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This isn’t a compilation—it’s a vinyl conversation between cities, generations, and musical bloodlines. This inaugural release embodies the spirit of collaboration, community, and cross-generational artistry that defines each artist’s deep musical legacy.

A statement on wax bringing together Glenn Underground, Coflo, Jon Dixon, Kevin Reynolds and sillygirlcarmen, this four-song project documents the shared language of five Artists through deep house, jazz roots, and forward-looking soul. Though these artists have shared DJ booths and dance floors around the world, this release marks a rare moment where their creative voices intertwine on wax. Each track stands on its own, but together they form a continuum—past, present, and future etched into wax. Pressed with intention and made for real systems, this release exists for the heads, the selectors, and anyone who still believes vinyl is where the story lives. Meant to be played—not archived. The kind of tracks that feel alive in the room and grow every time you hear them.

‘Ease’ EP tracks:
Glenn Underground ‘Dive (Into The Deep)’; the Chicago legend & Strictly Jaz Unit co-founder combines deep house, freeform jazz & soul, here in a jazz-infused, laid-back, hypnotic melange of house beat, synth chord riff, rippling arps, with a whisper of disco in the bassline and 80’s electro in the high, singing strings.

Coflo x sillygirlcarmen ‘Never Forget (That Feelin’)’; East Bay CA-based Coflo combines Hawaiian & Portugese roots with a global reach. A collaborative skipping house beat, pattering percussion & melodic jazz synth piano embrace sillygirlcarmen’s soulful voice and heartfelt lyrics. This collaboration marks a merging of emotional storytelling and percussive sophistication.

Jon Dixon ‘Saturday At Northland’; Detroit’s modern jazz & techno fusionist, rooted in long study and prestigious performance of classical & jazz piano both in orchestral and electronic contexts, employs his keyboard virtuosity in a thrilling wave of melodic piano improvisation & complex lively percussion, combining sheer craft with spiritual heft.

Kevin Reynolds ‘I Got Music’; from an Irish/US Detroit family, producer/live artist Reynolds blends techno, jazz, soul, from influences as diverse as 90s underground techno, Kraftwerk & John Coltrane, and roles/performances in multiple prestigious venues & positions. Here, a stealthy beat & Kraftwerk-evoking robotic electro synth theme are joined by a dual vocal used as a riff, while clusters of piano chords flower into jazz motifs.

Following on from his debut album, Miles Spilsbury returns to New Dawn with Spirit Level. A new project in collaboration with close friend Gorse Panshawe (formerly known as Slugabed - who also produced Miles Spilsbury's first album Light Manoeuvres).

Recorded over one weekend in a weaving shed in Frome, in the English countryside. Surrounded by reels of yarn, they explored saxophones, flutes, dusty old keyboards & drum machines. The resulting record conjures the murk and moss of Forestland and grounds with grooves from the Bongo setting on a Casio keyboard. Jake Long added mallet drums from his London studio to round off the album.

This is a highly limited pressing, please order your desired quantity and we’ll see what we can supply.

We are pleased to be back with the talented Groof, the experienced producer from Madrid’s legendary electronic music scene, who is responsible for our eighth release and his debut on Kontralamakina.

We welcome you to “Simulation.” This EP/LP consists of a collection of 5 tracks that explore repetition and dynamism, with structures generated by various noise sources and algorithmic sequencing with a raw and forceful sound. It consists of excellently stomping techno rawness exercises.

Plus 1 remix by the techno legend Oscar Mulero Remix; Outstanding mind bending tools, Expertly careful Drone treatments, Stunning, deep, atmospheric but energetic Techno voyage.

While brothers Simon and Robin Lee have kept themselves busy, both with EPs as Faze Action and numerous offshoot and solo projects, it's been almost 12 years since we last heard a fresh, full-length excursion from the long-serving duo - at least under their most famous moniker. Predictably, Distant Dreams was worth the wait, with the Lee siblings continuing their richly organic approach - think live bass, guitars, strings, keys, flute and percussion alongside synth sounds and drum machine beats. Musically, it draws on their now well-known influences - warming disco, jazz-funk and Balearica with nods to other musical cultures - and delivers eight impeccable tracks that undoubtedly sit amongst their classiest work to date. It's good to have them back.

“Dance Music That Hurts” — the motto of Work of Intent.
Hurts, because it goes straight to your heart.
There’s no better way to put it.
His productions are rooted in the UK underground,
dripping with both techno and pop sensibilities.
This is “big room” like you’ve never experienced it before—
music you can’t ignore, driven by storytelling and raw emotion.
He’s found a home on labels such as Monkeytown, Turbo, and REKIDS, and continues his relationship with Laurent Garnier’s COD3 QR .
Founder of the clandestine edit factory *Emotional Weaponry*,
he continues to receive support from industry heavyweights.
Former manager of *DAYTIMERS*, the UK-based collective championing
South Asian sounds, stories, and voices,
and a highly sought-after mix engineer for some of the UK’s most exciting prospects.
We’re beyond happy to welcome Roshan Chauhan aka Works Of Intent to the family.
Feels like the beginning of a long, dramatic love story.

