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South African composer and producer Jason van Wyk is continuously honing his craft, with each consecutive release feeling like a clear evolution of its predecessor. Through his albums and soundtrack commissions, van Wyk’s technique at perfectly balancing melody and atmosphere is now more apparent than ever.
Inherent, his sixth aptly named album, finds van Wyk distilling his sound to where each note seems to have implicit cinematic intent, revealing intricate new details with every listen. Inherent features large swaths of warm, wispy ambient, ghostly piano and widescreen drone. Yet, at the very moment when all seems to apex, van Wyk presses on by mining his past endeavors in club music, neo-classical and scoring work to create something else entirely.
Distorted guitars, percolating synth arpeggios and poignant beat design propel the contemplative ambient sections into the light, bringing van Wyk’s sound into previously unexplored territory.

The always excellent Minimal Wave presents a rare EP from Greek electronic pioneers In Trance 95 here. Alex Machairas and Nik Veliotis formed the duo in 1988 and very much helped define Greece's early electronic scene with their minimal synth and EBM-inspired sound, all of it usually marked by analogue warmth, hypnotic melodies and a futuristic sensibility. This release captures their innovative spirit and cult legacy across six unreleased tracks recorded between the late 80s and early 90s in Athens. It sounds magnificent and is a long-overdue glimpse into their visionary archive for new fans, or a fine reminder of their roots for those who have always been tuned in.

DUVEL & GIT HYPER - De Rode Draad

Duvel is een pionier binnen de Nederlandse Rap-scene. Met z'n herkenbare stijl en vooruitstrevende visie heeft hij menig artiest geinspireerd en is zijn naam in steen gehouwen. Dit geldt eveneens voor DJ en producer Git Hyper, wiens naam sinds de 'golden era' van de Rap niet is weggeweest. De samenwerking van Duvel & Git Hyper vormt dan ook een nieuwe HipHop mijlpaal. De solide productie ligt in handen van Duvel en Git Hyper en vormt de fundatie voor de scherpe teksten van Duvel, ondersteund door klinkende namen als $keer&Boo$, Faberyayo, Nosa en Maximilli. Het album wordt uitgebracht door Redrum Recordz, het underground label wat Duvel ooit z'n eerste wapenfeiten bracht. Tezamen met de geschiedenis die hij met Git Hyper heeft, is de muziek het kloppende hart en HipHop 'De Rode Draad'.

Recorded in the summer of 1978 in Manhattan's C. I. Recording Studio this rare encounter of jazz's supreme instrumentalists and individualists Walt Dickerson (1928 - 2008) and Sun Ra (1914 - 1993) became an instant cult album among the followers of Avant Garde jazz of the '70s.

The author of the newly added liner notes Neil Tesser remarks, "Nearly a half-century after the fact, Visions now stands as a milestone of free improvisation". Almost half a century ago Trevor Tolley of Canadian jazz publication Coda enthused, "This is a tremendous record...outstanding collaborations throughout this beautiful record, as well as some gloriously sustained solo passages...it is the work of two masters in the full certainty of their powers."

Sun Ra: piano
Walt Dickerson: vibraphone
Recorded July 11, 1978

F.G.S.–the musical project of Los Angeles artist Flannery Silva–announces the first-ever vinyl release of her debut album ‘Tinker Bell’s Cough’, arriving May 27 via Scenic Route. Alongside the release comes a new single, ‘The Punisher (Tinker Bell’s Edit)’, and an exclusive vinyl-only live track, ‘Passions (Live at Tinker Bell’s Clubhouse)’.

Co-created with musician and producer Chase Ceglie, ‘Tinker Bell’s Cough’ is a surreal Americana record that filters the language of girlhood, heartbreak, and fantasy through a warped, theatrical lens. It’s Lana Del Rey meets David Berman in a cartoon whirlwind, with traces of Dolly Parton, Arthur Russell, and David Lynch.

Silva describes the record as “fairy tale theatre”. It’s packed with alt-universe country hits (‘Beth’s Deth’, ‘American Shield’), uncanny ballads (‘I’m Growing A Cross Around My Neck’), and leftfield pop songs rooted in character and place. ‘Passions’, the opening track, was inspired by Mary MacLane’s ‘I Await the Devil’s Coming’, while the title track imagines Tinker Bell herself singing a lullaby to God.

