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With her hypnotizing voice and vivid lyricism, Jackie Mendoza makes fantastical, intimate electro-pop propelled by ukulele-based dance grooves. Having grown up between her birthplace of Chula Vista, California and Tijuana, Mexico, the 29-year-old singer-songwriter and multi-instrumentalist bridges these two worlds with dynamic soundscapes that pull from Latin pop, electronic music, and indie pop. She creates a musical universe that exists beyond strict borders of genre and geography, giving her the space to traverse the vast expanse of her interiority. Mendoza first started performing in 2014 as the vocalist for Brooklyn dream pop bands Gingerlys and Lunarette. She then broke out as a solo artist with her 2016 pop hits "Islands" and "La Luz," which showcased her imagery-packed, yet deeply introspective lyrics. On LuvHz, her 2019 adventurous debut EP that was initially inspired by a painful breakup, she turned her personal experiences into songs that observe greater truths about the world around her. As a result, the project became a broader reflection on varying forms of love, in relationships with your partner, your culture, and the natural environment. Mendoza expands this approach on her debut album, Galaxia de Emociones (Galaxy of Emotions), which sees her exploring a great range of feelings, from depression, celebration, outrage, numbness, hopelessness, and thrilling love. She uses each emotion as a portal to convey the intricacies of her experience as a queer, first-generation Mexican American woman, who actively defies and criticizes machismo and the Christian culture she was surrounded by. Brought up in the suburban border town of Chula Vista, she recalls being told by her parents to not mix English with Spanish, but speaking "spanglish" quickly became inevitable. It wasn't until high school, that learning to play ukulele and singing in school musicals allowed her to authentically express herself. "This album is about finding the courage to not only face my emotions, but also sharing them by singing them out loud." Mendoza says. The project was co-written and co-produced by Mendoza and Rusty Santos (Animal Collective, Panda Bear), with a contribution from Grammy winning producer and accordionist Ulises Lozano. As Galaxia de Emociones cruises from shimmering indie pop to accordion-laced electronic norteño, Mendoza proves there is both power and tenderness in embracing the fullness of your being and not doubting your instincts that might have been discouraged by society. She says it all in the opening song, "Natural," which blooms with spacey synths and twinkling ukulele plucks. "There is no use in controlling what comes natural to you," she sings in Spanish in a spellbinding loop. With her new album, she hopes that listeners can connect with her words and look within to explore their own galaxy of emotions.

clear yellow viny

Long-running acid master Luke Vibert returns on De:tuned with a new 11 track album devoted to the iconic silver box. 'Machine Funk' characterizes Luke's unique perspective on the acid house movement. The LP portrays an idiosyncratic blend of acidic squelch and raw energy with a signature fresh and playful vibe expressed in rhythmic compositions of a particular finesse and elegance. Essential 303 business!

Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Following a run with Cherry Red Records that featured a potential major label jump, guitarist Maurice Deebank quitting and rejoining multiple times, several pop stardom carrots just out of reach, mixing battles with Robin Guthrie, and a shocking entry into the record charts, Lawrence (just “Lawrence”, like “Cher” or “Madonna” thank you very much) knew he would be making a change with his band Felt. He would be seeing out his plan of ten albums and ten singles in ten years alongside a new partner in Creation Records. This compilation beautifully captures those years.

Creation was beginning a rapid ascent at the time, with Alan McGee serving as its hyperactive mouthpiece and focal point. McGee was all in on the band. “Lawrence achieved pop perfection, a breathless rush of sensitivity and intelligence. It was too understated to be commercial, too art to go pop, too pop to go art—in other words it was a perfect combination of all the music I loved at the time.” McGee was thrilled to have what he considered a real star on the label, and Lawrence was equally thrilled to have such an enthusiastic cheerleader. He funneled that enthusiasm into some of the most focused songwriting of his career, as well as some of his wildest experiments, all of which are on display here.