Credits:
Written and produced by *Works of Intent*
Distributed by *One Eye Witness*

16 years after debuting, Coyote's hush-hush Magic Wand imprint continues to be one of the most reliable sources of Balearic-minded re-edits and reworks. Their latest is suitably mysterious - a single-sided missive released with no information about either the uncredited scalpel fiend behind it or the source material. What we can tell you is that 'Suntrip' is undeniably ace, with our shadowy editor delivering an extended, lightly dubbed-out take on what sounds like a mid-1980s big studio number: the kind of off-beat pop-not-pop record that Balearic heads love. Think synth marimba lines, fretless bass, effects-laden drums, glassy-eyed male lead vocals, glistening guitars, nods to dub and lashings

Foxbam Inc is building up a fine head of early steam and after featuring the likes of LFO's Gez Varley and Mark Archer, that looks set to continue into 2026 with this latest various artists EP. It's a white knuckle ride through panel beating techno fervour, starting with Foxtrot's 'Tartam Tripper', which could be called paint stripper, it's that caustic. Collision lays down flat, hard, distorted drums on 'Plop Projekt', Egebamyasi offers up a stuttering, bass-driven club take on an unmistakable 80s electronic classic and Minimum Syndicat's 'Tunnel Chase' is a slower, darker, more foreboding closer that carries serious weight and a soot-black atmosphere from which there is no escape.

Coming in extra bloody hot is the 6th release on Disco Combine, harvested from the fields of musical gold by Mr. Dave Lee. First up the epic 'Lovin' You (Was My Mistake)' a throaty Philly-soul favourite , which has been lovingly re-worked into a beefy peak time floor filler. For those who prefer a more dubwise approach, the 'Joanna's Groove' version starts instrumentally with rippling piano, building into a big string finale. On the flip 'How I Love New York' swaggers into your ears with all the class, style & panache you would expect from a jazz-fusion connoisseur living in the big Apple. Don't miss heading to the 'Midtown Dub' if you like things more squelchy and funktified.

Sadeira is a production trio made up of members based in both Brooklyn and Brazil and have dropped some global groove heat on the likes of Let's Play House and London-based Leng. For this one, they drop the first release from Ceci Discos in the form of the original single 'Miscigenacao'. It's a summer, deep cut sound with Balearic, MPB and jazz all colouring the swaying rhythms. Breezy vocals transport you to a coastal setting while the percussion is lively and authentic. The Jacques Renault Rhythmental remix lands more heavy but just as patiently, Diogo Strausz ups the sunshine with his piano-led reverie, and the Saidera Steppers dub is one to crank up nice and loud early in the evening.

The eternally prolific duo PSYCHEMAGIK are back once again (already?!) with yet another mind blowing edits package.

This latest offering from the Cosmic Forest is their reworking of Chillys, Yardbirds classic, For Your Love think epic 10 minute cosmic dancefloor monster complete with guitars, violins and soaring vocals.

And then there’s more… the flip “Aldeia De Ogum”, a reworking of the Joyce original, has Ibiza sunset written all over it, transporting you immediately to the beach within the first few bars.

Latin percussion blends with beautiful guitars, flutes and horns to create a truly breathtaking sonic vista .

This is sure to be included in many a summer playlist over the coming months

Katz Mulk's ''All the mess'' is a collection of songs about playing and play-work, recorded between 2023-25 in Glasgow and Tokyo. Developed from performances across the UK and during a residency at Xevarion Institute in Hong Kong, with dancers, costume design by Mary Hurrell, and mobile speaker design by Chris Ball. Slithering breath, crackling synths, dented gongs, and dub loops pull songs into unexpected, unsettling patterns, like being a kid again but with more electronics.

Hold Jah Strength

A special Spain-based collaboration between Bukkha and Boadub Music, with rich, uplifting saxophone courtesy of Jahwind, Hold Jah Strength is a powerful, sound system-ready release built to move the dance.

Tested and approved on heavyweight systems, the tunes hit with clarity, depth and that unmistakable dub energy. Jahwind's saxophone lifts the riddim beautifully, adding warmth and soul to an already infectious production.

Legofunk Records has returned with “Super Disco Edits”, continuing its signatureapproach of breathing new life into vintage grooves. This release fits right into the label’s niche: carefully crafted edits of classic disco and funk tracks, often extending breaks, enhancing rhythm sections, and making them more DJ-friendly while preserving the soul of the originals. Legofunk has built a reputation among collectors and selectors for digging deep and delivering versions that feel both nostalgic and fresh.

Presenting the remarkable second album by the Chinese musician, DJ and creative chef Yu Su. An evolution from her 2021 debut LP and two track single released last year, Foundry radiates a fresh, fully-fledged and far-reaching sound.

