quête:wait for me

A century-old grand piano, a secluded house surrounded by the greenery of Brittany, no internet connection, and a reel-to-reel recorder.L'Écho de Bretagne, the new EP by Niklas Paschburg, set for release from fall 2025 via Nettwerk Music Group, is a solo piano record as essential as it is intense. An album made of silences, space, slowness. A music that doesn't chase impact, but truth.

the album release is march 26th - 2026.

If his previous work, Mexican Alps (2025), marked the first time the German composer and producer created an ambient-electronic album without his instrument of choice, the piano, L'Écho de Bretagne emerges as a direct response to that absence. "It was exactly the lack of piano that brought about the need for this new record, which instead puts that instrument, so vital to me, at the very center, stripping everything else away," Niklas explains.

Born in 1994, Paschburg has shaped over the years a musical path deeply connected to travel, nature, and introspection. From his debutTuur Mang Welten(2016) toOceanic(2018),Svalbard(2020),Panta Rhei(2023), and the aforementionedMexican Alps— alongside soundtracks, remixes, and collaborations with artists like RY X, Hania Rani, Ásgeir, and Bryan Senti — his sound bridges neoclassical, electronic, ambient, and pop-driven composition.

WithL'Écho de Bretagne, the Hamburg-born, Berlin-based musician continues his exploration by seeking solitude in nature, much like he did onSvalbard, but this time with an even more radical choice: disconnecting completely from the internet, and switching off both computer and smartphone for a while, in order to fully immerse himself in his new music. "I rented an old cottage in Paimpol, Brittany, where I knew there was a grand piano," he recounts. "When I got there, I discovered that not only was the piano more than a hundred years old, but it was also of an unknown brand, never restored, and quite difficult to play. But that gave it a unique character, and I didn't give up. Sure, it was an instrument left to its own fate, I couldn't play anything too fast. But how fascinating was that? I'm convinced that setting limits, instead of giving yourself total freedom when composing, can become an extraordinary source of inspiration."

As for the decision to temporarily detach from a life that demands we stay constantly connected, Niklas describes it as both a creative and human experiment. "I had my laptop and phone with me, just in case, but I kept them turned off. That choice made me wantL'Écho de Bretagneto be a fully analog work, even in how it was recorded." A way of clearing the mind. "I don't think I've ever been as calm as I was during those days in Paimpol. Even though I was working on a very specific project and didn't have much time, that period was more relaxing than any vacation."

Not that it was free of hiccups. "I'd borrowed a reel-to-reel recorder small enough to travel with me, but after recording a session on the piano, I realized it wasn't working properly, the sound was distorted, full of crackles. I got worried, because I wasn't near any big city where I could find a technician. Luckily, I figured out the problem was the old tape reels I had brought along. That was the only time I had to go online, to order new ones. But it was just for a moment. I shut everything off again right after." At that point, Niklas was waiting for the new tapes to arrive. He found out, completely by chance, from a local UPS courier that they had been delivered to a nearby village. "Since my phone was off, I couldn't track the shipment. So one day I asked this delivery guy, who didn't know anything about it. But from that point on, we'd see each other daily and talk… That's what being disconnected also means: reconnecting with people around you, even strangers. It was thanks to that courier that I found out where the tapes had ended up. And he even helped me get them back, writing directions for me on a scrap of paper."

But there's another element that makes this new EP unique.L'Écho de Bretagnewas recorded entirely live; its tracks are all improvised, complete with their imperfections. This approach leads to a sound that is pure, profoundly organic, and deeply authentic, intentionally preserved to give the listener the feeling of a live performance happening in their own living room. The touch of fingers on the keys, the breath of the wood, the tension of the vibrating string, all become part of the music. There is no construction, only expression. "Even now, when I listen back to it, I feel that moment I gave myself to step away from everything: from reality, from words, from noise." The result is a collection of suspended melodies and atmospheres, reflecting a state of the soul. A refuge from the rush of time. A pause from the world.

Saxophonist, producer and composer Brian Allen Simon explores darker hues, transposing waking and altered states under his studio veil Anenon. On the deeply evocative new album 'Dream Temperature', he shifts electronic processing to the foreground, introducing digitized wind instruments and unworldly atmospherics, not heard since his innovating mid-late 2010s output.

A longtime Los Angeles resident, born and raised, Brian Allen Simon has expressively operated under the moniker Anenon, releasing the highly revered 'Petrol' (2016), 'Tongue' (2018) and the viscerally beautiful 'Moons Melt Milk Light' (2023), in a line of unwavering musical dialogues. While the penultimate album was a deliberate, reductive, entirely acoustic detour that was born out of a want to unplug, 'Dream Temperature' sees Brian primed with a newly discovered wind synthesizer as his central compositional tool, alongside acoustic piano and tenor saxophone. The entirety of the album's electronics are triggered by Brian's lungs, generating otherworldly synths modulated by expressive breath control, channelled through the laptop as the core processing chamber for added textural components and field recordings.

A free floating and heavy emotional resonance marks 'Dream Temperature' from beginning to end, invoking the feeling of waking up, still heavy from a night of half-remembered dreams, and continuing one's day in this state. Simon maps out the album's spatial voice early on the statement title track, a deep, yet compact cut, generated from digital saxophone rasps that whistle by in close proximity, along with haze filled textures and sub bass. There is a sonic oscillation of urban grit and pastoral drift throughout as tracks pass by like introspective thoughts, fueling both a tense and ethereal quality that underpins the album. Interluding solo and part-solo piano improvisations 'Last Sun 1' and '2' are positioned adjacent to the buffering digital soundscapes. Their softer, still processed timbres pierce the melancholic exterior, offering a contrasting tenderness that could echo the grace of Ry?ichi Sakamoto, the spiritualist rigor of ECM's Keith Jarrett and a touch akin to Aphex Twin's piano miniatures. 'Nulle Part 1+2' signals the first appearance of an acoustic wind instrument, as tenor saxophone flourishes are juxtaposed against noisy drones, all shouting at the void, with notes resurfacing like lost digital data.

The album was recorded at home during either sunset or nocturnal hours between September of 2024 and October of 2025, a period in which Brian found himself craving more lengthy and intimate studio time as he searched for more pronounced textural qualities amidst his new sonic ambitions. 'When The Light Appears, Boy' shows further evidence of this deeper universe, revealing a grittier edge as the album's essential blueprint is sonically inked. A sprawling expanse of wind synths rhythmically encircle the listener before a dreamy, ghostly ambience blankets 'Toyama'. The sound is evocative of the productions of post dubstep era luminaries such as Burial or the productions of HTRK's Nigel Yang. More isolating and enveloping than the previous all acoustic record, this is music both disorienting and yet warmly inviting all at once. A sonic diarist at heart, personal field recordings were also taken from Sardinia, Japan, Big Sur and LA which intersect at unexpected moments throughout the album's 31-minute play time.

'Dream Temperature' is a vital coalescence of both Simon's electronic and acoustic practices with repositioned electronics akin to earlier works, both haunting and elegant, yet still profoundly personal. Simon continuously resonates as an experimental outlier treading an enthralling, non-linear musical path. This music resolutely glows with an unknowing aura, like an untapped energy source waiting to be discharged.

An album that calls forth urgent desires, bold claims and the right to dream in the face of a reality that stifles hope.
Because Camp Claude never stands still, because the trio always wants more, it ignites with Diane's fire, Mike's freedom and Léo's conviction, and with NEVER SAY NEVER bets on 14 tracks that are electric, powerful and lightning-sharp.
Plural and perfectly eclectic, NEVER SAY NEVER inhabits an intangible musical and temporal space.
Like a mixtape, this new album reveals new sensations with every track, a prayer to be played on repeat, a kind of magic formula made of electro rhythms, retro synths and shoegaze guitars.

First coming to prominence purely as a drum & bass artist, with the likes of Metalheadz, Digital's Function and Klute's Commercial Suicide labels all over his material, veteran Slough producer Amit has, in more recent years, spread his stylistic base via his Amar label to take in deep dubstep and a touch of acid as well as ruffneck junglist behaviour. This 12", his first for more than five years, is heavyweight dub business, with echo chambers set to maximum dubbage and shuddering sub causing potential structural damage to all but the sturdiest buildings in a five mile radius. 'Dem Rude', with its gunshots and sonic soup, takes the A-side, while the flip tune 'Hush Up' marries more aural abstractions with another stepping rhythm, the hi hats fizzing and sizzling like they're encased in a deep fat fryer. Great to have this vastly underrated underground trooper back in the ranks - and well worth the wait.

Welcome to the mind-expanding 1968 jazz recording of Bill Plummer and The Cosmic Brotherhood—where Eastern and psychedelic influences meld together to produce one of the trippiest jazz albums on Impulse Records. This LP is a much-sought-after sonic travelogue, with the pop-psych spoken-word sitar freakout of “Journey To The East” to Bill Plummer’s swinging, rapid fire/cool jazz compositions, to his covers that go straight to the heart of any 60’s genre-crossing jazz fans. Featuring an incredible who's who of the high-caliber talent bubbling over in the Los Angeles music scene at the time: Carol Kaye (legendary bass player of The Wrecking Crew), Maurice Miller (drummer in The Jazz Corps), Dennis Budimir (guitarist with Chico Hamilton Quintet, Ravi Shankar & Frank Zappa), Mike Lang (Piano with Flamin’ Groovies & Hal Blaine), Tom Scott (Saxophone with Gabor Szabo & Thelonious Monk), Ray Neopolitan (Bass for The Doors & Leonard Cohen), Milt Holland (Percussionist with The Wrecking Crew &
Captain Beefheart), Bill Goodwin (Drums for Mose Allison & Tom Waits).
Housed in a beautiful gatefold sleeve with iconic liner notes by Frank Kofsky, who comes out swinging hard in favor of the album, while shaking the dust off any jazz snobs left in the '60s who still were not ready to embrace the future of jazz. Produced by Bob Thiele who produced everyone from John
Coltrane, Art Blakey to Charles Mingus, this sonic rarity is yet another impressive vinyl reissue from the folks at Jackpot Records.

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

"This album is everything that CHROMA is, and has always been to us, as a band and as individuals," enthuses Mather. "All of us are immensely proud of this record and feel that we've served our younger selves by creating it." "The album is dynamic in the sense that we think people might be surprised to see a different side of CHROMA, as you progress through the record. We can't wait to blend the tracks into the live show which will also now include more energy, some heavier riffs, but also some softer, more subtle songs.

BCUC – Bantu Continua Uhuru Consciousness – have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. Today they command festival stages worldwide: Glastonbury West Holts, Roskilde, Afropunk Brooklyn, WOMAD, Fusion, Sziget, FMM Sines, Beaches Brew, Boomtown, Colours of Ostrava, Couleur Café – to name just a few. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances.

THE ROAD IS NEVER EASY

The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs – a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. Songs like Amakhandela (Breaking All the Chains) connect history to daily life: "How is this precious metal inflicting so much pain in us," sing BCUC, "this government has been telling us we are free, but we don't benefit from being free." The album also talks about all the hopes and dreams that remain: "I have too many wishes and dreams in my head," BCUC sing in Um duma khanda, "I think I am losing my mind". The album ends with the soothing Matla a rona ke Bophelo, "our strength is life", praising the spirits and thanking the elders for protection. The Road Is Never Easy is about the harsh reality of life in Soweto, where "people always carry heavy loads". BCUC are street poets trying to deal with that burden: sometimes revolutionary, sometimes soothing, but always hopeful and compassionate. "When you are from Soweto you can't retreat nor surrender." (Sebenzela)

RECORDING

The album was largely recorded in Munich, Germany during tour breaks over two sessions, each three days long. It took place in a small studio located in a German WW II bunker converted into rehearsal spaces. The songs were recorded in one take altogether in one room, with only a few overdubs added, mainly backing vocals, by BCUC at Fourways studio in Johannesburg. BCUC have created their own distinctive way of writing, or rather, finding and creating their songs. The recording process is like an improvised live performance. They bring their ideas into a zone where the music, the rhythm and the spirits take over until the song starts to form. In this Afro-psychedelic zone BCUC create their unique poetry that feeds on the dreams still dreamt, the hopes, the fears and the temptations lingering everywhere. BCUC's songs need to breathe and time to build. The right take was the one when the song took over, and just like their live performances, no one knew beforehand where the song would take them. During the recording, BCUC just let it all flow out: inner turmoil, cries of rebellion, but also resilience and a search for healing, love, unity and compassion. You don't have to be from Soweto to feel the deep meaning and impact of this music. In these times of so much hate and division, BCUC are like a campfire for people to gather around.

PRODUCTION & ARTWORK

"BCUC have a unique magic," says Outhere's Jay Rutledge, who produced the album. "It blew our minds. It's like punk and pure gospel at the same time. Their music can make you dance and it can make you cry, all at the same time. And when the song is over, you feel you're not alone in this world anymore. We felt compelled to do this." The album cover is based on a matchbox design, matches being a common household item in South Africa even today. "These were the matches people used to burn government buildings and cars," explain BCUC. Little messages, addresses, or phone numbers used to be scribbled on the back of these boxes; each one a reminder of the strength, resilience, and resistance that once drove the struggle for freedom in Soweto. BCUC keep this flame burning. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs. "We bring fun and Afro-psychedelic fire from the hood," says vocalist Kgomotso Mokone.