New single ‘The Punisher’ is an anthemic road song about loneliness and transcendence. “It’s about driving north on I-5 in California, worrying my car will overheat, bargaining with God, and falling in love with dust tornados,” Silva says.

Raised in the woods of upstate New York and formerly one half of the cult duo Odwalla88, Silva brings a visual artist’s sensibility to music. She studied art in Baltimore and continues to make sculpture and performance work that informs her songwriting. ‘Tinker Bell’s Cough’ was written on the Rhode Island coast, where she and Ceglie met weekly to write and record—drawing from old texts, visual references, and poetry.

F.G.S. has drawn praise from NTS, The FADER, Gorilla vs. Bear, The Line of Best Fit, Artforum, Sex Magazine, and more. With the reissue of ‘Tinker Bell’s Cough’ and the release of ‘The Punisher’, Silva continues to expand the strange, magnetic world of F.G.S., one that feels both deeply American and entirely her own.

Yû enters high school hoping to finally discover love. But nothing happens, even when a boy makes a declaration...

She then meets Tôko, the perfect girl of the high school, in charge of the Students' Office and who seems to be like her because she rejects all her suitors.

Michiru OSHIMA is a prolific composer, arranger, conductor and lyricist, she started her career in background music for NHK (Japanese television) and movies. Her career is punctuated with participations and arrangements for major video games such as Ico (Playstation) or The Legend of Zelda: Twilight Princess (Nintendo). But it is in animation that she writes her most emblematic compositions. She is at the origin of the music of the famous series Full Metal Alchemist, of 2 parts of Star Wars: Visions (The Elder, The Twins) among others.

With "Bloom into you", she signs a dreamlike ode that beautifully accompanies the two students in their quest for themselves

Iori Wakasa, one of the leading lights of the Tokyo club scene is set to release his second 12” from his own label, “BOTANICA” which he established to express his own primal sensibilities.

The Concept of the Label:
Tokyo-based DJ/producer, Iori Wakasa launched BOTANICA to assert that his label’s activities in itself is art and a palette for his creative, self-expression. It is also based on 2 main concepts: To integrate the sensibilities of both "nature" and “artificial and human activities" and to “contribute music that presents a scenery from the listener's point of view”.

For Iori, his label is an interface of some sort and is also a symbol of his own personal musical expectations.

Iori produced these 2 new tracks during the recent pandemic when the world was under severe restrictions. While taking into account and focusing on both 'his current outlook' and returning to “the roots of his own production aesthetic', he strived to produce something that would substitute it and as a result, created these two new tracks and the artwork that are presented in the label's second release, 'The Party Is Here EP’.

In this EP, he also attempts to express the sentiment that 'the experience that music provides to people is invaluably infinite' and that 'if you truly want to go out and party, it will happen, then and there!’.

About the tracks:
For the track, ’Bedroom Disco’, Iori tries to express his memories of 'a virtual night of partying’ that he experienced during Covid and created this track while being ‘in a state of wanting to break free from oppression’ and reminiscing about a party in a bedroom at night.

He also wanted to express the idea that no matter what situation or environment you are in, you can go to anywhere you want if you really want to and with that sentiment, he wanted to express a scenerio that transcends it and at the same time, he also wanted to convey his feelings of nostalgia for the past, rebellion against the environment and his feelings of desire.

For this track, Iori did not use any sampled voices or field recordings and created it by layering pure sonic imagery repeatedly folded and desolved which triggered the creation of new developments while imagining the thought that “a party actually begins when you step out” and the swaying of emotions that take place from it.

’Tropica' is a track that Iori produced by heavily mixing a utopian feel that people have inside of them with his own sensuality and is designed to ‘guide you to a tropical seaside', regardless of what the listener may have experienced in the past.
Unlike 'Bedroom Disco', this track uses a variety of samples and envisages "many elements intertwining with each other, working together to create this sound structure”. And it also expresses that equal opportunity exists for anyone who wants to visit an imaginary tropical land as well as the hope that even a brief break of the mind can be created by yourself and those close to you, if one pursues it.

About the artwork:
The cover of this new EP, the concept text 'Is your window open?', and the label's logo was designed by illustrator, HILOSHI SHINOZAKI who also worked on the first release, BOTANICA EP. For over 10 years, he has been a regular visitor of Hawaii, where he tries to cultivate his "true way of life” in his art.