The nucleus of Foundry began with material penned for live performance at MUTEK in 2025, alongside a move to London which brought about new shifts in perspective. Searching for a style that was true both to her roots and progression as an artist, Yu ventured in a post-orientalist direction, and came upon a language of ‘in-between music’.

Mixing the eclectic influence of her DJ sets with genre-defying collaborators and newfound taste for minimal and ambient techno, a dusky, dub-inflected character began to emerge. This broad palette reiterates Yu’s prior form in making connections across disciplines, which have not only consisted of music, but also multisensory endeavors which incorporate taste and smell.

With cover art featuring hammered metalwork by the artist Brendan Ratzlaff, for Yu the foundry represents a nexus of creation; a shared workspace where collaborators combined their materials and skills. With the input of Seefeel, Dip In The Pool, and Memotone, together their broad spectrum of aural elements underwent a chemical transformation, and were forged into something new.

Well-designed, ergonomic yet occasionally amorphous, the effect is that of meticulous freedom, both controlled and free flowing. Using immersive sound design, Yu creates inspiring spaces to revel in, which are warm yet steeped in shadow, with flashes of silvery light.

Featuring Yu in with duet Miyako Koda of cult Japanese art pop duo Dip In The Pool, the record kicks off in swirling but poised fashion with ‘A Jewel’. The dusky, reverberant underwater minimalism of ‘Sunless’ follows, which features British composer Memotone, and was influenced by Chris Marker’s 1983 film Sans Soleil.

The dubby, sunkissed affirmation on ‘Cul De Sac’ leads to the thumping acid stomp of ‘Foundry’, and onto the hazy glow of ‘One Place After Another’, featuring lauded soundheads Seefeel, where Yu’s voice is joined by Sarah Peacock’s, alongside Mark Clifford’s seductively gauzy fuzz guitar.

Venturing into more ominous territory is the liminal ambient dub of ‘Wanli’, followed by the rich textured flutter of ‘Os Cionn’, which translates from Gaelic as ‘above’. The album ends with the reflective, processional pulse of ‘Ripe Fruits’, which was inspired by Frederic Leighton’s 1892 oil painting The Garden of the Hesperides.

The LP’s visual was art directed by Lucas Dupuy, whose approach perfectly encapsulates Yu’s spatial sonics: “We both think in layers”, she comments. “Not linear layering, but horizontal layering, like weaving metallic threads, where a bigger picture of a grainy sphere will occur at the end.”

Mastered by Miles

Art by Lucas Dupuy & Brendan Ratzlaff

A new SWAY vinyl is coming your way, packed with some of our very best material. Kicking things off is Hertz & Wehbba - Ink, the Beatport No. 1 that's still riding high in the charts. Then the legendary Ken Ishii brings the heat. Next up, Hertz & Ramon Tapia deliver another high-energy collaboration. And finally, the Richie Hawtin favourite Kristian Heikkila & CDTRAX - Work, a track that's been in more or less every set over the past six months. Support also comes from Dave Clarke, Ben Sims, Kaiserdisco, UMEK, Christian Smith, Pan-Pot and Perc, just to name a few. SWAY vinyl FTW!

Berlin-based producer and DJ KaioBarssalos returns to Smile Sessions with his most visceral statement yet. 'Whale' is a six-track EP built for bodies in motion : obsidian grooves that pull you under, primal percussion that speaks directly to the hips, and a low-end surge that turns a dancefloor into a ritual.

Old-school in its bones, stripped back to what matters: the kick, the groove, the trance of it all. Repetitive, hypnotic, communal. The bark of a drum that doesn't ask permission. No distractions, just tools honed for the floor, weapons a DJ can reach for at peak time and trust completely.

Slow Leaves ist das Soloprojekt des in Winnipeg ansässigen Songwriters und Produzenten Grant Davidson, dessen Werke Folk und Psych-Rock mit einer zurückhaltenden emotionalen Präzision verbinden und ihm eine treue internationale Fangemeinde eingebracht haben. Mit Veröffentlichungen bei Birthday Cake Records hat Slow Leaves über 3,5 Millionen Streams gesammelt, wird regelmäßig im Radio in Kanada, Deutschland und den Niederlanden gespielt und tourt durch Kanada, Großbritannien und Europa. The Ruins of Things Unfinished ist Davidsons sechstes Album mit neuem Material und seine bisher unmittelbarste Aufnahme. Das Album wurde größtenteils live mit dem Produzenten Kris Ulrich aufgenommen und fängt die Intimität und emotionale Tiefe der Songs von Slow Leaves mit einem neuen Gefühl von Präsenz und Wärme ein. Das Album beschäftigt sich mit vererbten Traumata, Ambitionen, Elternschaft und der stillen Arbeit der Selbstreflexion und bezieht seinen Titel aus Fernando Pessoas Zeile ,Ich bestehe aus den Ruinen unvollendeter Dinge".

