over the bass, eyebrows raised. "A machine that lets us travel through all of history, and there isn't a single song that honors it! Not one!"
Scape One nodded vigorously, his gaze sweeping over the stage lights. "That's absurd! How can such a revolutionary invention remain unsung? It's almost an insult to music history itself."
We looked at each other, a silent understanding in our gazes. The mission was clear: The "Diskmind" needed its anthems. And who, if not us, who used and loved it, should create them?

And so, we decided to become the musical chroniclers of the "Diskmind," ready to tell the story of our time machine across four different eras...

For Synaptic Cliffs, it's an extraordinary honor to present these three Scape One variations of the original song 'Diskmind' (first released on The Electrifying Dojo, 2025). Each masterpiece was recorded in different future decades of the 21st century (of ourse with the help of the Diskmind time travel machine) and reflects the corresponding trend in electronic music. A1: A timeless, pristine Electro composition from the year 2035. A2: An IDM marvel from late summer 2075, recorded in the Zero gravity of Space Station 775. B: An Experimental Electronica symphony recorded at pdqb's Studio 577 on Mars Outpost 47A. Only musical equipment that doesn't currently exist was used for this release

Tech-Nology was launched in 2003 specifically to make records with the artist Bjorn Svin. Bjorn was the first Danish artist who made underground crossover into commercial hit territory via "Mer Strom" - but still keeping respect in the "real" music world for his enthusiasm, non-compromising style, persona, and sweaty live performance skills - his musical understanding and need to explore new directions took the crowd on a personal musical journey from jazz and classical musicians to early electronic pioneers - but always in a tone of his own. Bjorn always felt a need to escape norms, to grow and not to repeat, but investigate and create. The first record on Tech-Nology was born under the alias - El Far: Couples of lonely dancers. "Bjorn is maybe the most talented electronic producer ever in Denmark" and he was celebrated as a wonder kid by the media back in the 90's. An insider with new knowledge of Bjorn told us: "Yeah I think its good music.. It's not for everyone I must add, but it's definitely quality music for those who dig this sound.. sometimes a bit too deep.. which kind of works against it, cause you really need to listen to it.. you cannot just skip through it, cause then you don't really grasp the soul of it.. so this is what makes it more difficult to sell - but if a guy like this was a bigger name he would sell much better.."

We love Bjorn and we agree - We have tried to sell Bjorn and his music for over 2 decades now - But you can't capture Bjorn, you can't own him - he is only making music for himself - and you can get on the ride if you want to, but don't expect all the rides to be fun - sometimes it hurts! Bjorn is difficult to sell, but we don't think Bjorn really would like to sell much better if he had the option to do a more commercial approach to his music - because Bjorn is about not selling out, he's a purist at heart, making music documents for the few. Bjorn is bigger than superficial success and streaming numbers. He made jingles for Nokia, toured and played Roskilde's main stage, the biggest Festival in Denmark, but he still doesn't care... and that is important if you want to make interesting music that last for the future. When Bjorn met Mester Jakobsen, label boss of Tech-Nology, he has been releasing on numerous underground labels, made the jump to a major label, and everything more or less turned out as a big disappointment, so Bjorn presented a completely experimental album to the Tech-Nology label under the moniker Prinz Ezo - The Body Offset. We loved it then - we still love it now - and a truly collectors item and a secret DJ tool.

Today, Bjorn is still breaking all habits and rules, still doing the same thing - just in new ways, but he has gained insight on another level, adding even more nuances and textures to his post-genre compositions.

Welcome to the second album by Prinz Ezo on Tech-Nology: KURIER Why Kurier? Because Bjorn left to explore the Berlin Underground, shortly after the first two releases on Tech-Nology - he left his roots to search for a bigger meaning, a bigger understanding, to compose real mature sounds and understanding his skills, at the point where you understand why you have to cross borders, still incognito, doing smuggler-sounds, always in transit - between cities, between cultures, between worlds, time and space. Not Restless nor rootless, just forever on the move, always discovering new landscapes! But now Bjorn is settling down - accordingly with the music - to find - not inner peace, but to be completely in balance with the music inside of him. Prinz Ezo is raw, narrative, minimalistic electronic storytelling that refuses to freeze. Tension builds and releases - feel the energy and the drama for the last 2 decades if you dare to take the journey?