Like its cover, Nicolas Remondino's Hìeratico plays in the rich shades of crepuscular spaces. A night-tuned, percussion led album where prepared drums are accompanied by flickers of spoken word, acoustic instruments and muted electronics,

The title translates to 'hieratic', for Remondino a "black and gold" term laden with dualities and complex connotations. A sense of teetering between sparkling light and richly coloured darkness imbues the music, the compositions simulating a sense of heightened acuity as they convey us through a spooky elemental soundworld. The opening title track begins with a metallic shimmer, a drum skin activated in a way that sounds like it's being smelted. A cushioned rhythm enters, a smothered timbre akin to hearing something lurking around the garden. On "litho non-danse", percussion cracks like branches and dried foliage under foot.

Remondino recorded initial outlines for the pieces at Giuseppe Ielasi's studio in Milan, before fleshing out these ideas with his own additional instrumentation and contributions from a globe-spanning network of collaborators. On "blue hymne", chiming percussion equal parts jubilant and sinister heralds spoken word from Limpe Fuchs. "Tombal" opens with Massimo Silverio whispering in the Carnic dialect, a minority language from the Carnic Alps. Around, Marco Baldini, Pierre Bastien and Remondino construct a somber soundscape that cranks and sighs in the crevices.

Hìeratico is an album of hybrids. Diverse voices, accents and dialects deliver its lyrics, the instrumentation underpinning it crosses idioms. The drumkit at its core is modified to amplify its resonant tones and harmonics. Inspired by natural substances and phenomena: stone, wood, wind, earth, metal, grass, rain, clouds and bark, Remondino explores how percussion could evoke their materiality, treating drums as lucid textural instruments as much as rhythmic timekeepers. It gives the album a finely shaded depth and clarity as it conjures the vibrancies that reside in darkened corners. Hìeratico dwells in a sensation that crosses borders, the speckles of light in the oblique night sky. Listening is an aural equivalent to stepping into a pitch black forest and waiting for your eyes to adjust, a lightless void turning into a spectacular tableau of shadows and glows. Daryl Worthington

Since emerging in 2020, the band has carved out a reputation as one of the most exciting rising acts in heavy music, with support from BBC Radio 1, Kerrang! Radio and acclaimed rock and metal press such as Metal Hammer, Kerrang! and Alt Press. 2024 saw the band make their Download Festival debut, undertake their first UK headline tour, and secure huge support slots with powerhouse bands such as Skindred. Following the release of their EP "Echoes", the band has enjoyed a busy schedule in 2025 - with appearances at 2000trees (main stage) and Alyx Holcombe's MANTRA showcase.

In recent months, Mallavora have been popping up everywhere, from the stages of Boomtown and Burn It Down Festivals, to the catwalk at London Fashion Week where they provided the soundtrack to Unhidden's latest clothing range. Most recently, you may have heard vocalist Jessica's incredible vocal abilities in an episode of BBC 1's The Celebrity Traitors, a star- studded game show that features household names such as Stephen Fry, Alan Carr and Claudia Winkleman. Jess was called upon by the producers of the show to produce 'banshee-like' wails, demonstrating her vocal range which stretches from beautiful high octave singing to the extremes of fry screaming. All of Mallavora's achievements have been leading to this moment: the announcement of their debut album ' What If Better Never Comes ?'. Set for release on March 27th 2026 via Church Road Records , this record showcases the band's growth as songwriters and highlights their constant hunger to push the envelope.

Love For Love Vol.1 is a sumptuous two-tracker that takes you into both the unknown and the familiar.

On Side A, Mauritzio’s mesmerising, swirling ‘Sympathy’ (Gamma Reshape Boot) acts like a sonic shower that hits your body wherever it aches. The track kicks off with a subtle beat and acid-tinged backbone, spreading out into a deep, bass-laden symphony of sounds, detached vocals and warm synth chords. One for the late-night crowd searching for the darker corners of the dance floor for inspiration.

Flip over to Side B and Luber's ‘Somebody’ is waiting in the alley for you. At 124 bpm, ‘Somebody’ chugs along from the off with a curiously swingy beat, complete with perfectly trimmed hi-hats and a heavy double bassline. The familiar vocal acts as the track’s calling card – melancholic yet soaringly beautiful. ‘Somebody’ hits your nostalgia nodes with the flick of an ethereal finger, delivering low-end shuffle and hypnotic rhythms to lose yourself in.

Love For Love Vol.1 feels like the start of something special – and it would be wise to have these first steps in your record bag.

On Psalm Funk, Bnnyhunna deepens the artistic language he first articulated on his celebrated debut Echoes of a Prayer. Rather than retracing familiar ground, the Amsterdam-based composer and producer expands his palette, allowing rhythm and space to carry as much narrative weight as harmony and lyricism.

While Echoes of a Prayer felt personal and devoted, Psalm Funk opens things up. Gospel harmonies stay central to his music, but now they are energized by smooth funk rhythms and heightened by the flexibility of jazz improvisation. Bnnyhunna moves between styles effortlessly, in a way that nothing seems borrowed, but everything feels lived in.

At the center of the record is an understanding of space. Silence acts not as an absence but as a structure. Breath, restraint, and patience shape the music just as much as basslines and backbeats. This awareness of dynamics allows the album to grow without losing its focus. It signifies a subtle but important change in Bnnyhunna as an artist, moving from inward reflection to forward momentum, from prayer as personal dialogue to prayer as a physical expression. The clarity, discipline, and emotional depth that marked his debut remain, now directed into something more rhythmically confident and spiritually uplifting.

Fusing gospel, funk, jazz, and African rhythmic traditions, Psalm Funk serves as both a meditation and an outpouring. It invites deep thought while demanding a physical response.

The album includes collaborations with American saxophonist Braxton Cook, trumpeter Sheila Maurice-Grey of Kokoroko, 3DDY, and Reggie Dartey, among others. The singles "Sorry Not Sorry" and "Waiting For You" have already hinted at the project's range, while the latest single, "The Heart Part 2," further expands on the album's dynamic and emotional scope.

To celebrate the release, Bnnyhunna will tour the Netherlands in April, with performances in Amsterdam, Rotterdam, and Nijmegen before heading to the UK for a show at The Great Escape.

Released in October 2024, Bnnyhunna's debut album Echoes of a Prayer was created as a dialogue with God, a personal call expressed through sound. The record resonated both with fans and media, gaining support from platforms like 3voor12, Rolling Stone Africa, and Afromixx. It reached the airwaves of BBC Radio 1 in the UK, KEXP in the US, J-Wave in Japan, and 3FM in the Netherlands, and landed in playlists such as BUTTER, Morning Rhythm, and Vanguard.

In 2025, Echoes of a Prayer earned the Edison Pop award for Soul/R&B/Funk and received Grammy consideration for Best Alternative Jazz Album. On stage, Bnnyhunna established his presence with performances at festivals such as Lowlands, Couleur Cafe, Brick Lane Jazz Festival, Dour, and Super Sonic Jazz, as well as his first tour in Japan.



Upcoming live shows:
10/04/26 - BIRD, Rotterdam (NL)
11/04/26 - Doornroosje, Nijmegen (NL)
12/04/26 - Tolhuistuin, Amsterdam (NL)
13/05/26 - The Great Escape, Brighton (UK)

2025 Reissue.



Münchenbuchsee, a suburb of Bern, Switzerland. Stephan Eicher is the youngest of three children. His father, a radio and TV repairman, is also a jazz violinist and a sound tinkerer in his spare time. In the family home's converted fallout shelter turned studio, Mr. Eicher experiments with homemade sequencers, tortures handcrafted drum machines, and abuses reel-to-reel tape recorders—all under the fascinated gaze of young Stephan.

The boy quickly develops a musical curiosity, exploring sound through various experiments and wanderings. Alongside his younger brother Martin, Stephan crafts audio plays on a homemade multi-track recorder (essentially several cassette decks hooked together!), which they write, record, add sound effects to, and perform for family and friends. Just a couple of nice kids, really...

Then comes 1972, and Lou Reed's Transformer album changes everything for the Eicher kids. For 13-year-old Stephan, it's a revelation—especially "Vicious", the opening track, which he plays on repeat for months. He convinces his father to buy him an electric guitar. Not stopping there, his father also builds him a tube amp using an old radio.

Then comes adolescence. A rough one. Stephan leaves home at 16 and moves to Zurich. With obvious artistic talent, he persuades his art teacher to help him get into F+F, a radical, alternative art school—despite his young age. Accepted, he starts learning video techniques, determined to become a filmmaker.

At F+F, Stephan organizes Dada-style happenings and concerts with a group of friends known as the Noise Boys. Among them: one of his teachers on bass, Veit Stauffer on drums (who would later found ReR/Recommended Records), his girlfriend Sacha on vocals, and Stephan on guitar. In one of their early performances, they release a remote-controlled mouse covered in dull razor blades into the audience to create panic and chaos. Keeping with this aggressive, confrontational spirit, they once played a concert while wearing headphones blasting Tristan and Isolde, trying to perform their own songs simultaneously—to maximize the cacophony. The goal was always the same: clear the room.

Their “songs,” if you can call them that, followed suit. Take "Hungeriges Afrika", for instance—performed entirely with power drills and some drum feedback.

To make ends meet, Stephan returns to Bern on weekends to work as a waiter at the Spex Club, the city’s main punk venue. On September 16, 1980, during a show by proto-electro group Starter, the police raid the club and arrest everyone. Stephan, who manages to avoid arrest, seizes the opportunity to “borrow” Starter’s gear left behind. He suddenly finds himself in possession of a Roland Promars synth, a Korg MS20, and a gorgeous CR78 drum machine, which he runs through a Big Muff distortion pedal to get that perfect gritty sound.

He then sets out to reinterpret some Noise Boys tracks, reworking them during impromptu sessions recorded on a dictaphone (yes, a dictaphone—now the lo-fi sound makes more sense, doesn’t it?). He ironically titles the resulting cassette "Stephan Eicher spielt Noise Boys" ("Stephan Eicher plays Noise Boys"). This gem features seven tracks, which are the ones reissued here.

Back in Zurich, he visits his friends Andrew Moore and Robert Vogel, who have a DIY cassette duplication setup. They make 25 copies of Stephan Eicher spielt Noise Boys for Stephan and his friends. Robert encourages him to visit Urs Steiger of Off Course Records and play him the tape.

Without much hope, Stephan shows up at Urs’s office. But Urs is instantly hooked and suggests releasing a 7” single. Due to space constraints, they reluctantly drop two of the seven tracks ("Hungeriges Afrika" and "One Second"). As for the musical score featured on the cover—it was randomly chosen and remains a mystery to this day. Calling all music theory nerds!

The 7-inch is pressed in 750 copies and released in the first week of December 1980—a date Stephan remembers well, as it’s the same week John Lennon was killed. Smartly, Urs sends a promo copy to François Murner, Switzerland’s answer to John Peel, who hosts a show on alternative station Sounds. Murner falls in love with the record and starts giving it airtime. To Stephan’s surprise, sales follow—and people actually seem interested in his music.

Even this modest underground success scares Stephan a bit. He stops making music for a year and moves to Bologna, where he works as a programmer at Radio Città, a feminist radio station.

Meanwhile, Stephan’s younger brother Martin, who’s also involved in the punk scene, joins the band Glueams as a singer and guitarist. Glueams, named after the fanzine run by two of its members (drummer Marco Repetto and bassist GT), eventually rebrands as Grauzone. Stephan is invited to their shows to project hacked Super 8 visuals live on stage.

Urs Steiger, now working on a compilation titled Swiss Wave – The Album, asks Grauzone to contribute alongside bands like Liliput, Jack and the Rippers, The Sick, and Ladyshave (Fall 1980).

For the album, Martin tasks Stephan with producing their recording sessions. Under Stephan's artistic direction, two tracks emerge: "Raum" and "Eisbär". During "Eisbär", Martin plays a minimalist bass line borrowed from post-punk band The Feelies (just an open string). Drummer Marco Repetto struggles to keep time. Later that evening, unhappy with the takes, Stephan builds a four-bar drum loop from a ¼-inch tape and uses it instead of the flawed original. He then adds bleepy synths and wind sounds to complete the track’s icy vibe before handing it over to Urs.

The Swiss Wave – The Album compilation is released quietly at first, but things snowball thanks to "Eisbär", which eventually becomes a smash hit—selling over 600,000 singles.

Meanwhile, Stephan plays in a rockabilly band called SMUV (named after Switzerland’s social security agency) and begins producing artists, including the debut album of Starter (1981), which includes a more pop-oriented version of "Minijupe".

By early 1982, Stephan starts spending time with the post-punk girl band Liliput (formerly Kleenex). They’re older than him, and he happily drives them around in his Renault Major, acting as their roadie.

By 1983, Grauzone—signed to the major label EMI, which turned out to be a misstep—is falling apart. Stephan begins to pivot toward a more mainstream pop sound with his debut solo album Les Chansons Bleues.

But that... is already another story.

Remixed With Love has set the benchmark for disco reworks for over a decade, with Dave Lee universally recognised as the most trusted name in the field when it comes to respectfully updating dancefloor classics from the original multi-tracks.

With original vinyl editions long deleted and constant demand from DJs and collectors, this brand-new one-off, vinyl-only release has been made possible via a fresh licensing deal with Sony Music, allowing eight of the most requested mixes from the catalogue to be pressed together for the first time.

This is not a repress; it is a bespoke, limited selection, and once the pressing has sold through, it cannot be repeated.

Brighton-born, Cincinnati-based producer Marsh a.k.a Tom Marshall. ‘Lailonie’ is Marsh’s second studio album and debut Anjunadeep LP. After joining Anjunadeep back in 2018 via ‘Explorations 07’ with ‘Black Mountain’, Marsh has gone on to release a string of well received original EPs including ‘Prospect’ with label mate Nox Vahn, ‘Eu Topos’ and his latest ‘Lost In You’ as well as remixing some of the biggest artists in dance music including Above & Beyond and Armin van Buuren.