mclusky sind eine Band, die eine Band war, keine Band war und nun wieder eine Band ist. Sie wurde Ende der 90er Jahre gegründet und löste sich 2005 nach drei Alben zum ersten Mal auf. Meinungen zu diesen Alben finden sich im Internet. Der Weg zurück zur Band begann 2014, als die Band sporadische Konzerte spielte, um Geld für einen lokalen Veranstaltungsort zu sammeln, der von der Schließung bedroht war. Nach einigen Rückschlägen, die man als die schönsten Seiten des Lebens bezeichnen kann, veröffentlichten sie 2025 ihr erstes Album seit zwanzig Jahren. sporadische Konzerte gab, um Geld für einen lokalen Veranstaltungsort zu sammeln, der von der Schließung bedroht war. Nach einigen Missgeschicken, die man als Teil des Lebens in seiner schönsten Form bezeichnen kann, veröffentlichte die Band 2025 ihr erstes Album seit zwanzig Jahren. Nun, im Jahr 2026, setzt sie ihre musikalische Reise mit weiterer neuer Musik in Form dieses 6-Song-Mini-Albums fort. Der Zeitpunkt dieser Veröffentlichung fällt mit einer US-Tournee im Frühjahr 2026 zusammen, die nach ihrer Australien-Tournee im Januar und einer Reihe weiterer Tourneen aus dem vergangenen Jahr rund um den Globus stattfindet. Die Rückkehr der Band wurde mit Begeisterung aufgenommen, insbesondere von der Presse, wo Medien wie NPR schwärmten: ,Progressiver, ungewöhnlicher, frecher Post-Punk mit echtem Sinn für Humor und Grandiosität. Diese Musik ist einfach voller Kreativität", und Pitchfork sagte: ,Mclusky, bekannt für ihre explosiven Live-Auftritte, klingen auf ihrem Comeback-Album genauso laut... Viel Spaß dabei." Das Album enthält vier neue Songs, die im Herbst 2025 aufgenommen wurden, sowie einige Songs aus ihrer nur digital erhältlichen Comeback-EP aus dem Jahr 2023.

Modern Obscure Music presents The Bubble of Love, a new collaborative album by Pedro Vian together with Ustad Nawab Khan and Naved Nawab Khan - the 9th and 10th generation of a distinguished santoor lineage from Rajasthan, India. Recorded during an intense week of sessions at Pedro Vian's studio in Barcelona, the album captures a rare and concentrated encounter between traditions, generations, and sonic languages.

Brooklyn-based techno experimentalist and filmmaker Michelle Roginsky (aka mother) joins Delusional Records with her first-ever musical offering, a cinematic concept EP that weaves medical anxieties into a thematic tapestry of arresting club sonics.

In A Simple Procedure, Roginsky evokes the bleak and euphoric duality of femme embodiment; the soundtrack to an unreleased body horror film narrated by ethereal ambience and driving dancefloor grooves. The title track begins with sweeping, densely-textured synths disintegrating into a foreboding bassline, humming steadily alongside tidal waves of ominous arpeggios and plodding drums reminiscent of 90s trip-hop. In Sublingual, body-shaking club drums become a vessel for distorted vocals and granulated textures as they pass through thick membranes of saliva-drenched bass. Metamorpher follows with a hypnotic 4x4 trip that metabolizes deep anxious grooves into a rave-ready wiggler, while Angel Gossip keeps the blood flowing with a pounding peak-time techno roller guaranteed to keep the floor locked. Finally, There Are Two Rooms sends us off with a pensive meditation of wailing synths and dark, Lynchian atmosphere... the final scene of a dream half-remembered upon waking from anaesthesia.

NYC's Laenz delivers the epilogue with a shaking, subterranean remix of A Simple Procedure, injecting the opening track's textures into the fissures of deep and trembling grooves.

With its darkly seductive moods and high-concept execution, A Simple Procedure is a perfect addition to Delusional's genre-ambiguous catalog of queer and femme-forward sonic offerings.

Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.

“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”
Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.

The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”

What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.

Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.

“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”
Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.

The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”

What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.

VERY LIMITED BLACK VINYL WITH DOUBLE-SIDED INSERT (NON-RETURNABLE)

California composer Phil Geraldi’s vinyl debut both refines and refracts his signature muse of interstitial Americana across 11
melted glass mosaics of processed guitar, decayed radio glow, and Harmonia synth horizons: Rural Deceased Undiscovered. He
describes his vision for the pieces as “multilinear,” rearranging classic radio songbook elements like hooks, choruses, and
emotional cues into unfamiliar topographies of “alien country.”

Shards of acoustic guitar and pedal steel flicker in long shadows of amplifier hum and airwave static, like the scrambled
broadcast of some heartland station along a desert highway. It’s music both rustic and placeless, warped by weather and
technology, shimmering like northern lights over the badlands.

20 Jahre nach ihrem selbstbetitelten Debütalbum bringen Glissandro 70 jetzt ihr nächstes Album raus. Es besteht aus Aufnahmen aus einem ganzen Jahrzehnt, die aufgegeben wurden, bei einem Festplattenunfall verloren gingen, in Form von rohen Stereomischungen wiedergefunden, mit der Zeit neu bewertet und schließlich restauriert/ergänzt/verbessert wurden und nun endlich das Licht der Welt erblicken.