Almost twenty years after the first Prinz Ezo album, it has now been possible to make the music for those who never arrived.

Tech-Nology was launched in 2003 specifically to make records with the artist Bjorn Svin. Bjorn was the first Danish artist who made underground crossover into commercial hit territory via "Mer Strom" - but still keeping respect in the "real" music world for his enthusiasm, non-compromising style, persona, and sweaty live performance skills - his musical understanding and need to explore new directions took the crowd on a personal musical journey from jazz and classical musicians to early electronic pioneers - but always in a tone of his own. Bjorn always felt a need to escape norms, to grow and not to repeat, but investigate and create. The first record on Tech-Nology was born under the alias - El Far: Couples of lonely dancers. "Bjorn is maybe the most talented electronic producer ever in Denmark" and he was celebrated as a wonder kid by the media back in the 90's. An insider with new knowledge of Bjorn told us: "Yeah I think its good music.. It's not for everyone I must add, but it's definitely quality music for those who dig this sound.. sometimes a bit too deep.. which kind of works against it, cause you really need to listen to it.. you cannot just skip through it, cause then you don't really grasp the soul of it.. so this is what makes it more difficult to sell - but if a guy like this was a bigger name he would sell much better.."

We love Bjorn and we agree - We have tried to sell Bjorn and his music for over 2 decades now - But you can't capture Bjorn, you can't own him - he is only making music for himself - and you can get on the ride if you want to, but don't expect all the rides to be fun - sometimes it hurts! Bjorn is difficult to sell, but we don't think Bjorn really would like to sell much better if he had the option to do a more commercial approach to his music - because Bjorn is about not selling out, he's a purist at heart, making music documents for the few. Bjorn is bigger than superficial success and streaming numbers. He made jingles for Nokia, toured and played Roskilde's main stage, the biggest Festival in Denmark, but he still doesn't care... and that is important if you want to make interesting music that last for the future. When Bjorn met Mester Jakobsen, label boss of Tech-Nology, he has been releasing on numerous underground labels, made the jump to a major label, and everything more or less turned out as a big disappointment, so Bjorn presented a completely experimental album to the Tech-Nology label under the moniker Prinz Ezo - The Body Offset. We loved it then - we still love it now - and a truly collectors item and a secret DJ tool.

Today, Bjorn is still breaking all habits and rules, still doing the same thing - just in new ways, but he has gained insight on another level, adding even more nuances and textures to his post-genre compositions.

Welcome to the second album by Prinz Ezo on Tech-Nology: KURIER Why Kurier? Because Bjorn left to explore the Berlin Underground, shortly after the first two releases on Tech-Nology - he left his roots to search for a bigger meaning, a bigger understanding, to compose real mature sounds and understanding his skills, at the point where you understand why you have to cross borders, still incognito, doing smuggler-sounds, always in transit - between cities, between cultures, between worlds, time and space. Not Restless nor rootless, just forever on the move, always discovering new landscapes! But now Bjorn is settling down - accordingly with the music - to find - not inner peace, but to be completely in balance with the music inside of him. Prinz Ezo is raw, narrative, minimalistic electronic storytelling that refuses to freeze. Tension builds and releases - feel the energy and the drama for the last 2 decades if you dare to take the journey?

Almost twenty years after the first Prinz Ezo album, it has now been possible to make the music for those who never arrived.