Marsh has previously released on Silk Music, where he released his debut album ‘Life On The Shore’ in 2017; and Enhanced Music’s progressive house imprint Colourize. Over the past 2 years, Marsh has become a firm Anjunadeep fan favourite all the while establishing himself as a future star of the electronic scene with a steady stream of tastemaker backing from Joris Voorn, Rufus Du Sol, Kölsch and BBC Radio 1’s Pete Tong and Phil Taggart. Recent years have seen him tour globally with Above & Beyond as well as share the bill with legends like Sasha & Digweed and Guy J.

‘Warriors Of The Sea’ is the name of DORO Pesch's special release, with which the Metal Queen is shortening the wait for a new studio album for her numerous fans.

‘Warriors Of The Sea’ is now available as petrol with white and black marbled vinyl. The idea for this special release came about as a result of the two sold-out ‘Metal Queen Metal Cruises’, which were a huge hit with fans at the end of May/beginning of June and – in addition to a third cruise (06.06.26) – simply left them wanting more music.

The title track of the album was written by DORO especially as an anthem for the cruise and immediately became an absolute fan favourite at summer festivals worldwide.

The remaining nine tracks are a hand-picked selection by DORO on the themes of ‘Warriors’ and ‘Cruise’. All of them are rarities and for fans, collectors and metal pirates.

A GOOD FUN record, the new album from Lipphead – aka the collaborative NYC duo consisting of the producer Tony Simon (Blockhead) and Eliot Lipp – will be the group’s 3rd official full- length, having released the first two records via Detroit’s Young Heavy Soul label.

Lipphead’s music occupies the sweet spot between Blockhead’s groovy, sample-based hip- hop and Eliot Lipp’s upbeat electronic funk. The duo have performed live at select festivals throughout North America and are booked to tour this album, 17 dates in the US starting right after release, April 3rd. European/UK festivals are confirmed in the summer and are waiting to be announced.

The internationally renowned NYC producer Tony Simon—aka Blockhead—has released 15 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop and has more recently been releasing music on other platforms like Future Archive Recordings and Backwoodz Studios.

Eliot Lipp is an electronic musician based in Brooklyn, New York. His work was picked up by Scott Herren of Prefuse 73 (Warp Records) after Herren heard him working the club circuit. In 2004, Lipp released his first studio album, S/T, with Eastern Developments Music, a label owned by Warp Records. Lipp has also released music with Pretty Lights Music and his own label Old Tacoma Records.

“Our process for this album was very much "Take this, and add to it" . We both made beats and sent them to the other to add things to. Eliot would generally start the arrangement process and then I'd come in and give my two cents. Gotta say, these Lipphead albums generally come together seamlessly . We definitely have a simple flow and method as to how we create things together, even though the "together" part comes at the end.” - Blockhead

“This is definitely the goofiest record so far. I imagine Lipphead did a little too much doomscrolling between ‘From The Back’ and this one, based on all the meme samples sprinkled throughout.

One difference this time around was that we made way more music than what ended up coming out. It was tough to figure out how to fit it all on one LP, we’ll definitely have some leftovers to drop later on.” - Eliot Lipp

A GOOD FUN record, the new album from Lipphead – aka the collaborative NYC duo consisting of the producer Tony Simon (Blockhead) and Eliot Lipp – will be the group’s 3rd official full- length, having released the first two records via Detroit’s Young Heavy Soul label.

Lipphead’s music occupies the sweet spot between Blockhead’s groovy, sample-based hip- hop and Eliot Lipp’s upbeat electronic funk. The duo have performed live at select festivals throughout North America and are booked to tour this album, 17 dates in the US starting right after release, April 3rd. European/UK festivals are confirmed in the summer and are waiting to be announced.

The internationally renowned NYC producer Tony Simon—aka Blockhead—has released 15 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop and has more recently been releasing music on other platforms like Future Archive Recordings and Backwoodz Studios.

Eliot Lipp is an electronic musician based in Brooklyn, New York. His work was picked up by Scott Herren of Prefuse 73 (Warp Records) after Herren heard him working the club circuit. In 2004, Lipp released his first studio album, S/T, with Eastern Developments Music, a label owned by Warp Records. Lipp has also released music with Pretty Lights Music and his own label Old Tacoma Records.

“Our process for this album was very much "Take this, and add to it" . We both made beats and sent them to the other to add things to. Eliot would generally start the arrangement process and then I'd come in and give my two cents. Gotta say, these Lipphead albums generally come together seamlessly . We definitely have a simple flow and method as to how we create things together, even though the "together" part comes at the end.” - Blockhead

“This is definitely the goofiest record so far. I imagine Lipphead did a little too much doomscrolling between ‘From The Back’ and this one, based on all the meme samples sprinkled throughout.

One difference this time around was that we made way more music than what ended up coming out. It was tough to figure out how to fit it all on one LP, we’ll definitely have some leftovers to drop later on.” - Eliot Lipp

Connecters Vol. 1: Original Recordings, 1992-1999 ist die erste Veröffentlichung von Larrison, dem Pseudonym des bildenden Künstlers und Musikers Larrison Seidle aus dem Mittleren Westen. Larrison komponierte, programmierte und nahm alles komplett auf einem Casio CZ-5000 auf, während der guten alten Zeit der selbstgemachten Experimente und Entdeckungen in den frühen 90ern. Er lebte in einer Traumwelt, die er selbst erfunden hatte, mit Soundtracks aus Space-Age-Pop-Vignetten, gespickt mit hypnotischen, überschwänglichen, vielschichtigen Synthesizer-Melodien. Mit 26 Tracks, die alle neu restauriert und aus den Originalquellen gemastert wurden, erfindet sich Connecters Vol. 1 Song für Song neu, überwindet die Zeit und trotzt der vorbestimmten Vergessenheit dieser brillanten, diskreten Musik, die vor drei Jahrzehnten entstanden ist. Larrison Seidle wuchs in den 70er und 80er Jahren in Greenwood, Indiana, einem Arbeitervorort von Indianapolis, auf. Er stammte nicht aus einer Musikerfamilie, aber aus einem Haushalt, in dem Musikalität gefördert wurde. Sein Vater kaufte eine elektrische Orgel, in der Hoffnung, dass Larrison und sein älterer Bruder das Instrument lernen würden. ,Am Ende saß mein Vater einige Abende an der Orgel, improvisierte und spielte immer wieder dieses eine Lied, von dem ich mich noch an die ersten Takte erinnern kann", erinnert sich Larrison. Möglicherweise war es in diesem Moment, in dem es zwar keine formale Ausbildung gab, aber viel Ermutigung und Entdeckungsfreude, dass der Künstler seine ersten musikalischen Experimente machte. Diese Erlaubnis, sich auszuprobieren, sollte seine kreative Arbeit in den folgenden Jahren deutlich prägen. Während in Larrisons Elternhaus klassische Rockplatten leicht zugänglich waren, lieh sich sein Vater 35-mm-Dokumentarfilme aus der Bibliothek aus, um sie im Wohnzimmer zu zeigen, die alle mit skurrilen Instrumentalstücken unterlegt waren. Als Teenager nahm er John Carpenters und Alan Howarths Endthema aus ,Die Klapperschlange" mit einem kleinen Kassettenrekorder neben dem Fernsehlautsprecher auf und liebte Tangerine Dreams Beiträge zu Ridley Scotts düsterer Fantasy ,Legend". Seine Faszination für diese weitgehend textlosen, synthesizerbasierten Kompositionen führte zu einem eigenwilligen Verständnis davon, wie Musik nicht nur das ergänzt, was wir vor uns sehen, sondern auch das, was wir in den Tiefen unseres Bewusstseins erleben. 1985, als er dreizehn Jahre alt war, überzeugte Larrison seinen Vater, ihm ein Casio CZ-5000-Keyboard zu kaufen. Wie zuvor die Orgel war auch dieses Instrument eine Neuheit im Haushalt der Seidles. Erst nach seinem Highschool-Abschluss 1991 und dem Beginn seines Studiums an der Herron School of Art in Indianapolis entdeckte er den in das Casio integrierten Sequenzer und begann, seine Kompositionen auf Band aufzunehmen. ,Das CZ-5000 und sein 8-Spur-Sequenzer sind die einzigen Musikinstrumente, die ich benutzt habe. Es hat eine fast unbegrenzte Funktion zur Erzeugung neuer Klänge", erklärte Seidle. Während seiner Zeit an der Herron School of Art freundete sich Larrison mit seinem Kommilitonen und Klangkünstler Michael Northam an, den er bei einem Konzert auf dem Campus kennengelernt hatte. Nachdem Northam Larrison für die Musik von Severed Heads, Throbbing Gristle und Roger Doyle begeistert und damit seine Zuneigung und sein Vertrauen gewonnen hatte, überredete er ihn, nach Austin, Texas, zu ziehen, das in den frühen 90er Jahren für seine lebendige Kunst- und Musikszene bekannt war. Die beiden wohnten zunächst bei Northams Freund Daniel Plunkett, dem Herausgeber und Verleger von ND, einem einflussreichen Magazin, das sich von 1982 bis 1999 mit DIY-Musik und Tape-Trading beschäftigte. In seiner Blütezeit hatte ND Tausende von Lesern, und Plunkett verschickte die Ausgaben weltweit. In den letzten Monaten des Jahres 1993 und Anfang 1994 schrieb und nahm Larrison mit begrenzten Mitteln und grenzenloser Intuition eine Reihe von Songs mit seinem CZ-5000 in einer kleinen Wohnung nördlich der Innenstadt von Austin auf, bastelte eine farbenfrohe, illustrierte Beilage, in der einige Songtitel durch Linien oder Pfeile dargestellt waren, und gab sie an Plunkett weiter, damit er sie für ND rezensieren konnte. Diese einzelne Kassette mit dem Titel Connecters sic war eine von 1200, die im Laufe des Bestehens der Publikation bei ND eingereicht wurden und die Jed Bindeman, Mitbegründer von Freedom To Spend, 2020 erworben und fast wie durch ein Wunder entdeckt hat. ,Ich hatte große Schwierigkeiten, mir die Kassetten in dieser Sammlung anzuhören", gibt Bindeman zu. ,Aber dann legte ich Larrisons Connecters ein und dachte sofort: ,Wow! Was höre ich da?' Die Kassette war von Anfang bis Ende einfach fantastisch." Mit Musik von genau dieser Kassette und anderen Aufnahmen aus Larrisons Experimenten in den 90er Jahren ist Connecters eine Übersicht über Instrumentalmusik, die sowohl durch vielfältige konzeptionelle Strategien als auch durch spielerische Neugierde geprägt ist. Seidle arbeitete unter Bedingungen, die viele Musiker als Einschränkung empfinden würden, und entwickelte technisch innovative Ansätze, um die Klänge und integrierten Effekte des CZ-5000 zu modifizieren. Das Gerät ermöglichte es ihm, die Wellenform, die Hüllkurve und die Tonart von Klängen mithilfe der Phasenverzerrungssynthese zu verändern und so im Grunde genommen Instrumente zu schaffen, während er Songs komponierte. Die Tracks zeichnen sich durch eine durchdachte impressionistische Vielfalt aus, die mal lo-fi, mal symphonisch klingt. Inmitten der Zerlegung und Verstärkung der Fähigkeiten des CZ-5000 gibt es auch einen geschmackvollen Rückgriff auf eine kindliche Interaktion und Erfahrung von Klang. Vielleicht ist es diese Erfahrungsqualität, die es so schwierig macht, Larrisons Projekt einfach als Ambient oder Elektronik zu verstehen. Sein Wille, die ihm zur Verfügung stehenden Werkzeuge zu transformieren, hebt die daraus resultierenden Kompositionen auf eine persönliche Ebene und verleiht der Musik einen bezaubernden Sinn für Mystik. Connecters ist ein Beweis für eine künstlerische Vision, die sich nicht durch Grenzen einschränken lässt und keine Angst vor Informalität hat. Diese Aufnahmen, die dreißig Jahre nach ihrer Dokumentation auf magische Weise an die Oberfläche kommen, zeigen, wie personalisierte Produktionsmittel die Zeit ausdehnen und verkürzen können. Larrison lädt die Zuhörer ein, sich auf die Wunder der auditiven Vorstellungskraft einzulassen - eine Brücke zwischen visueller Erinnerung, emotionaler Resonanz und der grenzenlosen Möglichkeit, mit den uns zur Verfügung stehenden Mitteln Musik zu machen. Larrison's Connecters Vol. 1: Original Recordings, 1992-1999 wird am 3. April 2026 von Freedom To Spend als Vinyl- und Digitalausgabe veröffentlicht.

The London based singer and keyboard player Dominic Appleton, known since the early eighties for his musical activity in the post punk/dream pop band Breathless, and perhaps even more for his vocal contributions to the legendary This Mortal Coil project on 4AD, joins forces with the Milanese producer and sound artist Matteo Uggeri, active from 1993 behind several projects spanning from industrial to post-rock and ambient soundscapes, known for collaborating with artists such as Maurizio Bianchi, Nocturnal Emissions, Controlled Bleeding, De Fabriek, OvO, Giuseppe Ielasi, Lau Nau, Giulio Aldinucci and many more.

Starlight Assembly’s first album, “Starlight and Still Air”, was released in 2021 by the American label Beacon Sound. In Italy the album received amazing reviews in all four of the main music monthlies. It was album of the month in Blow Up and Rockerilla ran a four page interview. Several articles and reviews were made, including a special issue on Foxy Digitalis by Brad Rose.