Slow Leaves - alias Grant Davidson aus Winnipeg - steht für einen feinfühligen Indie-Folk, der leise spricht und dennoch lange nachhallt. Seine Musik verbindet warmes Fingerpicking, sanfte Psych-Rock-Anklänge und eine Stimme, die direkt ins Herz zielt: klar, verletzlich, tröstlich. Kritiker vergleichen ihn mit Roy Orbison, Nick Drake, Mickey Newbury oder Neil Young - Songwriter, die Emotionen mit Einfachheit und Tiefe verbinden. Davidsons neue Songs kreisen um innere Landschaften: Erinnerungen, familiäre Prägungen, Generationenlinien, kleine Wunden und stilles Wachstum. Er schreibt mit einer poetischen Direktheit, die Intimität schafft, ohne schwer zu werden. Seine Arrangements bleiben bewusst zurückhaltend: Gitarre, behutsame Rhythmik, warme Tastenklänge, dezente Streicher - alles im Dienst einer emotional klaren Erzählstimme. Was Slow Leaves besonders macht, ist seine Fähigkeit, kosmische Themen - Zeit, Einsamkeit, Verbundenheit - in schlichte, menschliche Momente zu übersetzen. Es ist Musik, die Raum lässt: zum Atmen, Erinnern, Trost finden. Ein leises, aber eindringliches Songwriting, das im Kleinen das Große sichtbar macht.

Die US-Kultband veröffentlicht ihr viertes Album.

Als die Idee für ein viertes Album (zum zweiten Mal) aufkam, war American Football klar, dass es düsterer werden würde. Nach einer einjährigen Welttour mit ausverkauften Konzerten zum 25-jährigen Bandjubiläum und der Veröffentlichung eines Coveralbums (mit Songs von Iron & Wine, Ethel Cain, Blondshell, u.a.) tat sich das Quartett mit Produzent/Toningenieur Sonny Diperri (My Bloody Valentine, M83, Kurt Vile) zusammen, um sein bis dato essentiellstes Album aufzunehmen. LP4 verbindet atmosphärische Soundlandschaften mit emotionaler Katharsis im Post-Rock-Stil. Anders als alles, was American Football bisher aufgenommen hat, fügt sie sich dennoch nahtlos in ihren stetig wachsenden und beeindruckenden Katalog ein. LP4 ist ein ambitioniertes künstlerisches Statement einer Band, die die Grenzen von Genre und Kultur immer wieder neu definiert. Es ist ein wunderschönes und vielschichtiges Album, das sich Zeit nimmt, seine Schönheit zu entfalten, während es gleichzeitig die dunkleren Seiten anklingen lässt, die sich so gut wie möglich verbergen. Das Album enthält Gastvocals von Brendan Yates (Turnstile), Wisp und Caithlin De Marrais (Rainer Maria).

They Came Like Swallows is the first album-length collaboration between Thurston Moore and Kramer (now officially Bonner Kramer), two giants of alternative/ experimental music. The accomplishments and influence of these two artists in the world of independent music cannot be overstated and the result of their artistic union is a startlingly cohesive statement that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. “Kramer and I reconnected in Miami, Florida, a few years back, many many years after each of us had departed NYC on separate life adventures. It was only a matter of time before Kramer and I started making plans to record together and with his irrepressible due diligence he quickly set up a mobile recording contraption in the pad I was decamped in, the Florida sunshine flowing through the palm leaves, lithe lizards skittering across the windowsills, and we just went for it.

Kramer had the idea to cover a Joy Division tune, a left turn from the improvisations we had been tracking, though wholly in keeping with both our sensibilities of light and dark unifying in transcendent songwriting, both of us devotees of 'the song' as well as 'the freedom.’ What transpired is They Came Like Swallows, a session we immediately felt should exist as a prayer to the war-torn souls of the families of Palestine continually decimated by the brutality of genocide. We agreed beyond words to offer our music as a sonic activism and as a beneficent energy. This album is our duo exchange for human dignity, it is our soul music for any semblance of a peaceful planet.” ~ Thurston Moore “For the first time in our nearly 45 years of friendship, we had identical time windows open to make a record together,” recounts Kramer. After all this time not a moment is wasted as the duo immediately taps into the heightened core of improvisational tension across these seven offerings. Volcanic opener “Urn Burial” notches a similar historic union (John Cale and Terry Riley) to meet the circumstances of the moment, with swirling mists of organ and pounding toms over guitar that thickens the atmosphere with jagged, grimy dissonance.

Solemn strings open the second track, “The Redness In The West,” with Kramer’s cello and viola in dueling bow beneath the high tension drive and sustain of Thurston’s electric guitar, tapping out a Morse code of tension that mounts endlessly into a fog of inevitable war by the end. Moore and Kramer’s sense of experimentalism is in free and full grandeur throughout They Came Like Swallows, though the duo keep a strong and constant sideways eye on melody, composition and architecture, to the ends that any strict lines between song and improvisation are blurred beyond qualification.