Macklemore veröffentlicht sein erstes Solo-Album seit
"GEMINI" 2017.
Einen kleinen Ausblick auf das am 03. März
erscheinende Album "BEN" gab der Rapper bereits mit
den Singleauskopplungen "CHANT", "MANIAC" und
"FAITHFUL", die in Zusammenarbeit mit Tones and I ,
Windser und NLE Choppa entstanden.
Im April ist der Rapper mit Verstärkung von Tones and I
und charlieonnafriday in Deutschland unterwegs.

OLYMPIANS - das neue Album des
Grammy-Preisträgers hebt die neun Originalkompositionen
hervor, die Mendoza während seiner 27-jährigen
Zusammenarbeit mit dem Metropole Orchester
geschrieben hat. Einen besonderen Gastauftritt hat
Dianne Reeves, die Mendozas lebhaften und brasilianisch
angehauchten Song Esperanto mit einem Songtext von
Kurt Elling singt, sowie House of Reflections, interpretiert
von Cecile Mclorin-Salvant, mit einem Songtext der
legendären britischen Singer/Songwriterin Norma
Winstone. Der Tenorsaxophonist Chris Potter ist auf einer
energiegeladenen Version von Barcelona zu hören. Die
Aufnahme enthält außerdem ein beeindruckendes Solo
des Saxophonisten David Binney sowie weitere großartige
Momente von Weather Report-Alumnus Alex Acuña am
Schlagzeug. Die Premiere von Mendozas Bright Lights
and Jubiliations wurde 2021 live in Amsterdam
aufgenommen, dem ersten Auftritt Mendozas in
Amsterdam seit der Pandemie.

Fazerdaze, aka Auckland-based singer / producer / multi
nstrumentalist Amelia Murray, is back with new music after a
very intentional five year pause.
Fazerdaze returns with ‘Break!’, an air-punch purge in musical
form, marking an important reintroduction to an essential artist
of our times.

In a society where being strong and resilient is often held up like
a badge of honour, it’s much, much harder to acknowledge
when enough is enough - to accept when it’s time to let go. It’s
a truth that Murray has spent years wrangling with, but one
whose story thankfully comes with an empowering punchline of
personal reclamation. Rewind back half a decade and,
objectively, things for Fazerdaze were hitting their stride. Then
residing in Auckland, an early determination to graft hard and
“put herself in the right places” had led to working for and then
signing with legendary New Zealand label Flying Nun. A debut
LP - 2017’s ‘Morningside’ - followed, full of gauzy melodies and
nfluenced by Frankie Cosmos, Japanese Breakfast, and the
dream-pop landscape of the time.

Finishing up touring for the record at the end of 2018, Amelia
speaks of a deep sense of burn out and, more than that, of
feeling the “wheels starting to come off” in her general life. “No
longer being stoic and strong was the best thing I ever did for
myself. Giving up on the people and things that weren’t working
in my life was this big release where I could finally put down this
weight that I was carrying, and ever since then everything has
been better in my life overall,” she continues with an audible
sense of relief. “I can hear my intuition and write songs and be
creative; I signed a record deal, I moved into my own place. It’s
like the floodgates opened for good stuff coming into my life.”
Black vinyl in a single sleeve jacket and printed inner sleeve.
Design by Joey Clough.

Press - Reviews & features in The Guardian, The FADER, Brooklyn Vegan,
Complex, Consequence, DIY, Narc Magazine, Pigeons and Planes.
Radio - BBC 6 Music A-List.
Online - Support from both fans & fellow musicians, including posts shouting
out ‘Break!’ from King Krule & Lorde.

In den letzten Jahren verbreitete sich ein neues Musikgenre vor allem durch Streaming-Playlisten: »Lo-Fi Beats« sind ruhige instrumentale Hip-Hop-Stücke, die dank ihrer verrauschten, leiernden Ästhetik klingen, als kämen sie direkt von einer mehrfach überspielten Kassette.
L.Dre aus Los Angeles ist einer der Meister dieses Stils, doch auf seinem Album LoFi Symphony für Deutsche Grammophon hat er sich einer vollkommen neuen Herausforderung gestellt: Lo-Fi Beats mit hochqualitativen Aufnahmen klassischer Orchestermusiker:innen zu verbinden.