And, artwork for the cover and label design of the EP is complemented by the label design and art direction of the record by hiro, a graphic designer who has been his partner and best friend since the first Botanica EP.
hiro expresses Bedroom Disco track's shifting compositional changes and its complex series of sound waves by creating an intricately multi-layered design that is a perfect representation of the way he sees it.
Also initially inspired by the fluctuations of waves, islands, sun, rays, sky and time, the artwork of Tropica also found inspiration from a drawing that made by Iori’s daughter who drew a picture of a scenery when she listened to the track. So through this design, one of the label’s concept of “the label’s activities is in itself art” was realised via the surprising contribution coming from his own family.

The Bug Club sind wieder da, für ihren jährlichen Termin auf dem Markt der Garagen-Rock-Macher, wo sie eine weitere reinrassige Platte anpreisen. LP-Nummer vier, "Very Human Features", erscheint kurz nach der ersten Sub Pop-Veröffentlichung der Band, "On the Intricate Inner Workings of the System" von 2024. Mit dieser Platte setzte die Band ihre Liebesbeziehung zu BBC Radio 6 fort, begann dank einer Session mit KEXP eine neue und tauchte auf den Seiten des NME auf. Gibt es noch etwas auf der Liste? Oh ja, Festivalauftritte, unter anderem im heimischen Green Man's Walled Garden, das bis auf den letzten Platz gefüllt ist. Dann Auftritte in den USA an den Orten, von denen die Briten immer nur hören. Dieses Album - eine neue Ladung typisch verspielter, riffgeladener, intelligenter Bug Club-Songs - gibt der Band einen Vorwand, ihre nicht enden wollende Tournee fortzusetzen und ihre schreienden Fans zu füttern, die dank der unermüdlichen Veröffentlichungswelle dieser Band überschwänglich und erwartungsvoll sind. Auf "Very Human Features" haben The Bug Club ihre Gewohnheit fortgesetzt, sich als ein kollektiver Geist zu präsentieren. Zwei in Einem. Selten findet man eine Band mit zwei kreativen Kräften, die eine so einzigartige, gemeinsame Perspektive, Sinn für Humor und ein Händchen für Popmelodien haben. In "Beep Boop Computers" wechseln Sänger Sam (auch an der Gitarre) und Tilly (am Bass) zwischen I's, my's und we's hin und her, als ob es da keinen Unterschied gäbe, während sie zwischenmenschliche Beziehungen und Erfahrungen in einer glorreichen Glam-Rock-Demontage der menschlichen Aspekte, auf die der Titel des Albums verweist, auf die Schippe nehmen. Um beim Thema zu bleiben: "How to Be a Confidante" macht das, was The-Bug-Club wirklich können, indem sie, wieder als zwei Stimmen aus demselben Kopf, allgemeine Aspekte unseres Lebens herausgreifen und sie lächerlich klingen lassen. Das Surreale liegt im Vertrauten, nicht im Ignorieren des Vertrauten - The Bug Club wissen das, und dieses Verständnis bildet zusammen mit einer unerbittlichen Basslinie das Rückgrat dieses Garagenrock-angehauchten Gassenhauers. Nachdem The Bug Club in den USA dank der kräftigen Garagen-Punk-Scheibe "On the Intricate Inner Workings of the System" und der anschließenden US-Tournee eine entsprechend große Fangemeinde gewonnen haben, wird die fruchtbare Partnerschaft mit Sup Pop mit "Very Human Features" noch schmackhafter. Die neue Platte ist ein sicherer und unendlich witziger Wirbelwind aus literarischem, selbstreferenziellem und gut gelauntem Rock'n'Roll. Die Band reitet auf der immer weiter anschwellenden Welle ihrer Popularität, als ob sie auf Rollschuhen schnell über den Aldi-Parkplatz in Caldicot flitzen würde. Möge es lange so weitergehen.