A remix project was launched afterwards, including old and new friends and fans of the two S.A. members: among the others, Robin Rimbaud/Scanner, Auscultation, Gabriel Saloman (Yellow Swans), Patricia Wolf, Insides, Julia Sabra with Fadi Tabbal, Sawako and Pan American.

The new album, “There Will Be Fireworks”, continues the duo’s complex cross-genres approach to music by melding Uggeri’s intricate musical textures with Appleton’s sweet and melancholic melodies, in this case even supported by the haunting guitars of Gary Mundy (in Breathless as well but also in Ramleh and Broken Flag’s label manager). The tracks on this album are more songlike, the journey more cohesive, with the artists playing more to one another’s strengths. The mastering will be done by Martin Bowes/Attrition, making it even more powerful and clean for its publication on Silentes (ex-Amplexus), historic italian label well known for releases by Rod Modell, Gigi Masin, Dirk Serries, Eraldo Bernocchi, Merzbow, Fabio Orsi and the latest releases by AUBE and much more.

1) WAIT FOR THE WORLD
2) TIME
3) THIS DESERT
4) ALL THE LOVE THE STANDS BESIDE US
5) MOTH TO THE FLAME
6) FRICTION
7) SYMPHONY IN MELANCHOLY
8) THE NOT DEAD
9) RELIEF
+
10) THERE WILL BE FIREWORKS (ghost track)

Special Friend have become the masters of weaving elegant and sophisticated pop musical webs while staying true to their low-fi indiepop roots. The French/American duo (Guillaume on guitar and vocals, Erica on drums and vocals) manage to create a sound like no other band. When they play live, audiences marvel at the huge, intricate structures the band construct, while falling in love with the crystal-clear vocal melodies that are threaded in between the shards of guitar and the rattle of the drums. How can a duo achieve so much? UK audiences will be able to ponder this question in March: Special Friend are coming over from France to do a substantial tour of the UK. These shows are highly recommended!
The new album is more diverse that the last, with the high-tempo indiepop of first single ‘Breakfast’, the majestic, Yo La Tengo-like dreampop of ‘Clipping’ and the country-ish, gentle, homesick melancholy of ‘Isolation’. Final track ‘OOO’ is a bold piece of Krautrock-inspired experimentation; ‘Mold’ is a beautiful slice of slowcore and opener ‘Paint A Picture’ is modern pop at its catchiest and most direct.

‘Clipping’, the album title, refers to the discipline of pruning growth back, removing dead wood to create a perfectly shaped tree with abundant blossoms: an accurate description of the album, and of the songs that hang from its elegant branches. The album artwork is by Erica: Special Friend are in control of every aspect of this elegant artefact.
‘Clipping’ was recorded in 2025 at Studio Claudio by Alexis Fugain and Margaux Bouchaudon. Set in an isolated rural environment conducive to immersion, the band had seven days in the studio—significantly more than for previous records—allowing for greater care in the recording process, particularly for vocals and arrangements. Several tracks feature synthesizers and organs, acoustic guitar, and even an electric bass on “Sanctuary,” a first for Special Friend. Overall, the record benefits from a more developed and detailed production while preserving the band’s direct approach and spontaneity.

The album was mixed by Syd Kemp, who has worked with artists such as Thurston Moore, Ulrika Spacek, Caroline, Crack Cloud, and Vanishing Twin.
Special Friend’s previous album on Skep Wax, ‘Wait Until The Flames Come Rushing In’ was an underground hit, with a significant amount of airplay in the UK and in the US.
‘Clipping’ is a co-release with Howlin Banana Records and Hidden Bay Records (both in France). Skep Wax is proud to present the album in the UK and in North America.

DYING VICTIMS PRODUCTIONS is proud to present AGGRESSIVE PERFECTOR’s highly anticipated second album, Come Creeping Fiends, on CD and vinyl LP formats. Released in 2019 via DYING VICTIMS, AGGRESSIVE PERFECTOR’s Havoc at the Midnight Hour debut album introduced this British power-trio with no small amount of sleazy, Satanic fanfare. While their background may jointly lie in black metal, the three un-gentlemen of AGGRESSIVE PERFECTOR held high heavy metal done the ancient way: classic Tank, early Raven, Warfare, and of course the almighty Venom as well as modern torchbearers like Midnight, Whipstriker, and Power From Hell. Unsurprisingly, the album garnered international acclaim. Eclipsing that feat is the band’s second album, Come Creeping Fiends.

Truly titled once again, Come Creeping Fiends comprises nine tracks of heavy metal for the insane, forged in the Manchester morgue. Raging like a ravenous beast, summoning ancient ones, and agonizing with morbid doom, AGGRESSIVE PERFECTOR cover a lot of ground here, but like the rotting undead that inspired it, this second album somehow holds together. The same black magic that made Havoc at the Midnight Hour a highlight six(-six-six) years ago is here again, only this time with a higher kill count and hit rate. Cleaner and crisper in execution but somehow darker and dirtier in its content, Come Creeping Fiends offers highlights at every crooked turn; tunes like “Strange Companion,” “Fiend in You,” and lead track “Dead Undead” will have all the witches dancing. Needless to say, fans of maniacal, EVIL heavy metal music and horror movies will find a lot to love. The wait for AGGRESSIVE PERFECTOR’s second album might have been long, but Come Creeping Fiends will prove to be worth it…

Mit 30 eindrucksvollen Tracks laden Svein Berge und Torbjørn Brundtland die Hörer:innen auf eine klangliche Reise ein, die tief in atmosphärische Klangwelten eintaucht. Das Album, eine Hommage an das Ambient-Genre, verbindet hypnotische Texturen, subtile Melodien und immersive Soundscapes, die den Geist beruhigen und gleichzeitig inspirieren. Als Erweiterung ihrer gefeierten Profound Mysteries-Reihe beweist Nebulous Nights einmal mehr Röyksopps unerschöpfliche Kreativität und ihr Gespür für emotionale Klangkunst. Röyksopp: "Analoge, rohe und immersive Klänge. Das ist „Nebulous Nights“ – eine ambient hafte Neuinterpretation unseres Albums „Profound Mysteries“. Live aufgenommen, fängt diese After-Hours-Session die Essenz von Nostalgie und Verweisen ein: Huldigungen und Anspielungen, die auf verschiedene Elemente des Röyksopp-Kosmos zurückgreifen. All das ist sorgfältig in eine esoterische Hülle gewickelt, durchzogen von analoger Wärme und voll kleiner Details, die aufmerksame Hörer:innen entdecken können. Doch „Nebulous Nights“ ist mehr als ein reines Hörerlebnis: Das Album möchte die Bedeutung von kritischem Denken und neugierigem Nachforschen hervorheben. Es lädt dazu ein, die eigene Vorstellungskraft und das Streben nach Erkenntnis nicht durch ein festgelegtes Weltbild oder starre Denkweisen einzuschränken, sondern offen für Wachstum und Erkundung zu bleiben. Diese Idee wird perfekt durch ein Zitat von Albert Einstein zusammengefasst: „Das Schönste, was wir erleben können, ist das Geheimnisvolle. Es ist die Quelle aller Kunst und Wissenschaft. Wer diese Empfindung nicht kennt, wer nicht mehr staunen und sich in Ehrfurcht verlieren kann, der ist so gut wie tot – seine Augen sind geschlossen.“

Für ein vollständiges, intensives Erlebnis empfehlen wir, das Album mit Kopfhörern zu hören. "

Rami Gabriels zweites Album ,Tunderizer" bringt den harten Experimentalismus des Post-Punk-Industrial in die gemütliche Atmosphäre von zu Hause. Wie Schatten, die durch Spiegel huschen, verdeckt ein Mix aus Lo-Fi-Noise-Art und Feldaufnahmen das super abgestimmte Songwriting. ,Tunderizer" rockt in allen Bereichen, von mitreißenden Melodien bis hin zu dekonstruktivem Rauschen, von Country bis Tarab, von Skronk bis Delta Blues. Der in Beirut geborene Rami Gabriel ist Komponist und Songwriter und spielt Oud, Buzuq und Gitarre. Er lernte Blues und Jazz, indem er mit legendären Musikern aus Chicago auftrat und diese Musikstile mit arabischen Traditionen verband. Rami tritt häufig in Nordamerika und international auf, unter anderem in Europa, Indien, der Türkei, dem Libanon und Ghana. Kürzlich spielte er beim Portland Jazz Festival, dem NYC Arab Festival und dem Festival International De Louisiane. Rami leitet die in Chicago beliebten Bands The Arab Blues und das R&B-Quartett Rami & the Reliables. Er stand schon mit Größen wie Buddy Guy, Zakir Hussein, Bela Fleck, Edgar Meyers und Rakesh Chaurasia auf der Bühne. Er war Vorband für den britischen Songwriter Nick Lowe und nimmt regelmäßig mit Mitgliedern der amerikanischen Rocklegenden NRBQ auf. Außerdem stand er schon mit Prostitute, Marvin Tate und anderen Punk- und Noise-Künstlern auf der Bühne. Seine Musik wurde von experimentellen Künstlern wie Fire-Toolz, Beau Wanzer, Sen Morimoto, Lynyn, k-rAd und Alex Hall von Reliable Recorders aus Chicago remixt.

Blau-weiße Corona-Vinyl Doppel-LP im Klappcover. Ursprünglich 2017 rausgebracht und jetzt zum ersten Mal in Europa über Sub Pop erhältlich! Pure Comedy, das dritte Album von Father John Misty, ist eine komplexe, oft sarkastische und ebenso oft berührende Reflexion über die verwirrende Torheit der modernen Menschheit. Father John Misty ist das Projekt von Singer-Songwriter Josh Tillman. Wir könnten viel über Pure Comedy sagen, zum Beispiel, dass es ein mutiges, wichtiges Album in der Tradition amerikanischer Songwriting-Größen wie Harry Nilsson, Randy Newman und Leonard Cohen ist, aber wir denken, es ist am besten, wenn sein Schöpfer es selbst beschreibt. Los geht's, Mr. Tillman: Pure Comedy ist die Geschichte einer Spezies, die mit einem unvollständig entwickelten Gehirn geboren wurde. Die einzige Überlebenschance dieser Spezies, die sich auf einem grausamen, unberechenbaren Felsen wiederfindet, umgeben von anderen Spezies, die in dieser ganzen Sache viel geschickter zu sein scheinen (und für die sie eine Delikatesse sind), besteht darin, sich auf andere, etwas ältere, halb ausgebildete Gehirne zu verlassen. Diese Abhängigkeit bekommt im Laufe der Geschichte verschiedene Namen, wie ,Liebe", ,Kultur", ,Familie" usw. Mit der Zeit und da sich ihre Gehirne als bemerkenswert gut darin erweisen, Bedeutung zu erfinden, wo keine ist, wird die Spezies zum Lieferanten immer bizarrerer und raffinierterer Ironien. Diese Ironien sollen helfen, mit der abscheulichen Verletzlichkeit der Spezies fertig zu werden und zu versuchen, ihre Fantasie mit der Monotonie ihrer Existenz in Einklang zu bringen. So in etwa. Pure Comedy wurde 2016 in den legendären United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, Kalifornien, aufgenommen. Produziert wurde es von Father John Misty und Jonathan Wilson, die Tonarbeit übernahm Mistys langjähriger Tontechniker Trevor Spencer und die Orchesterarrangements stammen vom bekannten Komponisten und Kontrabassisten Gavin Bryars (bekannt für seine umfangreichen Soloarbeiten und seine Zusammenarbeit mit Brian Eno, Tom Waits und Derek Bailey).

Mats Gustafsson met Jan St. Werner in Berlin when they both performed with Peter Brötzmann and a group of prolific improvisers. Mats and Jan share a passion for performing not just inside rooms but also with them, activating space and shaping sound via divertion. Mats introduces Johan Berthling who adds complex bass structures to the nervous jitter of Mats’ saxophone & pedals and Werner's digital machinery.

The trio instantly agrees on sound as a physical material which can bend and move anywhere within seconds. With this material they establish musical forms which they immediately dissect and reassemble again. It’s a nervous ride, a hyperactive conversation keen on detail and open to argument. Although IFANAME’s sound is instantly graspable it is also hard to pin down. Nothing seems stable yet it lasts, holds like some kind of catchy glue and disssapears as quickly as it came to life. IFANAME is question and concern. It is music as much as it is movement. It is attention, care, curiosity and disaster. Wherever IFANAME came from there is much more waiting ready to burst and reshape in front and inside of our ears.

From the windswept streets of Edinburgh comes a sound that gallops wild through the night — equal parts jungle heat and Highland haze. Los Chichanos, a fiercely multicultural collective formed in 2021 under the spirited direction of guitarist Sandino Borges. Never ones to wait for an invitation, the band have carved out a scene of their own in Edinburgh, a home for tropical rhythm and nocturnal joy amid Scotland’s long dark nights. Their devotion to the electrifying pulse of Peruvian tropical music, cumbia and chicha, intertwined with Afro-Latin rhythms and vintage psychedelia runs deep.
Add the soul Cuban son, the swing of Brazilian grooves and a hint of spaghetti western melodrama, and you begin to hear the distinct voice of Los Chichanos. Caballo Salvaje gallops forward with fuzzed- out guitar, echo-drenched organ, and the untamed spirit of the Andes. Cumbia de la Noche was written during a harsh winter season when daylight became a distant memory.