Der Produktionsprozess von LoFi Symphony gestaltete sich deutlich aufwendiger als bei einem üblichen Projekt in diesem Genre. In einem ersten Arbeitsschritt sampelte L.Dre die bekannten Stücke für eine
Rohversion eines Beats, dann wurde die »neue« Komposition transkribiert und einem Orchester aus ausgewählten Musiker:innen zur Neueinspielung vorgelegt.

Gerade die Spannung, die sich aus der Kombination von Lo-Fi-Ästhetik und Hi-Fi-Aufnahmen ergibt, macht LoFi Symphony so lebendig, interessant und innovativ. Streicheraufnahmen treffen auf Vintage-Sounds eines originalen Steinway-Flügels aus den
1920er-Jahren, auf das genretypische Vinylknistern und die charakteristisch gedämpften Drumsounds.

»Dies ist definitiv anders als alles, was ich je zuvor gemacht habe«, bringt er die Besonderheit dieses Albums auf den Punkt. »Ich glaube nicht, dass so etwas überhaupt schon mal gemacht wurde.«

Multiple Grammy winner Composer, Arranger Conductor Vincent Mendoza has 35 Grammy Nominations across his storied career, including his sixth Grammy for his last Album Freedom Over Everything. For his forthcoming offering Olympians Mendoza is joined by Metropole Orkest, which he has led as chief conductor for the past six years. It is a bright, zingy and as the title suggests, triumphant record to add to Mendoza’s outstanding career.
Mendoza has written arrangements for a wide variety of pop and jazz artists
From Joni Mitchell, Sting, Melody Gardot, Elvis Costello and Bjork to Joe Zawinul, John Scofield and Randy Brecker.

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions African RARE GROOVE A journey at the heart of Nigerian afrobeat from Orlando Julius to the ethnojazz of Alemayèhu Eshèté passing by the High-life of the Ghanaian Ebo Taylor...

Die Single ”Calm Down” war auf Platz 1 der Schweizer Single Hitparade und sogar für über 100 Tage auf Platz 1 bei Shazam. Die Single hat in der Schweiz Multiplatin Status. Ausserdem hat der Song ”Soundgasm”, ebenfalls aus diesem Album, Doppel Platin Status.
Das musikalische Wunderkind Rema veröffentlicht sein mit Spannung erwartetes Debütalbum ”Rave & Roses”.

Drei Jahre nachdem Rema von Mavin Records-Gründer Don Jazzy der Welt vorgestellt wurde, hat der aus Benin City stammende Musiker mehr erreicht, als man sich je hätte träumen lassen.
Als der wohl größte und international bekannteste Vertreter aufstrebender Afrobeat-Stars, tritt Rema mit seinem kommenden Album ”Rave & Roses” in eine neue Phase seines Lebens ein.

Dabei ist der als Divine Ikubor in Nigeria geborene Sänger bereits ein Popstar, der mit seinem Debütalbum beweisen will, warum der Hype um ihn von ganzem Herzen verdient ist. ”

Manchen mag Remas Erfolg erscheinen, als sei er über Nacht gekommen. Doch zwischen seinen Anfängen im Chor bis zu dem Moment, als Barack Obama ihn seiner ”Summer 2019”-Playlist hinzufügte und Drake ihn begeistert ins Studio einlud, lag viel Arbeit, die auch über die Musik hinausgeht.

Trench Dogs melden sich mit ihrem neuen Studioalbum 'Stockholmiana' zurück. Energiegeladener Rock'n'Roll mit Einflüssen von Punk- und Glam-Rock der 70er Jahre sind Programm. Klingt wie The Quireboys, Dogs d'amour, Johnny Thunders and the Heartbreakers, Faster Pussycat, Hanoi Rocks, Sweet oder L.A Guns!