Das Dream-Pop-Duo Sorry Girls aus Montreal kehrt mit seinem dritten Album "Dreamwalker" zurück, das über Arbutus Records erscheint. Ihre exzentrische Mischung aus nostalgischen 70er-Jahre-Powerballaden und 80er-Jahre-Kitsch durchbricht neue Schwellen, zerlegt vergebliche Illusionen, um der Kälte zu trotzen und zu fragen, was vor uns liegt. Seit ihrer Gründung im Jahr 2015 haben Heather Foster Kirkpatrick und Dylan Konrad Obront ihre eigene Marke von üppigem, vergnügungssüchtigem Synth-Pop geschaffen. Dank ihrem Talent, persönliche Texte mit einem schrägen Sound zu verbinden, ist ihre durch David Lynch geprägte Welt frei und unheimlich. Alles scheint vertraut, eine Melodie plätschert durch eine alte Traumlandschaft, und doch ist etwas nicht in Ordnung. Die Band debütierte 2019 mit dem selbstproduzierten "Deborah", das von Pitchfork und Gorilla vs Bear gelobt wurde. Ihr temperamentvolles zweites Album "Bravo!" aus dem Jahr 2023 präsentierte einen mehr auf die erweiterte Live-Band ausgerichteten Sound. Inspiriert von Fleetwood Macs Tusk-Ära schlugen Sorry Girls ihr Lager für mehrere Monate im Two Sisters Recording Studio in Montreal auf, um "Dreamwalker" aufzunehmen. Da die Zeit knapp bemessen war, wollten sie mehr mit den Livemusikern zusammenarbeiten und schnelle und entschiedene künstlerische Entscheidungen treffen, um der Musik so treu wie möglich zu bleiben. Das Ergebnis ist ein Sound, der ernsthaft, emotional und klar ist. Verwaschene Produktionstechniken und druckvolle Basslinien paaren sich mit sanfteren, skurrilen Klaviertrillern und entspannten Drums, die das thematische Hin und Her zwischen zwei Welten wiedergeben. Die Texte spielen mit idyllischen Visionen von Liebesobjekten, Fantasien von zukünftigen Utopien und der obsessiven Sehnsucht nach einer Leichtigkeit und Neuheit, die sich durchsetzt. "Dreamwalker" ist selbstbewusst und ironisch selbstbescheiden, gefangen in der Spiegelung eines Fensters. Das Album fordert dazu auf, mutig zu sein - die Griffe aufzuschieben und ins Unbekannte zu treten. Musik für Fans von Haim, Men I Trust, Fleetwood Mac, TOPS

DO call it a comeback! Nach nicht weniger als 22 Jahren veröffentlichen die Wiener Beat-Maestros Urbs & Cutex wie aus heiterem Himmel ihr drittes Album namens "On Our Way". Die beiden Veteranen zeigen sich bestens aufgelegt und schaffen es auf diesem Überraschungspaket mühelos dort anzuschließen, wo sie vor zwei Jahrzehnten aufgehört haben. Sie bleiben sich selbst treu, finden aber auch neue Wege ihren sehr persönlichen Stil weiterzuentwickeln und HipHop und Downtempo auf eigenständige Weise zu verschmelzen. Urbs & Cutex (der auch unter Cut Ex firmiert) sind ein Produzenten-Duo aus Wien, das sich auf entspannte Instrumentalmusik spezialisiert und klassischen East Coast HipHop mit Elementen von Triphop und Downtempo verbindet. Beide begannen Anfang der 90er Jahre als DJs und machten ihre ersten Schritte als Produzenten unabhängig voneinander, um später eine der interessantesten Gruppen der florierenden Wiener Elektronik-Szene zu formen. Zwei gefeierte Alben wurden damals veröffentlicht und noch heute werden ihre Songs von immer neuen Generationen entdeckt, was zu Millionen Aufrufen auf den bekannten Streaming-Plattformen führt. Nach 22 Jahren, diversen Solo-Alben (u.a. Urbs' "Toujours Le Meme Film" und "Geheimland"), unzähligen Singles, Remixes und Kollaborationen, haben sie also beschlossen, wieder zusammenzuarbeiten und dabei ihr Mojo sofort wiedergefunden. Mit charmanter Sturheit produzieren Urbs & Cutex weiterhin Musik, die manche als retro, andere als zeitlos bezeichnen werden. "Wir suchen nach immerwährenden Wahrheiten" bemerken sie dazu achselzuckend. Das Album beginnt daher ganz im Stil ihres letzten Albums "Peace Talks!". Soul- und Jazz-Loops werden mit dopen Beats kombiniert und man wird sogar mit dem ersten Rap-Part überrascht, der es jemals auf ihre Alben geschafft hat: T.R.A.C. aus New York, bekannt als MC von Marc Macs Visioneers, unzähligen Drum&Bass Releases und nicht zuletzt Urbs´ Solo-Alben, glänzt auf der ersten Single "Wherever You Are". Nach einigen Songs lässt sich feststellen, daß Urbs & Cutex ihren Sound aber sehr wohl subtil weiterentwickelt haben. Durch gefinkelte Arrangements und gekonntes Übereinanderschichten von Samples wird eine dichte Atmosphäre geschaffen, die weit über das hinausgeht, was Boombap üblicherweise bietet. Urbs & Cutex schaffen es auf diesen 14 Songs die Fadesse von Chillout, Lofi und Boombap zu umgehen und bauen einen Spannungsbogen, der von uplifting bis deep und hypnotisch reicht.