As if to punctuate this point, Swallows closes with a nightwork cover of Joy Division’s “Insight,” a doleful coda that breathes out with a solemn inner grace under Thurston’s instantly stylistically recognizable guitar melodies as they weave into he and Kramer’s unison voices. As the lone vocal piece and only traditional ‘song’ form on the album, “Insight” is unique to this set and as a closing statement draws connective lines back to the kind of dynamic, electrified melodicism that wove deep, melancholy patterns into the untamed fire of Sonic Youth’s Sister and Daydream Nation. In the album’s final moments, the two voices repeat the lyric “I’m not afraid anymore” as mantra, underscoring the heavy, unsettled themes and methods that preceded it. Kramer describes the creative process of They Came Like Swallows: “I had composed and recorded a few pieces at my home studio over the course of a couple weeks. Thurston was spending the winter in South Florida, so I flew down and spent a few days recording his guitar parts in his home there. Watching him spontaneously compose his parts was pretty astonishing, to say the least. Once we'd finished working on those pieces, we began improvising and following wherever the music pointed us, and another few pieces were born. We got straight to it, without anything driving us other than the joy of finally working together.

My personal goal was to remain present and catch as many surprises as I could from Thurston's guitar work, and there were plenty during those few days. We had a fucking blast.” Thurston’s contributions here will be readily familiar to any acolytes of his other works, the through-line between his inspired playing, cradled in Kramer’s meticulous, solid arrangements. “If I had to make this record again, I'd do it all exactly the same way,” Kramer says. “It’s like jazz, you don't think about it. You just do it. It was miraculous, and you don't fuck with a miracle.”

They Came Like Swallows is the first album-length collaboration between Thurston Moore and Kramer (now officially Bonner Kramer), two giants of alternative/ experimental music. The accomplishments and influence of these two artists in the world of independent music cannot be overstated and the result of their artistic union is a startlingly cohesive statement that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. “Kramer and I reconnected in Miami, Florida, a few years back, many many years after each of us had departed NYC on separate life adventures. It was only a matter of time before Kramer and I started making plans to record together and with his irrepressible due diligence he quickly set up a mobile recording contraption in the pad I was decamped in, the Florida sunshine flowing through the palm leaves, lithe lizards skittering across the windowsills, and we just went for it.

Kramer had the idea to cover a Joy Division tune, a left turn from the improvisations we had been tracking, though wholly in keeping with both our sensibilities of light and dark unifying in transcendent songwriting, both of us devotees of 'the song' as well as 'the freedom.’ What transpired is They Came Like Swallows, a session we immediately felt should exist as a prayer to the war-torn souls of the families of Palestine continually decimated by the brutality of genocide. We agreed beyond words to offer our music as a sonic activism and as a beneficent energy. This album is our duo exchange for human dignity, it is our soul music for any semblance of a peaceful planet.” ~ Thurston Moore “For the first time in our nearly 45 years of friendship, we had identical time windows open to make a record together,” recounts Kramer. After all this time not a moment is wasted as the duo immediately taps into the heightened core of improvisational tension across these seven offerings. Volcanic opener “Urn Burial” notches a similar historic union (John Cale and Terry Riley) to meet the circumstances of the moment, with swirling mists of organ and pounding toms over guitar that thickens the atmosphere with jagged, grimy dissonance.

Solemn strings open the second track, “The Redness In The West,” with Kramer’s cello and viola in dueling bow beneath the high tension drive and sustain of Thurston’s electric guitar, tapping out a Morse code of tension that mounts endlessly into a fog of inevitable war by the end. Moore and Kramer’s sense of experimentalism is in free and full grandeur throughout They Came Like Swallows, though the duo keep a strong and constant sideways eye on melody, composition and architecture, to the ends that any strict lines between song and improvisation are blurred beyond qualification.

As if to punctuate this point, Swallows closes with a nightwork cover of Joy Division’s “Insight,” a doleful coda that breathes out with a solemn inner grace under Thurston’s instantly stylistically recognizable guitar melodies as they weave into he and Kramer’s unison voices. As the lone vocal piece and only traditional ‘song’ form on the album, “Insight” is unique to this set and as a closing statement draws connective lines back to the kind of dynamic, electrified melodicism that wove deep, melancholy patterns into the untamed fire of Sonic Youth’s Sister and Daydream Nation. In the album’s final moments, the two voices repeat the lyric “I’m not afraid anymore” as mantra, underscoring the heavy, unsettled themes and methods that preceded it. Kramer describes the creative process of They Came Like Swallows: “I had composed and recorded a few pieces at my home studio over the course of a couple weeks. Thurston was spending the winter in South Florida, so I flew down and spent a few days recording his guitar parts in his home there. Watching him spontaneously compose his parts was pretty astonishing, to say the least. Once we'd finished working on those pieces, we began improvising and following wherever the music pointed us, and another few pieces were born. We got straight to it, without anything driving us other than the joy of finally working together.