Der US-amerikanische Musiker Anjimile Chithambo (ann-JIM-uh-lee) hat sich in den vergangenen Jahren als eigenständige Stimme etabliert. In der Indie-Szene Bostons bekannt geworden, entwickelte er einen persönlichen, ehrlichen Stil, der Spiritualität, Identität und Nähe miteinander verbindet. Mit dem gefeierten Album "Giver Taker" (2020) setzte sich Anjimile mit Zugehörigkeit und Selbstverständnis auseinander. "The King" (2023), sein erstes Album auf 4AD, thematisierte Selbstbestimmung und seine Erfahrungen als schwarze Trans-Person in einer Zeit tiefgreifender persönlicher und gesellschaftlicher Veränderungen. Diese Themen führt Anjimile auf seinem neuen Album "You"re Free to Go" weiter. Im Mittelpunkt steht die Frage, was geschieht, wenn man Kontrolle loslässt und neue Formen von Bindung und Freiheit zulässt. Das Album verarbeitet Trennungen, neue Beziehungen, Verluste und Neuanfänge und beschreibt einen Weg zurück zu Vertrauen ins eigene Leben. Der Titel spiegelt eine offenere Sicht auf Beziehungen wider, geprägt durch Erfahrungen mit non-monogamen Modellen. Produziert von Brad Cook (Bon Iver, Waxahatchee) und unterstützt von Gästen wie Sam Beam (Iron & Wine), entfaltet sich "You"re Free to Go" organisch und intim. Musikalisch verbindet Anjimile Folk mit Alternative-Pop-Einflüssen der späten 1990er-Jahre. Auch stimmlich zeigt er sich weiterentwickelt - eine bewusste Veränderung, die der emotionalen Tiefe des Albums zusätzliche Kraft verleiht.

2026 Repress


Another Thought was the first collection of Arthur Russell’s music to be released after his death in 1992. Released in 1993 on Point Music it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With revisits this first compilation for a new gatefold double vinyl version and a triple-fold digipak CD reissue.

Both versions of Be With’s 2021 reissue of Another Thought have been mastered by Simon Francis and the vinyl cut by Pete Norman. The original artwork has been restored and tweaked at Be With HQ for the gatefold sleeve and the triple-fold digipak, with the essential help of Janette Beckman. Each version comes with an insert reproducing the liner notes and lyrics from the original CD release.

Together with Calling Out Of Context, Soul Jazz’s World of Arthur Russell, and much of the ongoing work of Audika, Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact we’d argue it’s essential for any fan of non-obvious pop music. This is the only place where you can hear some of Arthur’s most recognisable tunes and it’s an album that absolutely deserves to be kept in press.


We’ll assume that by now you’re all at least a little familiar with the story of Arthur Russell, the farm boy from Iowa who moved to 1970s New York. Arthur Russell the genuine musical genius who died just 40 years old, leaving behind a wealth of music that dwarfed the few 12"s and LPs that were released during his short life.

Although Arthur had been working on an album for Rough Trade during his last years, with the label no-longer operating it was Point Music (Philip Glass and Michael Riesman’s label set up together with Philips) who stepped in to help Arthur’s partner Tom Lee start working out exactly what Arthur had left behind.

Tom suggested that Arthur’s friend Mikel Rouse was the right person to make the first catalogue. Working in Tom and Arthur’s apartment he had only two weeks to go through what turned out to be around 800 tapes.

As Tom explained “at the end of each day he would generally wait for me to come home and I would, to the best of my knowledge, name and identify pieces in question from that day’s work. As he worked Mikel compiled about a dozen cassettes that he thought would present the most finished sounding songs for Don/Point to use. As Don listened he would then suggest and ask me and thus we collaborated on the choices.”

Don is Don Christensen, Another Thought’s producer. With a final selection of songs from recordings made between 1982 and 1990, including sessions with some of Arthur’s regular collaborators Peter Zummo, Steven Hall, Mustafa Ahmed, Elodie Lauten, Julius Eastman, Jennifer Warnes and Joyce Bowden, it was then Don’s job to turn these into a finished album.

Another Thought is a little different from the compilations of Arthur’s music that came out since. In our conversations with Steve Knutson (who founded Audika Records and who manages Arthur’s estate together with Tom), he explained that “more than any project released by Arthur during his lifetime or posthumously by Audika, ‘Another Thought’ is the most worked over. The material was significantly edited and rearranged from the original source tapes”.

If the aim was to release a comprehensive exploration of every facet of Arthur’s music, from the most avant-garde of his avant-garde compositions through to the most disco-not-disco of his disco-not-disco tunes then the project was a spectacular failure. But as a coherent album of non-obvious pop music Another Thought is wonderful.

Starting with the sparse voice-and-cello of the title track, A Little Lost adds some guitar along with the sneaking suspicion that we’re listening to something nowhere near as simple as it first sounds. By the time we get to This Is How We Walk On The Moon - it could be the moment you notice the congas, or the percussion that’s been building behind them, or maybe it’s that blast of trumpet and trombone - we realise we’ve gone from splashing around to being completely submerged in the musical world of Arthur Russell.

From here the album heads off on its journey around the sounds of the left-field contemporary classical music of the time, re-directed towards pop ears, with minor detours through the swirling woozy disco of the half-remembered night before on In The Light Of The Miracle and My Tiger, My Timing. Whether it’s just Arthur, his cello and some bleeps on Just A Blip, or whether he has some vocal help as he does on the bounding Keeping Up, this is difficult music made so, so easy. And through it all is Arthur’s voice and cello. Sometimes drowned in distortion and sometimes clear as a bell, but always there somewhere.

A Sudden Chill finally returns us to the calmer waters we started in and this last track closes the album with a melancholy that’s not surprising given how soon after Arthur’s death the album was put together.

Whilst Another Thought holds together with the consistency of a proper album, there’s still no getting away from the fact that this was put together from audio recorded in different ways, in different places, with different people at different times. Those with keen ears will hear traces of tape hiss, the occasional blown-out note and some digital fuzz, all fingerprints of those original recordings as well as of the 1990s digital equipment that was used to piece Another Thought together.

Add to this Arthur’s obvious pleasure in making music from the sort of sounds that can make microphones, speakers and ears uncomfortable, it’s no surprise that Another Thought isn’t glossy and pristine. Don Christensen’s productions have been careful to not scrub up those original recordings so much that they lose their original vibe, understandable given that Arthur wasn’t around as a guide. We’ve applied a similarly light touch with the mastering for these Be With versions, just working to make sure they sound like they should on both the vinyl and the CD.

Despite the Discogs rumours, Another Thought was never originally released as an LP. So when it came to the sleeve for this Be With vinyl version we took the original CD artwork as a starting point to come up with something that looks like it could have been in the record racks back in 1993.

We have to thank Janette Beckman for helping us reproduce her iconic photograph of Arthur in his newspaper boat hat. One of many photographs she took of Arthur, Janette shot this in her New York studio back in 1986 for a short article in the January ’87 issue of The Face Magazine. Those with eagle-eyes will notice we’ve used an ever-so-slightly different shot from the one that appeared in The Face and then again on the original cover of Another Thought. The original has long since been lost so we’ve worked with what is left in Janette’s archives. And we also have to thank Tom Lee for giving us permission to reproduce his liner notes from the original CD booklet, together with Arthur’s lyrics.

Figure Study is the Manhattan-based duo of Nathan Antolik and April Chalpara. They formed in 2009, after meeting through the Wierd Records weekly party, where they would play their first concert soon after. While their debut 7" contained two songs recorded in 2009, this full length contains all new material recorded throughout the past year.

For their debut self-titled album, Figure Study utilizes a carefully tailored set up of vintage analog synthesizers and drum machines. Figure Study creates a lush sound where haunting vocals echo over dark melodies that reflect an isolated and disintegrating world. Songs flux between dissonant dance numbers and more sparse, somber compositions, each carrying a sense of urgency and modernism. Figure Study's sound includes influences from such early underground artists as Kirlian Camera, Nine Circles, and The Actor.

The album was recorded in their small Chinatown studio using a sparse set-up of analog synthesizers, drum machines and sequencers. It was mixed at The Wave Lab in Brooklyn by AJ Tissian and mastered for vinyl at Fantasy Studios in Berkeley by George Horn. Each LP is packaged in a specially designed jacket and includes an insert with lyrics. Figure Study draw their own model using shapes and forms from the synthetic landscape.

Die Indie-Folk-Ikone Sam Beam, auch bekannt als Iron And Wine, bringt ein neues Studioalbum raus, das voll mit wunderschöner, natürlicher Americana ist, darunter zwei Kollaborationen mit dem weiblichen Folk-Trio I'm With Her. „Ich wollte schon immer diesen Titel verwenden", sagt Sam Beam über „Hen's Teeth“, sein achtes Album in voller Länge und sein sechstes für Sub Pop Records. „Ich liebe ihn einfach. Für mich steht er für das Unmögliche. Hühnerzähne gibt's nicht. Und genau so fühlt sich dieses Album an: wie ein Geschenk, das es eigentlich nicht geben dürfte, aber doch da ist. Eine unmögliche Sache, aber sie ist real."



„Hen's Teeth“ und sein vorheriges Album „Light Verse“ sind so was wie Geschwister. Sie wurden während derselben Sessions nach einer einjährigen Pause mit derselben Band im Waystation Studio in Laurel Canyon aufgenommen. „Wenn ich gerade richtig in Schreiblaune bin und die Band mich dort abholt, wo ich gerade stehe, treiben sie mich zu etwas, das ich mir nicht hätte vorstellen können. Ich bin an einem Punkt in meinem Leben, an dem Spontaneität für mich viel wichtiger ist. Ich muss nicht mehr so viel beweisen wie früher. Ich bin viel freier und liebe es mehr denn je, Musik zu machen. Es gibt keine richtigen oder falschen Antworten. Man betet einfach um Glück und gibt sein Bestes." In diesem Fall wurden die Gebete erhört und das Glück schlug voll zu. Die Musiker fanden so schnell zueinander und inspirierten sich gegenseitig so sehr, dass sie Songs oft in nur wenigen Takes aufnahmen, manchmal zwei oder drei pro Tag. Die beiden Alben können daher als zweieiige Zwillinge betrachtet werden: Sie teilen sich die DNA und ergänzen sich, haben aber unterschiedliche Identitäten und zeichnen sich ebenso durch ihre Unterschiede wie durch ihre Gemeinsamkeiten aus. Die Welt von „Hen's Teeth“ ist erdiger, dunkler, robuster und greifbarer als die von „Light Verse“. Die Songs haben Titel wie “Roses", “Robin's Egg", “Dates and Dead People" und “Singing Saw". “Run into the one you love forever / Laugh into each other's empty mouth", singt Beam in “Roses", dem ersten Titel des Albums. Es ist einer von mehreren Songs, in denen Liebende so tief miteinander verbunden sind, dass sie physisch verschmelzen. “Paper and Stone" erinnert daran: “But for the time we fell in two / You'd be me and I'd be you / One crust of bread could fit in our mouths / You'd breathe in and I'd let it out." Und in “In Your Ocean" finden wir Beam betend: “Praying for dry ground / Though I only want to drown / When I find myself swimming in your ocean".

Mal Devisa is the songwriting, liberation, and poetry project of multifarious artist Deja Carr. Starting in 2014 and breaking through with 2016's Kiid, Mal Devisa's work spans a selfmade spectrum of sound from gravitic, soulful rock to soliloquy to unabashed hip hop. Although known for her unmistakable, smoldering voice and loop-based, bass-forward compositions, Carr's talents also extend to reaches of spoken word and production, paralleled by aspirations to start both a youth foundation and Afrobeat orchestra. Such boundless inspiration is a central facet of Mal Devisa's work, whose sonically and narratively unrestrained passages teem with empathy and liberatory visions for a better world.

Vic Bang's "Oda" arrives quietly - it was waiting for the right moment. The eight tracks are shaped by listening, by circling around sound instead of chasing it... you can definitely hear patience in the pacing, a willingness to let ideas linger, to let all the small motifs breathe.

The album moves with a softer and more deliberate rhythm than much of Vic's earlier work, as the sound world here feels concentrated and cohesive, built from a limited set of elements that gradually reveal themselves. Melodies unfold without too much fuss, textures repeat and mutate very subtly and the whole record holds together like a single extended thought.

The title Oda - or "ode" in English - hints at devotion, but not in any grand or ceremonial way. These pieces seem devoted to sound itself: to tone, to gesture, to fragile and simple musical forms. There's a gentle melancholy running through the album, but also clarity, even tenderness. Each track is dedicated to something - a timbre, a rhythm, a resonance - living up to the title's etymology.

All Music composed by Victoria Barca in Buenos Aires, Argentina, between 2024 and 2025.

Saxophone (3) by Camila Nebbia
Vocal samples by Catu Hardoy and Nicolás Said
Cello samples by Gabriela Areal

Mastered by Adam Badi Donoval

Front cover relief "Endulzando el oído" by Victoria Barca
Back cover photo by Indira Seoane
Design and layout by Paulina Ufnal and Janek Ufnal

Dharmacide is a Spanish band known for their eclectic fusion of genres, blending elements of shoegaze and dreampop music. Their sound is marked by intricate guitar riffs, powerful drumming, and deep, emotive vocals that create a unique atmosphere under the influence of today's bands like Diiv, Warpaint or Beach House but also by classic artists like Cocteau Twins, Nick Cave and the Bad Seeds or Tom Waits. The band, with members of Alcalá Norte and Depresión Sonora, has made a huge impact on various stages, performing at renowned venues and festivals, including iconic spots in their home country as well as internationally, earning praise for their high-energy performances and thoughtful compositions. Their latest singles have been produced, mixed and mastered by Mark Gardener from Ride. 'The Cigs, The Light, The Coffee and Crying' is the first single taken from their awaited soon-coming second album in which we find a powerful reverb-laden riff with a solo vocal melody in the middle of the chaos until breaking into a powerful chorus.