PHASE SHIFTING INDEX is a time capsule record of Jeremy Shaw's vast original artwork that includes audio excerpts, voiceover passages and music composed by There in Spirit and Konrad Black. Shaw's seven-channel video, sound and light installation-that premiered at Centre Pompidou in 2020-uses science fiction, documentary, visual effects and synchronisation to induce an ecstatic experience in narrative temporality. Each video details the belief systems of one of seven fictional subcultural groups spread across time that aspire to induce parallel realities that could redirect the evolution of the human species through embodied forms of ritual, ideology and movement. The vinyl release serves as a gathering of the piece's key audio elements, focussing on their importance to the engineering of the artwork and their stand-alone listening qualities. Side A of the record follows the dramaturgy of the artwork in full-swing, including audio segments from four of its five distinct chapters. Written by long time collaborators Konrad Black and Jeremy Shaw together as There in Spirit, "Cross- Temporal Sync" soundtracks the strobing peak of the installation at the moment when all seven disparate videos fall into a unified choreography in which every person on every screen performs the same ecstatic series of slow-motion movements. The pulsing, hypnotic dirge aligns with the locked choreography in mood and action, caught somewhere between ecstatic trance and somatic takeover. A steady sub line, clipped stabs and a swooping choral gasp harmonise with the dancers movements onscreen while restrained filters open slowly to reveal a submerged melody that builds in intensity towards the chaotic rupture of Black's "Mosh". Here the score breaks into digital shards as heard through analog bodies colliding and pixelating into each other. The dancers eventual dissolution into "Particles" sounds like the field recording of a disembodied neural cosmos. The B-side of the record contains a narrative outline edit of the artwork comprised of music, excerpts and pieces of narration from each video. Listeners can follow along in an accompanying thirty-six page booklet of full-bleed film stills documenting each of the seven groups as they move through the five chapter dramaturgy. Composer Konrad Black's authentically backwards-glancing production and sound design is as disparate as the groups represented on screen. From the bespoke-16mm-tribal-techno of "The Cyclical Culture" and retro-cyber-funk of the "Zero-Ones," to the VHSdark- wave of "The Violet Lux" and skewed vocal/piano minimalism of the "Quantum Modern," each group exists in its own custom-made world out-of-time. The record ends where it began, with the full sequence of "Ramping" playing out as each subcultural world begins to lose control, galvanise, sync, rupture, atomise and scatter throughout the universe, only to loop back into another inevitable beginning. Phase Shifting Index premiered at Centre Pompidou, Paris, in 2020 and has since been exhibited in nine international venues including ARoS, Denmark, MONA, Tasmania, MAC, Montreal and Hamburger Bahnhof, Berlin

“I did this piano/Rhodes recording, played live, without overdubs. I believe your approach to sound could match very well these tracks….” That’s how Giovanni Di Domenico’s collaboration with Rutger Zuydervelt started, though the first seeds were planted when the duo did a short live improv together in 2019, and Giovanni joining Hydra Ensemble on stage in 2022.

Painting a Picture / Picture a painting is -as the title suggest- an album of two long-form pieces, swapping the working method for each - one takes Giovanni’s recordings and has Rutger processing and adding to it, while the other one started with Rutger creating its foundation (with manipulated sounds of the first piece), and Giovanni building upon it. This resulted in two meandering tracks that are clearly linked, like two sides of the same coin. The cover, a painting of an empty canvas, is made by Christiaan Kuitwaard. A beautiful and ultimately fitting visual addition to this mysterious release.