180 GRAM AUDIOPHILE VINYL
PVC PROTECTIVE SLEEVE
GATEFOLD SLEEVE WITH VELVET SPOT VARNISH ON THE OUTSIDE AND IMAGES OF ICONIC MOVIE POSTERS ON THE INSIDE
4-PAGE INSERT
A SELECTION OF DEFINING MORRICONE SONGS, FEATURED IN CLASSIC MOVIES AND SERIES “VERUSCHKA”, “SLALOM”, “ALIBI”, “VIOLENT CITY”, “MACHINE GUN MCCAIN”, AND MANY MORE
LINER NOTES BY CLAUDIO FUIANO
PART OF THE MORRICONE THEMES COLLECTION
THE SPINES OF THE FIVE TITLES FORM ONE IMAGE TOGETHER
MORE INFORMATION ABOUT THE SERIES ON MORRICONEONVINYL
BLACK VINYL

Lounge is the third in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. Each collection centres on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. The Maestro. This collection was announced before Ennio Morricone passed away on July 6, 2020. We’ll continue to release the series to honour this great composer.

The term Lounge Music is not one that Ennio Morricone would have heard at the time he was composing these pieces for the movies that they enhanced, but it is one has been retrospectively applied to a certain type of music, and it is a style that Morricone has contributed a great deal towards.

Lounge refers to a type of easy listening music that began to be popular in the 1950s and developed right through the 1960s and into the 1970s. This was sophisticated music for an adult audience. Lounge music combined its American influences with music that was popular outside the USA such as Latin, Hawaiian, Polynesian, French , and many others. This was an era that was inspired by new inventions. Lounge mimicked the space-age sound effects of the time and the advent of stereophonic technology allowed spatial audio techniques to be used to full effect.

This collection is not about a specific genre of music for film, it is a celebration of Lounge style pieces by Morricone that are capable of evoking in the listener thoughts of easy living, sophistication, romantic moods, and the excitement of a 1950s cocktail lounge or a 1960s nightclub.

Starting 70 years ago as an arranger for the piece Mamma Bianca, Ennio Morricone is the emperor of scores and soundtracks. Morricone has always been a huge influence for the likes of Hans Zimmer, Danger Mouse, Muse, Metallica and many more musicians. He was one of the most successful composers of all-time, selling over 70 million records and winning dozens of awards.

Lounge on black vinyl includes a 4-page insert with liner notes written by Claudio Fuiano. The gatefold sleeve contains a velvet spot varnish on the outside and images of iconic movie posters on the inside.

Like a US house producers' version of the fabled grime MC battle competition 'Lord of the Mics', Brawther and Chez Damier came up with the idea of a producer contest to bring together the members of the Interweaved community, with the winners of the first round of submissions sharing their stems with the rest of the community, inviting remixes.
French born Roy Vision received the most votes in the online poll for his track '4 One Another' - a house bomb full of sub-bass pressure, craftily employed vocals and deft drum programming. The original is featured here, alongside mixes from Australian underground hero Marley Sherman, who took the trophy for his uplifting remix. London Based DJ Rouge, meanwhile hails from Ireland but loves original Italian deep house of yesteryear, and his offering was the second most voted work and is included here, slower and more wistful but still chunky in the beats department, with Dunique's spoken word part adding a quietly philosophical dimension to both the original and chirpy, cheery sounding mix from Montreal wonderkid South Shore Garage.

UK producer Dennis Huddleston goes by the artist name of 36. He is a much-loved producer with a fine back catalogue which is investigated here with The Box, a new collection of his earliest and perhaps most admired works. They were all written between 2005 and 2012 and are drawn from albums such as 2009's Hypersona, 2010's Hollow and 2012's Lithea. The bumper six vinyl collection also features a bonus album, Orphans, of all new and previously unreleased tracks. There is a real depth of range and emotion to these tracks so it is no wonder the artist says they are some of the most personally cherished works he has written.