No one can help you build something beautiful quite like those who know you best. Alan Sparhawk knows this well. In his years in Low, he built decades of stirring music with his wife and lifelong creative partner Mimi Parker. In recent years, he has performed around Minnesota with his son Cyrus in DERECHO Rhythm Section, a funk band that also frequently features his daughter Hollis on vocals. There's an irreplaceable naturalism that comes with this kind of dynamic. Those who know you understand you. They love you. They want to help you bring your greatest passions to fruition. So it made sense that Sparhawk would turn to fellow Duluth musicians Trampled by Turtles to realize his latest record. As friends and mentees of Low's, taken under Sparhawk and Parker's wing from their earliest days as a bar band, Trampled by Turtles have performed with Sparhawk countless times over the years. The Duluth ties run deep: "There's a certain vibe that has to do with underdog syndrome, coming from a small town," Sparhawk muses. "Some of it is the weird grind and slackness that being at the mercy of Mother Nature puts in you. It humbles you." The two artists hold the kind of ironclad bond. Following Parker's passing in 2022, Trampled by Turtles invited Sparhawk to join them on tour to give him a space to be surrounded by friends. Occasionally, he would join them onstage. The outpouring of love was palpable every time they played together, a surge of warmth. When playing together is that powerful, why stop there? In winter, 2024, Sparhawk and Trampled by Turtles created With Trampled by Turtles, a record exactly as its name implies: Collective. Communal. Fraternal. Empathetic. A vessel for comfort, a reminder of the harmony that can exist when surrounded by those closest to you. Where White Roses, My God, Sparhawk's last album, plunged headfirst into electronica and radical vocal modulation, With Trampled by Turtles leans into the folk and bluegrass stylings of its backing band, Sparhawk's voice now completely unvarnished. With Trampled by Turtles is far more than just Alan Sparhawk and Trampled by Turtles. It's an affirmation of all the people who have been vital in Sparhawk's life and music, and an opportunity to hold each of their gifts into the light. It's producer Nat Harvie, who has been collaborating and performing with him for years. It's Sparhawk's daughter Hollis, who duets with her father on "Not Broken." And it's Mimi Parker, too: "Too High," "Princess Road Surgery," and "Not Broken" were all tracks she and Sparhawk had been working on in the last few years. These songs finally found a setting that stirringly commemorates them, bolstered by a full ensemble to make every note sing. Their presence is a kind of eternal connection to Parker, a way her musical grace will keep flourishing.

Barcelona-based record label Hot Plates, founded by Nico and Dom of Suicide After 7, is thrilled to present its debut release: a four-track EP distributed by Runas. The record is a dynamic journey through analog textures and genre-blurring rhythms, unified by a shared spirit and sonic identity. Crafted with vintage gear like the TR-808, Juno-106, FM synths, and Prophet, the EP showcases a range of moods and energies:

“Blanked” sets the tone with crisp pads, a subtle Chicago house rhythm, and a blend of futuristic and retro synths. It carries an ominous yet invigorating feel—an understated dancefloor burner that slowly creeps in.

“Fish Fry” pushes into darker territory, with an edgy, slightly menacing EBM vibe. Anchored by a gritty FM bass and splashes of sharp percussion, it rolls forward with underground intensity and eerie momentum.

“Orion” shifts the tone into something romantic and nostalgic, channeling classic Italo influences. Soft pads and a hypnotic, pulsing synth create a dreamy, forwardmoving energy that feels both futuristic and wistful.

“Sole Seller” closes the EP with a disco-inspired banger—playful, stripped-back, and built to move. Sparse vocals float above the groove, giving it just the right hint of attitude while keeping it firmly locked in dance territory.

Each track opens a different window into the Hot Plates universe. Together, they form a cohesive, well-rounded EP—diverse in style, but united by that
unmistakable Suicide After 7 essence

What happens when you combine SUMAC: a band that uses the volume, distortion, and guitar-centric approach of metal to make music that has the malleability of jazz and textural exploration of noise with Moor Mother: a poet and sound artist that has deconstructed hip hop to a point where it"s less about rhyme and rhythm (though obviously both are present in her work) and more about oratorical cadence and power.

The Film is an album that takes attributes of both artists" work and finds common ground in shifting musical patterns, and expressive force. The record is a musical thumbing of their noses at the more traditional approaches of their respective fields, an innovative, powerhouse of an album. The Film"s moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: "The idea is to create a moment outside of the convention. This is a work of art.

Thinking about the work as a Film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won"t understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process." The Film is just such a work, a nebulitic collaboration between SUMAC and Moor Mother.

Released in 1993, The Love of Hopeless Causes is the sixth studio album by British post-punk and alternative rock band New Model Army. The album delivers powerful, politically charged lyrics and intense instrumentation. Key tracks like "Here Comes the War," "Living in the Rose," and "Fate" showcase the band's signature blend of raw energy, thought-provoking storytelling, and anthemic melodies. The album’s themes explore social unrest, personal struggles, and resistance, reflecting New Model Army’s unwavering commitment to their message. Produced by Niko Bolas, The Love of Hopeless Causes was the band's only release under Epic Records. With its mix of fiery rock anthems and atmospheric ballads, the album remains a standout in New Model Army’s discography, appealing to both longtime fans and newcomers to their music. The Love of Hopeless Causes is available on black vinyl.