Repress of 2018’s classic compilation from Brownswood.

A primer on London’s bright-burning young jazz scene, this new compilation brings together a collection of some of its sharpest talents. A set of nine newly-recorded tracks, We Out Here captures a moment where genre markers matter less than raw, focused energy. Looking at the album’s running order, it could easily serve as a name-checking exercise for some of London’s most-tipped and hardworking bands of the past couple of years. Recorded across three long, fruitful days in a North West London studio, the crossover between each of the groups speaks to the close-knit circles which make up the scene.

Surveying the way that London’s jazz-influenced music had spread outside of its usual spaces in recent years, this album bottles up some of the vital ideas emanating from that burgeoning movement. Giving a platform to a scene where mutual cooperation and a DIY spirit are second-nature, it’s a window into the wide-eyed future of London’s musical underground.

Ubiquitous, much-lauded saxophonist Shabaka Hutchings is the project’s musical director. His own recent projects span from South Africa-connected, spiritually-minded jazz players Shabaka and the Ancestors to Sons of Kemet, who match diasporically-connected compositions with viscerally-direct live shows. His entry on the album, ‘Black Skin, Black Masks’, is typically difficult-to-define: with an off-kilter, shifting rhythmic backbone, repeated phrases – mirrored between clarinet and bass clarinet – shape the track with an alluring hue. His input ties together a deft, genre-agnostic sensibility that’s shared through all the players on the record.

Theon Cross – who’s also part of Sons of Kemet with Hutchings – starts his track, ‘Brockley’, with the solo, distinctive low rumble of his tuba. Winding and mesmeric, it sees tuba and sax lines winding together in rhythmic and melodic parallels. Ezra Collective – whose drummer and bandleader Femi Koleoso has toured with Pharaohe Monch – run a tight, Afrobeat-tipped rhythm on ‘Pure Shade’, with the final third changing gear into a melodic, momentous closing stretch.

Joe Armon-Jones, whose ludicrous chops on the piano have seen him touring with the likes of Ata Kak, showcases earworm-like, insistent motifs on ‘Go See’, balanced with a playful, improvisatory approach with room for ad-libbing and solos a-plenty. Taking a softer tact than many of the other entries, Kokoroko – whose guitarist Oscar Jerome has been making waves with his solo material – spin a lyrical, steady-paced meditation on ‘Abusey Junction’, matching chanted vocals with gently-played guitar.

Nodding to spiritual jazz influences, Maisha’s ‘Inside The Acorn’ is a wandering, explorative rumination, balancing delicate washes of piano and percussion with sharp interplay between flute and bass clarinet. In contrast, Nubya Garcia’s ‘Once’ is taut and carefully-poised, her tenor sax guiding a carefully-built energy to an explosive conclusion. And finally, Triforce’s ‘Walls’ is a performance in two parts: starting with Mansur Brown’s languorous, lyrical guitar, the second half switches up to a low-slung, g-funk-tipped groove.

Front man Austin Getz doesn't blink when asked to sum up Turnover's third full-length, Good Nature. "Learning," he replies. "This whole record is about learning. Opening your eyes to new things, going outside of your comfort zone, and learning to grow into something new."The album's unique blend of musical and spiritual growth is immediately audible on the opening track, "Super Natural," a late-summer idyll of intertwined guitar parts and laidback vocals. Listening to how the leisurely "Nightlight Girl" melts into a more propulsive selection like "Breeze," and the way Good Nature flows together as a seamless whole, it's also evident that the foursome has been paying closer attention to how artists from earlier eras made full-length albums: the range of textures, tempos, and dynamics on Good Nature are infuenced in part by bossa nova, cool jazz, electronic music, and psychedelic grooves. This infux of new infuences and inspiration, navigated by Peripheral Vision producer Will Yip, results in the band's best album to date. Good Nature comes from a place of calm and contentment, nurtured by looking inward.

Albion Collective’s new dance-driven catalogue, Gold, opens its doors to a neck-snapping three-track EP limited to a vinyl edition of 100 from a brand-new name in dubstep, Adel Force. The name may be brand-new, but you’ve heard the Estonian producer’s celebrated talents across countless labels, soundsystems and DJ sets under the 15-year-strong moniker Bisweed. Now ready to metamorphose into the next phase of his artistic journey, Adel Force brings you the Twirl EP on Albion Gold.