The fourth edition in the label’s compilation series brings together an almost entirely new cohort of ten artists from across the globe. Personal means of expression are archived side by side, coming to light in the form of sparse amorphous percussion, layered voices, restless arpeggios and undulating, heavily filtered soundscapes.

All digital and physical proceeds from this edition go towards Medical Aid For Palestine and the Lebanese Red Cross.

Mastered by Kinn. Design by Severin Black.

At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track ‘Unidos’ alongside Sofia Kourtesis), he dropped ‘Sad Piano House’. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry’s ‘Cloudy’ and its subsequent Kelbin remix, something in that song’s makeup having a profound effect when played on dancefloors by Snaith and countless others. ‘Sad Piano House’ deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly’s lead single ‘Waiting So Long (feat. Caribou)’. An unlikely duo - in that both artists are the same man, Dan Snaith - ‘Waiting So Long’ is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It’s simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.

Daphni music has always been Snaith’s way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like ‘Clap Your Hands’ which picks up the energy of ‘Sad Piano House’ and flips it, exposing the gritty and intoxicating underbelly of Snaith’s hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile ‘Hang’’s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. ‘Lucky’ is squirmy and elusively intoxicating, ‘Invention’ skitters down meandering, inviting corridors, ‘Talk To Me’ grumbles and broods in the murk, and ‘Miles Smiles’ could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.

One such club is a good microcosm for the ethos of Butterfly as a whole. “Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany.” Snaith recalls, “It’s kind of, in one sense, the platonic ideal of the kind of club I’d want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don’t get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that’s still most interesting to me.”
This is the feeling that’s most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that – the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith’s bow, exhilaratingly human and unified by one singular concept – simple and joyful exploration.

Jennifer Touch release her next LP 'Aging at Airports' on Fabrika Records. The idea for the record title came before the music even existed as Touch was spending an increasing amount of time in airports while touring. In her own words: "It felt like I waste a large part of my life waiting for the next show to come, to entertain and perform my music and build timeless moments with others. This waiting, the slowly ticking time at the gate, was in complete contrast to what I want to do as an artist: to be in flux, to create things that will last forever. The airport, as a busy hub, was like a symbol of this ambivalence. And a reminder: every second, whether waiting or on the move, I have to accept that I am fading, that my creative power, my face, and my body are fading. As a (performing) artist, everything feels like a strange contrast. While you want to stay true to yourself and speak authentically from the soul, you are also expected to appear forever young, and powerful. Artists are often wanted to distract people, but creating this art forces me to confront my own transience. I feel the struggle to fit into this powerful artificial framework that the world has set and the desire to break free from it."

You don’t need to be Freud to regard teeth as a delicate issue. They can make joy look joyous and pain look painful, and on the cover of the new múm album they do both at the same time. As »Yesterday Was Dramatic – Today Is Okay« (2001), »Finally We Are No One« (2002) and »Sing Along To Songs You Don’t Know« (2009) »Smilewound« is another example of the band’s art of juxtaposing two conflicting meanings and taking advantage of the energy created through the tension between both.

Sparser in sound than many of its predecessors, »Smilewound« is an airy, relaxed record. The múm-core-duo of Örvar and Gunni doesn’t make you laugh out loud (except maybe for the quirky vintage Arcade-sound-start of »When Girls Collide«), but it will make you smile often - despite the heavenly voices singing about violence in one form or another in most songs. Musically, múm’s capability to build playful electronic sound-ornaments around simple melodies is in full bloom. And these days they know that trimming the ornamentation can strengthen the melody. Take »The Colorful Stabwound«: an aguish drum’n’bass piece and »Smilewound« gets close to a straight pop-song. Even that isn’t very close, but it combines its rhythmic strength with a simple yet effective piano-line and the soothing lushness of a female voice to something compelling that follows you like the smell of a delicate eau de toilette. Or »Candlestick« which started out as a little ditty strummed on an acoustic guitar many years ago and has grown into this bouncy piece of synth-pop that changes its musical colours every couple of beats until you feel comfortably dizzy. Perfect pop in very fancy clothes. No wonder that antipodean pop-princess Kylie Minogue wanted to collaborate with múm on the »Whistle«, the main song in 2012-movie »Jack & Diane«.

Recorded in, among other places, the band’s practice-space, an old baltic farmhouse and on the kitchen-table after dinner, the album was produced by múm themselves. And being the revolving collective they are, it comes as no surprise that we see the return of former member Gyda. Defining satellites as part of the core fits nicely with the band’s penchant for ambivalence - in fact that's part of the album's charm.

Water can retain or wash away memory; flowing or freezing. It gives life and shapes earth, while frozen imprints of an ancient past are waiting to melt – back into sound or fluid motion, or simply to dissipate and disappear. For their split release, Yoichi Kamimura and Olli Aarni offer two distinct reinterpretations of a performance recorded live at the Temppeliaukio Kirkko – a church in Helsinki built directly into solid rock and bathed in natural light – meditating on glacial landscapes and water cycles, using shared field recordings that bifurcate into two sonic visions of “ice journey”.

Yoichi Kamimura’s extensive recordings formed the bedrock of the original performance, notably from time spent on Suomenlinna Island just outside Helsinki in 2021, aiming to capture the remnants of the glacial movements that formed the area’s geology. Elsewhere, the voices of ringed seals, underground waterways of Kyoto, and icy rivers in Lapland from Kamimura’s library float in as well. “The small, charming, and gentle islands floating in the Baltic Sea—some with little cottages and restaurants—reminded me of the drifting ice in the Sea of Okhotsk between Japan and Russia,” describes Kamimura. Fragments of a Christmas choir creep in too, recorded at the church on Suomenlinna Island. Titled Kōri no ryokō , Kaimimura’s reinterpretation of the performance emphasises a shared future across all icy sea regions of the world: thawing ancient memories and the threat of disappearing entirely.

On Jäämatkailu, Olli Aarni presents his own expansive reworking of the same source material, heavily processed alongside his own field recordings from Vantaanjoki river and Suontee lake in Finland. “I was thinking about the processes of erosion, water carving rock, the prehistoric glaciers over the landscape in my own environment,” explains Aarni. The soundscape hums with both intimate details and macrocosmic flow, and a submersible bass rumble hinting at an iceberg far below the tip, morphing at time scales beyond human comprehension.

Side A is composed by Yoichi Kamimura using field recordings of drift ice (Shiretoko, Hokkaido, 2019–2022), the Lake Biwa Canal (Kyoto, 2020), the Therme Vals baths (Vals, 2017), spring water (a fountain next to Saint Benedict Chapel, 2017), a Christmas choir (Suomenlinna Church, Helsinki, 2021), ice in the Juutuanjoki River (Inari, 2021), and recordings from Yoichi’s and Olli’s concert (Temppeliaukion kirkko, Helsinki, 2021), KORG iPolysix, and KORG minilogue xd.

Side B is composed by Olli Aarni using the aforementioned sounds + field recordings of the river Vantaanjoki and the lake Suontee, sampled sounds, and a computer.

The Coasters were, in the opinion of noted rock writer Dave
Marsh, ‘the funniest group in rock’n’roll history’, while author and
historian Arnold Shaw described their music as ‘ebullient,
energising, entertaining, expressive and danceable.’ High praise
indeed - and as this album confirms, well deserved. the
Coasters’ songs are more famous than the group themselves.
Their music will endure forever, a fact underlined by the
Broadway-staged musical revue Smokey Joe's Café that
received seven Tony nominations and won a Grammy Award.
The Coasters’ hits were a large part of the score.

Somewhere between jazz, progressive rock and cinematic soundscapes, Kabasse unfolds a world of intricate arrangements, bold sonic textures and heartfelt improvisation. The brainchild of Munich-based musician Sigmund Perner (also member of Carpet), this sextet blends composed structure with free exploration, layering lush harmonies, unexpected rhythms and a rich palette of wind, mallet and keyboard instruments. What began as decades of musical ideas-gathered quietly, never written down-found its shape through a group of close-knit musicians from Munich and Augsburg, including Perner's own son on drums. Together, they recorded in a live studio session, embracing risk and spontaneity. The result: a deeply personal debut album that feels both mature and raw, contemplative and gripping. Rather than demanding attention, the pieces invite it: About Sitting on Fences captures the art of waiting-for ideas to grow, evolve and resonate. Just like the name Kabasse, inspired by the calabash: a vessel, a resonator, a home for sound.

Der Spoken-Word-Künstler Dan Whitlam, eine der überzeugendsten neuen Stimmen aus GB, balanciert auf der 14-Track-Odysee "Strangers (Again)", seinem Debütalbum, gefühlvolle, klavierbetonte Momente und gebrochene Beats mit seiner charakteristischen Mischung aus lyrischer Ehrlichkeit und melodischem Feingefühl. So entsteht ein intimer wie auch weitläufiger Sound. Mit Gastfeatures von Raphaella, Tamzene, Saphire & Jordan Akampa fängt die LP die Dualität seiner Arbeit ein, wenn poetisches Geschichtenerzählen mit zukunftsweisender Produktion kontrastiert. Jeder Track reflektiert Verbindung und Distanz und verwebt Momente emotionaler Tiefe und Entspannung. Im Okt./Nov. 2025 startet(e) Whitlam seine bisher größte Headliner-Tour, mit ausverkauften Konzerten in Köln & Berlin, die ein intensives Erlebnis verspricht, wenn Grenzen zwischen Poesie, Soul und zeitgenössischer Musik verschwimmen. Der Londoner feiert Millionen TikTok- & Instagram-Aufrufe und wird von Künstlern wie Fred Again & Arlo Parks sowie Modemarken wie Hermes & YSL unterstützt.
















[o] B8. Interlude - 3 Lives [vinyl exclusive]

Der Spoken-Word-Künstler Dan Whitlam, eine der überzeugendsten neuen Stimmen aus GB, balanciert auf der 14-Track-Odysee "Strangers (Again)", seinem Debütalbum, gefühlvolle, klavierbetonte Momente und gebrochene Beats mit seiner charakteristischen Mischung aus lyrischer Ehrlichkeit und melodischem Feingefühl. So entsteht ein intimer wie auch weitläufiger Sound. Mit Gastfeatures von Raphaella, Tamzene, Saphire & Jordan Akampa fängt die LP die Dualität seiner Arbeit ein, wenn poetisches Geschichtenerzählen mit zukunftsweisender Produktion kontrastiert. Jeder Track reflektiert Verbindung und Distanz und verwebt Momente emotionaler Tiefe und Entspannung. Im Okt./Nov. 2025 startet(e) Whitlam seine bisher größte Headliner-Tour, mit ausverkauften Konzerten in Köln & Berlin, die ein intensives Erlebnis verspricht, wenn Grenzen zwischen Poesie, Soul und zeitgenössischer Musik verschwimmen. Der Londoner feiert Millionen TikTok- & Instagram-Aufrufe und wird von Künstlern wie Fred Again & Arlo Parks sowie Modemarken wie Hermes & YSL unterstützt.
















o B8. Interlude - 3 Lives [vinyl exclusive]















[o] B8. Interlude - 3 Lives [vinyl exclusive]

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

,Dirt Buyer III" fängt mit einem Song über Sport an. "Baseball/ Is somethin'/ I'll never get, but I/Sleep on it/ Wake up/ And try again", singt Joe Sutkowski zu einer zunächst langsamen, dann dröhnenden verzerrten Gitarre. Aber natürlich weiß jeder, der mit der emotionalen Tiefe der Musik von Dirt Buyer vertraut ist, dass Sutkowski nicht einfach nur über Amerikas Lieblingsfreizeitbeschäftigung singt. ,Es geht darum, mit bestimmten Erwartungen aufzuwachsen und sich an sie zu halten, nur weil man gesagt bekommt, dass man das tun soll", erklärt Sutkowski. ,Der Song handelt davon, Autonomie und Unabhängigkeit zu erlangen." Gleich zu Beginn kehrt Dirt Buyer III zu den Ursprüngen zurück, zu den in der Kindheit fest verankerten Brüchen, um ein Album zu schaffen, das von da an ein viszerales Dokument der Bewältigung derselben Prüfungen im Erwachsenenalter ist. Als ,Dirt Buyer II" 2023 erschien, hatte es bereits drei Jahre lang in der Schublade gelegen. Zu diesem Zeitpunkt hatte Sutkowski bereits alle Songs für ,Dirt Buyer III" geschrieben, während einer besonders turbulenten Phase seines Lebens. Anstatt wie früher die für ein Album notwendige Anzahl an Songs zu schreiben und dann direkt ins Studio zu gehen, hatte er hier mehr als zwei Dutzend Tracks angesammelt. Nur wenige Wochen, nachdem "II" veröffentlicht worden war, nahm Sutkowski "III" auf. ,Ich war so bereit, etwas anderes zu machen", erklärt er. Er war bereit, diese Jahre hinter sich zu lassen. Genauso wie es einen klanglichen Sprung von den selbstgemachten Aufnahmen von "Dirt Buyer" zum moderaten Studio-Polish von "Dirt Buyer II" gab, hat Sutkowskis Musik zwischen den Alben wieder eine logische, aber substanzielle Entwicklung durchlaufen. Das Grundgerüst ist dasselbe: zerklüftete Akustikgitarren, elektrische Riffs, die mal herbstlich, mal bissig und übersteuert klingen, Schlagzeug, das mit dem selben verzweifelten Tempo vorwärts taumelt, mit dem Sutkowski diese Jahre durchlebt hat. Und dann seine Stimme über allem: klagend, sich windend, manchmal brüchig und manchmal voller neuer Kraft. Getragen von den soliden Strukturen dieser Songs und einer kraftvolleren Produktion präsentiert Dirt Buyer III die bisher vollendetste und eindringlichste Version von Sutkowskis Sound. Im Oktober 2023 traf sich Sutkowski mit seinen Freunden Hayden Ticehurst und Chris Cubeta im Brooklyn Studio G. Er zeigte ihnen alle Demos, und gemeinsam wählte das Trio die ,stärksten Stücke aus der Reihe" aus, wobei sie sich auf die 11 Kompositionen konzentrierten, die auf "III" zu hören sind. ,Wir wussten, welche Songs es werden würden, und haben uns direkt an die Arbeit gemacht", sagt Sutkowski. Trotzdem nahmen sie sich Zeit, um alles genau richtig hinzubekommen, und verteilten die Aufnahmen, das Abmischen und die letzten Feinheiten über ein ganzes Jahr. Das Ergebnis ist ein Dirt Buyer-Album, auf das Sutkowski so stolz ist wie nie zuvor. Er sagt: ,Es spiegelt am besten wider, wo ich als Songwriter gerade stehe ."