My personal goal was to remain present and catch as many surprises as I could from Thurston's guitar work, and there were plenty during those few days. We had a fucking blast.” Thurston’s contributions here will be readily familiar to any acolytes of his other works, the through-line between his inspired playing, cradled in Kramer’s meticulous, solid arrangements. “If I had to make this record again, I'd do it all exactly the same way,” Kramer says. “It’s like jazz, you don't think about it. You just do it. It was miraculous, and you don't fuck with a miracle.”

Das dritte Album von Nick Llobet und Micah Prussack, alias youbet, aus Brooklyn ist ein weitläufiges, warmes Gemisch aus Indie-Rock, Pop und experimentellen Klängen. Es zeigt eine Band, die weit über ihre Bedroom-Pop-Wurzeln hinausgewachsen ist und sich zu einer selbstbewussteren, komplexeren und lauteren Kraft entwickelt hat. Das Album, das in Bewegung entstanden ist und zwischen langen Tourneen Gestalt angenommen hat, spiegelt einen Moment ekstatischer Möglichkeiten und Entschlossenheit wider. Sowohl geschärft als auch expansiv, wächst youbet aus den Grenzen des Heimaufnehmens und des ,Bedroom Pop" zu etwas Robusterem, Lauteren und Unverwechselbarem, das ganz der Band eigen ist. Die vielfältigen Einflüsse des Duos - von den Beatles über Bernard Herrmanns schwindelerregenden Vertigo-Soundtrack bis hin zu Flamenco, den japanischen Noise-Rockern Boris und vielem mehr - legen sich in den Hintergrund, während die Band ihre eigene musikalische Sprache entwickelt. Die Co-Produzenten Katie Von Schleicher und Julian Fader runden das Album ab, wobei erstere glitzernde Synthesizer-Klänge und letzterer ein von Prussacks Bass untermaltes Schlagzeug-Fundament beisteuern. youbet zeigt, wie Llobet und Prussack bezaubernde musikalische und lyrische Ausdrucksformen miteinander verweben und das Ergebnis immer wieder neu formen.

Past Due Records is thrilled to announce the release of Midnight Blue's "One Wish - South Carolina 1975-83," a compilation showcasing the legendary funk and modern soul band from Columbia. This limited edition double LP compilation is an exclusive collection highlighting the band's peak during the mid-1980s American boogie funk era. Formed in 1975, Midnight Blue blended the talents of local musicians Myron Alford, Robert Hoefer, Jr., Ronnie Amiker, and many others. Despite their underground status, their music left a lasting impact, performing alongside legends like Midnight Star and Prince. The compilation includes their debut single "Feel It and Groove Together," their powerful rendition of "I Who Have Nothing," and unreleased tracks recorded with Cameo's Larry Blackmon. Fan favorites such as "All Because of You" and "Coolin' Out" will also be featured. This double LP comes with a full story and many never-before-seen pictures of the band, making it a must-have for any fan of eighties funk, courtesy of Past Due Records.

Oceanine, Jolanda Moletta’s third album and her first for Beacon Sound, is a powerful and ethereal statement of artistic community. Expanding on her previous work, each track represents a collaboration with a different female vocalist, with the foundational elements being generated entirely by her own voice. By turns haunting, enchanting, and inspiring, you won’t want to come up for air once you’ve been pulled under. Representing a
musical practice that is distinctly feminist, this is an album with a longer view in mind, to an age when the altars were to goddesses and women were centered as powerful beings representing the earth’s cycles of regeneration and renewal. Oceanine then, in all its beauty, can be viewed as an album of survival. It is deeply transportive, accessing something that lies within all of us. As the late, great Lithuanian folklorist and archaeologist Marija Gimbutas noted, “We must refocus our collective memory. The necessity for this has never been greater as we discover that the path of 'progress' is extinguishing the very conditions for life on earth.”

Jolanda Moletta is a multimedia artist and one-woman electronic choir. She creates wordless compositions through extended vocal techniques, integrating wearable-controlled live processing, alongside symbolic visuals. Moletta considers her performances to be a collective ritual and creates her Sonic & Visual Spells following the cycles of nature and the moon. Jolanda's 2022 critically acclaimed album Nine Spells was released on the Ambientologist label, followed by Night Caves on Whitelabrecs in 2025. Moletta’s artistic practice is a radical and spiritual journey through sound art, ritual, and the symbolic archaeology of the feminine.

Oceanine is inspired by sirens, water nymphs, and the timeless call of the sea. At its core lies Jolanda’s deep, lifelong connection to the Mediterranean Sea and to the ancient and modern myths and folklore that have emerged from its waters. Growing up by the Mar Ligure, Jolanda was surrounded by stories carried by salt, wind, and waves: legends of sirens, echoes of ancient voices, and the sea as both origin and oracle. This intimate relationship with the Mediterranean is not merely a backdrop, but a living source that shapes Oceanine’s emotional, symbolic, and sonic world.