Dropping the needle onto each Albion Collective release reveals a labyrinth of unique, experimental dubstep styles lauded for both their success in DJ sets and original sonic visions. Holding these pillars of pioneering creativity close to its heart, the new branch of Albion Collective intensifies its focus on moving people. No song could better exemplify the Gold catalogue’s dancefloor-igniting mission statement than Adel Force’s full-throttle opening track, Is This What You Want.

The Twirl EP vinyl, like all of the Gold releases to follow, is hand-stamped, numbered, and features a gold embossed logo. Following the DIY, hand-painted aesthetic, splashes of gold make each sleeve as distinct and unique as the music it cloaks. Albion Collective are proud to work with Adel Force on their debut release and bring you Twirl, the first EP of the Gold catalogue.

Nach 25 Jahren Herman Dune und 15 Alben freut sich BB*ISLAND, Odysseús zu präsentieren, eine neue Sammlung von Songs, die den Hörer auf eine Reise durch das turbulente Leben von David Ivar mitnimmt, eine Reise voller Sehnsucht, Schmerz, Liebe, Tod, Glaube und Erlösung. Es ist das erste Mal, dass Herman Dune mit einem externen Produzenten, David Garza, zusammenarbeitet. Das Set-up besteht fast ausschließlich aus akustischen Instrumenten, die live mit der Band in einem Raum aufgenommen wurden. Es ist Folk-Musik im typischen Stil von Herman Dune mit Anklängen an Americana, Country, jüdische und hispanische Traditionen, aber mit einer ganz neuen Wendung in Sound und Arrangements, vor allem im Vergleich zu seiner letzten rein akustischen Trilogie The Portable Herman Dune. David Herman Dune über die Produktion: "...David Garza getroffen zu haben war reiner Zufall. Ich mühte mich gerade mit einem Geigenarrangement für einen der Songs ab, als er sich in einem überfüllten Café in der Innenstadt von San Pedro an meinen Tisch setzte und mich fragte, woran ich gerade arbeitete. David, ein mit einem Grammy ausgezeichneter Produzent und Musiker, hatte mit Fiona Apple, Iron & Wine, John C. Reilly und den Milk Carton Kids gearbeitet und mit einigen meiner musikalischen Helden wie Lucinda Williams und Townes Van Zandt gespielt. Wir verstanden uns auf Anhieb, und er bot mir an, meine Songs zu produzieren. Wir begannen, die Stücke jeden Abend bei mir zu Hause zu spielen, und einmal pro Woche in einem französischen Restaurant namens Le Compagnon. David kannte die besten Musiker in L.A. - Leute wie Sebastian Steinberg am Kontrabass (Fiona Apple), Richard Edson (Schlagzeuger von Sonic Youth, Schauspieler in Jim Jarmuschs Stranger Than Paradise und Spike Lees Do The Right Thing), Odessa (violin, Edward Sharpe and the Magnetic Zeros) und Paul J. Cartwright (violin, Olivia Rodrigo). Als wir uns bereit fühlten, versammelten wir alle in meinem Haus für drei Tage Live-Sessions. Es war ein chaotischer, schöner Prozess, bei dem alle in einem Raum zusammen spielten, keine Kopfhörer, keine Overdubs - nur rohe, echte Musik. Aufgenommen und gemischt wurden die Sessions von Chris Sorem (ebenso Grammy-prämiert für seine Arbeit mit den mit den LA-Legenden Los Lobos). Chris brachte eine Wagenladung alter Mikrofone mit und konzentrierte sich auf "Raummikrofone" - djene, die die Atmosphäre des Raums einfangen. Er sagte, dies sei eine Technik, die auf Alben wie Buena Vista Social Club verwendet wurde, und es erzeugte eine Magie im Raum, die spürbar war. Sogar die traurigsten Lieder wurden lebendig mit so viel Freude, Energie und Elektrizität. Die Aufnahmen waren ungefiltert, organisch und hatten Seele. Als wir mit dem Abmischen begannen, waren wir alle vom Ergebnis erstaunt, wir hörten einen Moment in der Zeit, der sich gleichsam zeitlos anfühlte"