Haf is the third album from Carwyn Ellis & Rio 18 in little over a year, no mean feat in and of itself but especially considering Carwyn’s work with other artists (including Edwyn Collins and the North Mississippi Allstars) this year too.

The album picks up where their last (Fontana Rosa) left off, with around half the album being recorded analog to tape at Gizzard Studios in London, with one last tune remaining from their sessions at the legendary (but now closed) Toerag Studios.

There are echoes here of their first album, Joia! - the recordings were once again instigated by the great Brazilian producer and multi-instrumentalist who happened to be visiting London earlier in the year. He suggested doing something.... so they did. And there is a return to more definite Brazilian influences too - Tonnau Ar Tonnau is an homage to ‘Onda’ by Cassiano, Keep On Smiling has a distinct samba / chorro feel. Gwenyn y Gwanwyn (about helping a bee out if you see it struggling) is very much a nod to the psychedelic samba funk of Antonio Carlos e Jocafi. But other Latin styles still loom large: on the sultry salsa of Bella Estrella or the melancholic Andean ballad, Lagrimas Frias.

Anglo-Brazilian singer Nina Miranda features on the Lalo Schifrin goes samba Shades of Red, while new addition to the Rio 18 family (at least on record), Miriam Isaac adds a real RnB edge to the record, along with some beautiful duets: the Salsoul banger Como Te Amo and the gorgeous Whistling Sands (about a beach in North Wales) are standouts.

In reverse to how Carwyn made the first two Rio 18 albums, Haf was recorded in London
and Wales and mixed over five hectic days in Rio. Three days later, it was mastered and at
the pressing plant. Time doesn’t wait for Carwyn Ellis & Rio 18!!

Finally, the song ‘Haf’ and the album itself are dedicated to Haf Morris, Carwyn’s late music teacher - he says, “her focus, guidance and patience shaped me like no other. I hope she’s enjoyed my musical journey, from wherever she’s watching. Diolch, Haf”.

2024 Repress

One of the defining releases on Large Music gets a special re-issue after a 16 year wait. Considered by many to be one of the top 3 packages in the early Large catalog, this EP set the trajectory for what would quickly become known as the "West Coast" sound of American House. The main vocal on side A also became a venerable classic at the Shelter in NYC and was played consistently by Timmy Regisford throughout his tenure there. The darker, more disco filtered tones on the flip side were also highly praised and played at the time by French DJs such as Daft Punk, Phil Weeks, Cassius and many others. Rasoul is often overlooked as one of the chief architects of modern Deep House, yet this release certainly secures his elite standing in the annals of House Music history. Essential!

Viktoria Tolstoy, celebrated for her expressive voice, emotional storytelling and cross-genre artistry, seamlessly blends jazz, pop and original songs.
Her standout tracks ‘Autumn Breeze’ (4.6M streams) and ‘Calling You’ (6.5M streams) have reached millions of listeners worldwide.
Collaborations with top Scandinavian and European jazz artists, including Nils Landgren and Esbjörn Svensson, have positioned Viktoria as one of the leading female voices in European jazz.
Jacob Karlzon, renowned Swedish pianist and composer, is recognized for his virtuosic technique, cinematic soundscapes and inventive harmonic language.
Their collaboration began in the mid-1990s, forming one of the most enduring and successful partnerships in Scandinavian jazz.
Their music bridges Nordic lyricism and modern jazz sophistication, appealing to both jazz and a wider crossover audience. A trusted name on the European scene, they continue to tour internationally and attract strong streaming and media presence.
Their new duo album reflects and renews that bond - an intimate conversation shaped by time, friendship, and change. The world has shifted since their last recording and so have they. Yet their shared musical language endures - evolving, deepening, and gathering new shades of emotion. There is a rare ease between them: two Artists who no longer need to explain, only to listen and respond.
The result is music that feels unforced, sincere and alive - born of trust and the courage to explore the unknown. In the end, it’s the simple beauty of reunion: two musicians meeting again, with everything they’ve lived and everything still to discover

15 years since their fantasy disco scene-defining 1st volume, Johnny Jewel’s IDIB lasso Sally Shapiro, Desire, Farah, Lovelock and the kreme of their field for a 27-song, 2-hour re-up



Where previous volumes took their sweet time to arrive, ‘Volume 4’ graces the ‘floor only two years since the last, and nobody’s complaining. From its slo-mo, dry-iced covers of Jennifer Lopez’ ‘Waiting For Tonight’, Don Henley’s ’Boys of Summer’ and even flipping R.E.M.’s ‘Losing My Religion’, thru to exclusive pearls by our disco queen crush, Sally Shapiro, and Johnny Jewel as Desire, it’s the ideal soundtrack for late summer into silly season.

Noctourniquet And then everything went black, at least for a while, at least for The Mars Volta. In the months and years following their fifth full-length, Octahedron, Omar kept on at his usual fearsome creative pace. In fact, he ramped up his output considerably, starting up his own Rodriguez Lopez Productions label and releasing a slew of solo albums. It was a practice he’d begun shortly after De-Loused’s release, with his solo debut A Manual Dexterity: Soundtrack Volume One, but as the decade reached its close, Omar grew to rely upon his solo recordings as an outlet for his prolific creativity, these albums often exploring musical pastures far beyond even The Mars Volta’s wide-ranging parameters. Before choosing to release music under his own name, Omar would always play it to Cedric first, to see if the frontman thought it had potential to become Mars Volta music. Shortly after Octahedron’s completion, Cedric flagged one batch of tracks Omar had cut with Deantoni Parks, a brilliant drummer and composer who’d briefly occupied the Mars Volta drumstool in-between Jon Theodore and Thomas Pridgen’s tenures, and whose volcanic creativity and unique, unpredictable approach to rhythm and composition had quickly made him one of Omar’s favourite artistic foils.

As with the music that made up Octahedron, the new tracks Cedric had optioned for The Mars Volta often veered far from the riotous, Grand Guignol visions of their earlier releases. It possessed the punchy, song-based focus of Octahedron, though this was a considerably darker, more menacing strain of pop, with synthesisers figuring heavily in the productions. Cedric took the tracks in 2009 and set about writing songs to the music. But no more new Mars Volta music would be heard until 2012. The years that passed in-between were nonetheless momentous, and busy, witnessing an unexpected reunion of the members of At The Drive-In, and Cedric joining his own side-project, Anywhere. But there wasn’t any sign of life within the Mars Volta until Omar, Cedric and their bandmates took to the road for a series of live shows in the spring of 2011, billed as The Omar Rodriguez-Lopez Group, debuting the songs that would become Noctourniquet. The album followed the next year, and it remains one of The Mars Volta’s finest, its electronic textures staking out unfamiliar but fertile new ground.

An unsettling, subtly turbulent listen, Noctourniquet found Cedric sketching out a story about “some sort of device that stops the darkness from bleeding”, drawing influence variously from the nursery rhyme Solomon Grundy, the Greek myth of Hyacinthus and the song Birth, School, Work, Death by British underground rockers The Godfathers. It was an album of dystopian futurism, signalled by the paranoid cyber-rock of opener The Whip Hand and its unnerving chorus, “That’s when I disconnect from you”. But it was also an album of inspired, unexpected moves and uncanny invention, like how Dyslexicon seemed to eerily evoke Blondie’s Rapture, before rushing headlong into its bruising chorus, tempos shifting restlessly throughout like quaking earth beneath the listener’s feet, or how Aegis put a brave new spin on The Mars Volta’s trademark rewiring of salsa’s overdriven passions, or how Cedric had never sounded as scary as he did on The Malkin Jewel’s mutant burlesque shuffle. Tracks like Molochwalker were sleek and concise in a way The Mars Volta had never really attempted before – which was all part of Omar’s plan.

“It had all been guitar, guitar, guitar, overdubs, everything fighting for space in the same frequency,” he explains. “So for Noctourniquet, it was all about subtracting elements, of sticking to how I made demos.” Deantoni’s presence helped revivify the group, playing against cliché and expectation, and taking each song in unexpected directions. “I’d beatbox a rhythm for him to play, to go with my guitar part, and he’d come back with three or four alternate options. It was so great.” Similarly, Cedric had never sung better than on Noctourniquet, staking out a fearsome spectrum from the chilling Tom Waitsian growl of The Malkin Jewel to the keening, beautiful vocalisation on Vedamalady, rising to match some of Omar’s most deft, most immediately effective and melodic songs yet. Indeed, Noctourniquet is the sound of a band discovering new ways to do familiar things, renewing their commitment to their mission, finding fresh inspiration a decade in, and shaking off any complacency that might have come with ten years of acclaim and success.

From Ace Records’ early days, there’s always been a place in our hearts for music’s feminine side. A year having flown by since the release of our last compilation spotlighting the US girl group sound of the 60s – think castanets, anguished teen sirens, Svengali-esque producers and mini-sonatas about dreaming, dancing and moody boyfriends (sometimes deceased) – means the time has come for a new vinyl-only volume.

As 1968 drew to a close, the golden age of girl groups had seemingly been and gone: the Shangri-Las, Ronettes and Chiffons, for example, hadn’t had a hit record of note since 1966. Then along came ‘Condition Red’, a cleverly produced psychodrama performed by the Goodees, who grace the front cover and open the top side of this new comp in dramatic style. Over on the generally more soulful second side, Les Chansonettes are first up with ‘Don’t Let Him Hurt You’, a big production stomper written with Martha & the Vandellas in mind.

Elsewhere, Beverly Williams performs the very Lesley Gore-like ‘One Way Street’; ‘Go Away’ by the Murmaids (of ’66) is a lavishly produced number with a chamber pop vibe; ‘What Did You Do Last Night’ by the Drake Sisters was recorded in Phase-O-Phonic Sound; the lyrics of Denita James’ ‘Wild Side’ call to mind genre classics such as ‘He’s A Rebel’, ‘Out In The Streets’ and ‘Chico’s Girl’; and the Sweathearts close the show with a gorgeous harmony-filled update of the mid-50s oldie ‘Eddie My Love’. As usual in this series, the inner sleeve features a picture-packed 4,000-word track commentary by long-serving compiler Mick Patrick.

British singer-songwriter Lucy Kitt unveils her highly anticipated second album, Telling Me, a deeply personal collection that shifts focus from introspection to storytelling, capturing the lives and struggles of those closest to her. Drawing from her love of 70’s Laurel Canyon folk, 90’s indie rock, and country music, Kitt crafts narratives that blend her own experiences with compassionate observations of loved ones. Based on a raw acoustic “three chords and the truth” style of songwriting that ripples throughout, the album expands with full-band arrangements that give a huge range and richness to the sound.

Though influenced by American musical traditions, the Essex-native maintains her distinctive voice and authenticity, ensuring the music remains unmistakably her own. Following her 2018 debut Stand By, this new record represents a more mature approach to songwriting, written during her early 30s and completed in the 2021 lockdown – a storybook of songs capturing that moment in time.

Musically, Telling Me showcases Kitt's stripped-down acoustic foundations, while incorporating fuller arrangements that blend her love of Nick Drake, Bob Dylan, Gram Parsons, Joni Mitchell and Joan Baez, with music she loved as a teenager such as The Lemonheads and Veruca Salt. The album features collaborations with an impressive roster of musicians, including Jay Starkey on drums, Nashville-based pedal steel virtuoso Spencer Cullum, Treetop Flyer’s Sam Beer and longtime collaborator Pat Kenneally on drums and piano.

Recorded between 2021-2023 at London's Lightship 95 studio at Trinity Buoy Wharf, the album was co-produced and engineered by Dave Holmes, with some musicians contributing remotely from Nashville and London.

Kitt's commitment to authenticity extends to every aspect of the album, from the down-to-earth, home-based album artwork which represents her life right now as a musician and a working mum, with all the wonderful chaos that comes along with it. Also her decision to maintain her natural accent throughout her vocals. "I have always retained my authentic self in my songs," she explains. "Always singing with my own accent, despite the influences of all the bands and artists over the years."

Kitt has been songwriting and performing for over 20 years, starting in a riot grrl band in her teens in her hometown of Romford, Essex, before evolving into the thoughtful folk storyteller she is today. A semi-finalist at the BBC Young Folk Awards in the early 2000s, she has performed at major festivals including Glastonbury and Cambridge Folk Festival, building a reputation for intimate, lyrically-focused performances.