Each track features a different female vocalist, creating a rich tapestry of voices, styles, and perspectives. This artistic choice not only broadens the album’s sonic palette, but also deepens its narrative core: celebrating the power, beauty, and mystique of feminine energy through myth, history, and sound.

The entire album is built exclusively from the human voice, processed and layered, yet always remaining voice, and nothing else. For each piece, Jolanda invited every vocalist involved to contribute a raw stem: a short, unedited melodic fragment of just a few seconds, inspired by the album’s themes. These intimate vocal seeds became the foundation of each track: the guest artists’ voices appear as brief, melodic stems, while the entire surrounding “orchestral” fabric is created solely from Jolanda’s own layered and processed voice. In this way, Jolanda’s voice becomes the Ocean itself, embracing, absorbing, and carrying the sirens’ calls within a vast, immersive soundscape. Every song is a unique expression of the feminine experience, revealing its depth, complexity, and emotional range, echoing the call of the sea and the many faces of the siren archetype.

The figure of the siren has transformed across centuries. In myths of Ancient Greece and Rome, sirens were hybrid beings, part woman, part bird, whose irresistible songs lured sailors to their doom. During the Middle Ages, the image shifted toward the half-woman, half-fish figure, often associated with temptation and danger. Historically, the voice of women has often been feared. Sirens were considered harbingers of misfortune not simply because they seduced or destroyed, but because they were powerful liminal beings.

In Ancient Greek, sirens functioned as psychopomps: figures who existed between worlds and guided souls, especially between life and death. Their songs were believed to carry forbidden knowledge, including prophetic insight and the ability to reveal truths about fate and the future. The danger of the sirens lay in what they revealed: knowledge that humans were not meant, or ready, to hear.

Oceanine confronts this legacy head-on. The voices heard throughout the album are not merely beautiful: they are dark and luminous, wild and enchanting, magical, soothing, dreamy, and at times fractured or distorted. They whisper, lament, beckon, and enchant. Like sirens, they skim the surface of the water and sink into its depths, hovering on the edge between tenderness and danger, vulnerability and power. They rise toward the sky, dissolve into mist, and return as echoes charged with raw, elemental emotion: voices that seduce, warn, mourn, and remember. They refuse to be reduced to decoration.

Alongside the album’s release in May, Oceanine will also unfold as a visual and performative work through a short art film. The film includes a live session recorded inside a sea cave facing the Mar Ligure, the very coastline where Jolanda spent her childhood, dreaming of sirens and listening to the sea as if it were speaking directly to her. This site-specific performance reconnects the music to its place of origin, allowing the voice to resonate within stone, water, and air, and transforming the cave into both a sanctuary and a threshold between myth and reality.

What if the sirens’ songs were considered dangerous because they carried another truth, an ancient truth long forgotten?

Oceanine embraces the idea that we are still deeply woven into myth. Though we may see ourselves as rational and modern beings, our world is saturated with ancient symbols and archetypes, often distorted, simplified, or stripped of their original meaning. And if those symbols are allowed to shift, if the mirror once held by the siren becomes an invitation to look beyond appearances and into what has been obscured, then we may finally uncover a deeper truth and reclaim the voice that was always ours.

Oceanine is not just an album. It is a reclamation, a spell, and a call from the depths.

Through the dense blend of Japanese New-Wave, between moldy kimonos and punctured paper screens, along the rails of a sonic bullet train, this mini-LP reaches us, overflowing with purebred Punk-Funk, splinters of Soul and shredded Jazz. A gold nugget in a sea of sadness. Scattered energy trapped in a handful of vinyl grooves. Originally released in 1986.

Today, visionary artist Jesca Hoop announces her new album Long Wave Home due out 1st May via Last Laugh and available to preorder now. Staying true to her folk roots, though never purely, Hoop delivers strikingly original songwriting showcasing her innovative vocals augmented by imaginative arrangements. Long Wave Home is energized and rings with the promise of a fresh new chapter for the artist. To accompany today’s announcement Hoop has shared the album’s compelling first single, “Designer Citizen”, alongside a charming video directed by James Slater.
 
Additionally, Hoop has announced news of a 10-date UK tour in May including a performance at London’s Union Chapel.

Today, visionary artist Jesca Hoop announces her new album Long Wave Home due out 1st May via Last Laugh and available to preorder now. Staying true to her folk roots, though never purely, Hoop delivers strikingly original songwriting showcasing her innovative vocals augmented by imaginative arrangements. Long Wave Home is energized and rings with the promise of a fresh new chapter for the artist. To accompany today’s announcement Hoop has shared the album’s compelling first single, “Designer Citizen”, alongside a charming video directed by James Slater.
 
Additionally, Hoop has announced news of a 10-date UK tour in May including a performance at London’s Union Chapel.