Telling Me is a resplendent collection of songs, capturing the human experience with great empathy, honesty and musical sophistication that has become Lucy Kitt's signature.

Rough Trade Records freut sich, das fantastische Debütalbum von Tyler Ballgame ankündigen zu dürfen: For the First Time, Again erscheint am 30. Januar 2026. Mit zwölf Songs, die zwischen Classic Rock, Indie und Americana oszillieren - Ballgame zeigt, wie große Stimmen und starke Melodien Herzen bewegen und Horizonte öffnen können. Die erste Single I Believe in Love, eine hymnische Mischung aus Lennon und Orbison, ist ab sofort mit Video erhältlich - gefilmt von engen Freunden in Ballgames WG. Entstanden am Küchentisch und inspiriert vom Rat seines Produzenten Jonathan Rado ("Schreib den größten Song der Welt"), wurde daraus eine Ode an die Liebe selbst - und an die Narren, die sie macht. Produziert von Jonathan Rado (Foxygen, Weyes Blood, Miley Cyrus) und Ryan Pollie (Los Angeles Police Department), bringt das Album analoge Wärme, akustische Energie und üppige Harmonien zurück - mit Unterstützung von Amy Aileen Wood (Fiona Apple) am Schlagzeug und Wayne Whitaker am Bass. Ballgames Weg hierhin war alles andere als geradlinig: Vom Kellergeschoss in New England über Coverband-Auftritte in Rhode Island bis hin zum mutigen Neustart in Los Angeles. Offenheit, Risiko und der Glaube an sich selbst prägen seine Songs - und werden live zur großen Bühne.

Rough Trade Records freut sich, das fantastische Debütalbum von Tyler Ballgame ankündigen zu dürfen: For the First Time, Again erscheint am 30. Januar 2026. Mit zwölf Songs, die zwischen Classic Rock, Indie und Americana oszillieren - Ballgame zeigt, wie große Stimmen und starke Melodien Herzen bewegen und Horizonte öffnen können. Die erste Single I Believe in Love, eine hymnische Mischung aus Lennon und Orbison, ist ab sofort mit Video erhältlich - gefilmt von engen Freunden in Ballgames WG. Entstanden am Küchentisch und inspiriert vom Rat seines Produzenten Jonathan Rado ("Schreib den größten Song der Welt"), wurde daraus eine Ode an die Liebe selbst - und an die Narren, die sie macht. Produziert von Jonathan Rado (Foxygen, Weyes Blood, Miley Cyrus) und Ryan Pollie (Los Angeles Police Department), bringt das Album analoge Wärme, akustische Energie und üppige Harmonien zurück - mit Unterstützung von Amy Aileen Wood (Fiona Apple) am Schlagzeug und Wayne Whitaker am Bass. Ballgames Weg hierhin war alles andere als geradlinig: Vom Kellergeschoss in New England über Coverband-Auftritte in Rhode Island bis hin zum mutigen Neustart in Los Angeles. Offenheit, Risiko und der Glaube an sich selbst prägen seine Songs - und werden live zur großen Bühne.

Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only a year or so ago, Gnome actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material - quite a few albums' worth - on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like minded players from Frankston's rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins on drums, Gnome became a band.

Early in 2025, the last solo Jay recordings released under the Gnome name caused something of an international underground sensation when the Bandcamp only I Like It EP - four songs of kranked up Kinks-style mono riffage - was posted by a Spanish garage-punk YouTube page and quickly clocked up over 50,000 views.



At the same time, the band quickly began gaining attention on the thriving Frankston scene and around Melbourne. They started breaking out, sharing bills with the likes of Drunk Mums, Skegss, Split System, The Prize, The Unknowns, Cosmic Psychos, Hockey Dad, Guitar Wolf, The 5.6.7.8's, The Breadmakers, Loose Lips, fellow Frankstoners/Singing Bird alumni The Belair Lip Bombs, and, on a quick trip to Sydney, Cammy Cautious & The Wrestlers.

And now, finally, we have The Gnomes' debut album. Twelve killer tracks that combine the best of the '60s with the best of today. Twelve killer tracks that show off assertive and accomplished songwriting, singing and playing and an explosive and authentic swinging group sound. Twelve killers slices of raw rock'n'roll running the gamut from the savage Rhythm & Blues of "Play With You" and “Better With You” to the vibrant beat pop of "I'll Be There" and "I'm Not The One", with forays into the heavy reverb psych of "Stung", the Cavern/Star Club stylings of "Flippin' Stomp" and the first flyte jangle of "Time Will Tell" along the way. There’s more of course, including a new version of that Kinks-style kranker “I Like It” for good measure.

Frankston’s Fab Four are taking their sound to the world. Join them for the ride!

Focusing on their craft, staying out of the fray and
holding fast their faith to find new ways to express the
discord and delight of being alive, to turn the duality of
existence into hymns we can share, Low present ‘HEY
WHAT’.
These ten pieces - each built around their own
instantaneous, undeniable hook - are turbocharged by
the vivid textures that surround them. The ineffable,
familiar harmonies of Alan Sparhawk and Mimi Parker
break through the chaos like a life raft.
Layers of distorted sound accrete with each new verse
- building, breaking, colossal then restrained, a solemn
vow only whispered. There will be time to unravel and
attribute meaning to the music and art of these times
but the creative moment looks forward, with teeth.
‘HEY WHAT’ is Low's thirteenth full-length release in
twenty-seven years, and their third with producer BJ
Burton.
Low’s 2018 album ‘Double Negative’ was a critical and
commercial success (including 8.7 / Best New Music
at Pitchfork), introducing new noise / experimentalbased textures and pop elements to their sound and
revitalizing their fanbase.
Founded in 1993, Low are influential pioneers of
minimalist, artful indie-rock.
Low’s track ‘Congregation’ was recently featured in an
episode of FX’s Devs.

Cinema Serenade is an album by John Williams and Itzhak Perlman, featuring orchestral performances of famous and notable film themes,
with Perlman's violin at the forefront.. Amongst others, it features work by Michel Legrand, Elmer Bernstein, John Barry, André Previn and John Williams himself.

All the work on this album is conducted by Williams and performed by the Pittsburgh Symphony Orchestra. It also features exclusive liner notes from well-known film critic,
musicologist and professor Royal S. Brown,
Cinema Serenade is available as a limited edition of 500 numbered copies on aquamarine coloured vinyl.

2026 repress !

Nous'klaer Audio presents Martinou - Chiral, the follow full-length up to his 2021 album Rift. This time nine tracks across two vinyls. An album flowing 'in a way' like Rift, but it's different: More outspoken, heavier sound design and it peaks on a blissful note. ''Open up the blinds and take me there. We'll break the surface tension. We'll dive in. I'm locked in your devotion. You give an inclination to our demise. It will be our exit. To bliss, we'll be its guardian. Once there was love. Clear as glassy water. No ripples, no waves. I followed while you led. Our arrival was warm. Hot, even. Stunning to a startling degree. Hands intwined, frolicking towards the blue. Hours passed, and white heat cede to an orange hue. We cooled down. Red. We rallied. Black. It began. Into the deep darkness we ran. White sand, it has a tendency to get everywhere. Salt water will only dehydrate you more. Shriveled and dry. Scratchy and coarse. More. And then we were lost. Fingers once locked grew distant. Morning, dear. Where have you gone? We looked. A glimpse from afar. Red. We rallied. Shall we share a bottle of wine? Black, lost again. Afternoon, friend. Where were you? Red. Alone. Black. We rallied. Shall we try somewhere new? Sand and salt. Evening, sir. Reservation for one? Reservations a plenty, I say. Evening, miss. Dining alone? Aren't we all? Dining, miss, not dying. Oh, yes, alone. Black. Sand and salt. I found you. No. No. Wait, do I know you? You feel like a dream. Don't touch me. Move along, sir. Who are you? Leave. Who are you? Where did you go? Keep moving. I am, I will. Time to move on. I'm moving! Leave. Don't touch me. Leave. Why are you? Exit. Purple. Orange. Yellow. White. Blue. Morning, dear. Shall we have breakfast? I think I'll sleep some more. But it's our last day. I know. See you downstairs when you're ready. OK. I open up the blinds. A bird breaks the surface tension. Locked in. To Devotion? No. Demise. An inclination. Reverie. Take me there. Where? Exit (To Bliss) '' Text by Gregory Markus

Schneeweißes Vinyl. Zum ersten Mal seit seinem viralen Weihnachtsalbum ,A Joyful Sound", das 2020 rausgekommen ist, ist Kelly Finnigan (Monophonics) mit zwei neuen Original-Weihnachtsliedern zurück. ,I Can't Wait (For Christmas Time)" ist ein schwerer, aber entspannter Song mit einem geradlinigen Pop-Arrangement. Es ist dieser Rust-Belt-Soul-Sound mit den Harmonien, die südkalifornische Cruiser beflügeln: tief und emotional, mit genau der richtigen Instrumentierung, um Finnigans zarte Stimme in den Vordergrund zu rücken. Der Song wird auch von seiner Labelkollegin Kendra Morris und ihrer Band im Hintergrundgesang begleitet. Ähnlich wie frühere KF-Veröffentlichungen oder Perlen von The Escorts oder The Four Mints ist diese Platte für dich und deine Lieben gedacht, verpackt in hübsches Papier unter dem Baum bis zum Weihnachtsmorgen. Dann lass noch etwas Platz für Plätzchen und die B-Seite... ,Snowy Night In Ohio" fühlt sich an wie ein langsam fahrender Mitternachtszug, der sich von Cincinnati nach Memphis auf den Weg macht. Inspiriert von Finnigans erstem Winter in Ohio, seiner Liebe zu Gospelplatten und den Hornarrangements von Isaac Hayes. Dies ist ein wirklich herausragendes Instrumentalstück, das eiskalte Seele versprüht. Es enthält eine kurze Gesangsbotschaft von Finnigan, die sich wie ein Zeugnis und ein Herzensanliegen anfühlt. Mit dabei sind Terry Cole und Jimmy James von Colemine sowie Billy Aukstik und Morgan Price.

Paul Di'Anno's Warhorse release their 2024 debut full length album on vinyl now!. Led by the famed former Iron Maiden vocalist Paul Di'Anno (5/17/1958 - 10/21/2024)! Speaking about the album Paul Di'Anno said, "I'm looking forward to the release of 'Warhorse' and I hope you like it. By my standards, too much time has passed since the recording of this album and I can't wait to finally have this record in my hands." Warhorse members Hrvoje Madiraca and Ante Pupacic Pupi commented "Are you ready - Ready to rock? 'Cause we are ready - Ready to rock! As the song says! Enjoy the album, cheers!" The debut Paul Di'Anno's Warhorse album, called 'Paul Di'Anno's Warhorse', was recorded during 2022 and 2023 in Croatia and the UK... Paul sings like never before and in a way that will surprise and leave all his fans speechless, as well as heavy metal fans in general.

Paul Di'Anno's Warhorse release their 2024 debut full length album on vinyl now!. Led by the famed former Iron Maiden vocalist Paul Di'Anno (5/17/1958 - 10/21/2024)! Speaking about the album Paul Di'Anno said, "I'm looking forward to the release of 'Warhorse' and I hope you like it. By my standards, too much time has passed since the recording of this album and I can't wait to finally have this record in my hands." Warhorse members Hrvoje Madiraca and Ante Pupacic Pupi commented "Are you ready - Ready to rock? 'Cause we are ready - Ready to rock! As the song says! Enjoy the album, cheers!" The debut Paul Di'Anno's Warhorse album, called 'Paul Di'Anno's Warhorse', was recorded during 2022 and 2023 in Croatia and the UK... Paul sings like never before and in a way that will surprise and leave all his fans speechless, as well as heavy metal fans in general.

Before he turned 20, Lô Borges released one of the most captivating albums to come out of Brazil's rich musical landscape - a record that somehow flew under the radar at the time but has since become a cult favorite for listeners around the world. Recorded in the same whirlwind year as the legendary "Clube da Esquina" - the groundbreaking collaboration with Milton Nascimento and Beto Guedes - this self-titled solo debut finds Lô Borges in full creative flight. Pressured by Odeon Records to deliver a solo project, Borges responded with a burst of youthful brilliance, sometimes writing a song in the morning and laying it down in the studio that very night. The result? An album that's spontaneous, heartfelt, and sonically stunning. From the shimmering guitars of 'Você Fica Melhor Assim' to the dreamy melodies of 'Cançao Postal' and the jazz-infused groove of 'Calibre,' the album blends Brazilian popular music with rock, soul, and subtle psychedelic touches. It's got the intimate spirit of a bedroom recording, but with the musical sophistication of legends - with collaborators like Toninho Horta, Tenorio Jr., Nelson Angelo, and of course, Beto Guedes helping bring Borges' vision to life. Fans of Caetano Veloso, Gilberto Gil, or early Nascimento will feel right at home here - but Lô Borges brings his own voice, at once tender and electrifying, to every track. The guitars are fuzzy, the harmonies rich, and the songwriting nothing short of magical. Though it didn't make a splash in 1972, "Lô Borges" has only grown in stature over the years. It's the kind of album you discover once, then return to again and again - a timeless treasure from a young artist who helped redefine Brazilian music from the ground up. If you're into warm, soulful songwriting with a touch of experimental edge, this record is waiting for you. Give it a listen - and see why "Lô Borges" is considered one of Brazil's most underrated masterpieces. Reissue on 180g vinyl.