If you find the time, please come and stay a while in abracadabra’s beautiful neighbourhood; a magically wonky wonderland where strangers leave as friends to a block party soundtrack as eclectic as it is infectious. The California duo’s album shapes & colors is a dazzling collage of psych-fuelled synthscapes and contemporary Baroque-pop of anti-capitalist movements and escapism, precisely pieced around their own working lives in a blue-collar town.
In the heart of Oakland’s industrial Jingletown above a former auto-repair shop in what was once a mechanics’ break room where poker rounds ensued, Hannah Skelton (Vocals, Synthesizers) and Chris Niles, (Bass, Synthesizers) constructed the angular 80s-tinged anthems (think John Hughes montages to Talking Heads) of their new album, to positively offset the pandemic’s amplification of dysfunctional society. “It reflects our current reality: a huge mess that is systematically broken but isn’t entirely lost,” Hannah tells. “We’re inviting listeners to conjure up every drop of hope and willpower left inside them, pour that into the giant vat of anger and frustration bubbling inside us all, and with this potion collectively enact the necessary change to bring love and light into this dark space.”
When Covid forced Hannah from her salon in San Francisco to become a backyard mobile hairdresser, what she saw inspired them both and the lyrical foundations for their new record. “I’d drive to mansions and people would complain about how hard the pandemic had been next to their swimming pool and tennis courts.” First meeting after the album’s co-producer Jason Kick (Mild High Club, Sonny and the Sunsets) recruited the pair for a Halloween band covering Eurythmics’ art-rock debut ‘In The Garden,’ the pair hit it off and shapes & colors is a product of the years that followed. It combines Chris’ own rhythmic demos following years on the road touring and opening for Amon Tobin, Matthew Dear and Generationals in Maus Haus with Hannah’s lyrical musings honed from project Cassiopeia, so even when topics are as heavy as the beats, they’re met with luminously positive arrangements of hope and warmth.
The by-product of a psychedelic New Year’s Eve escaping a monotonous 2020 reality, the title track itself captures fireworks over East Oakland as viewed from the pair’s couch whilst listening to Mort Garson’s Plantasia for 6 hours straight. The daydream collage of ‘inyo county’ is “a little souvenir taking me back into the bottled-up essence of a slow lazy morning, waking up in bed far from home,” Hannah tells recalling those enforced stay-at-home days. “It fell out of me because I was craving that blissful flavour.” Meanwhile ‘dawn of the age of aquarius’s new parallel reality evolved from a happy accident when their demos had reset to a drone which Jason reworked into a Laurie Anderson-esque breathy vocoder effect. Even bloops and beeps from a forgotten recording session at the Vintage Synthesizer Museum in Emeryville can be heard, where the pair used Mini Moog, Fairlight EMI and ARP 2600 to arrange their sound into shapes whilst distortion and dirt from mixing on 1979 Neve 5313 Console added to the recordings’ color.
Casting a brighter rainbow still, in all its pastel-hued glory, Hannah, also illustrated a self-portrait of the band for the album artwork. “It reflects our makeshift recording studio to encapsulate all aspects of that time and space,” she shares of their abode where, over an intense two-week period and fuelled by the aroma of fermenting vino from the winery below, their single chord, bass and drum-heavy, groove-first momentum took them on an unexpected journey whilst the next-door couple would fire pizzas in their yard and a grandfather across the road would sweep the street clean. “We’d drink coffee and start the day, consistently working, without interruption,” Chris tells of finding their flow. “The loft is a cool space with skylights, tall ceilings and no shared walls so we could be as loud as we wanted to be.”
Just as well. Diving into decades of electronica and crunchy sound effects, field recordings and animal sounds, blended with an infectious Latin influence, shapes & colors is bolstered by live percussionists Greg Poneris (drums), K. Dylan Edrich (Vocals, Percussion: congas, bongos, chimes, cow bells and wood blocks, tone drum and tri-tone whistle) and Tom Smith (Guitar, Synthesizers, Vocals).
NIMBY crews grab those earplugs now. abracadabra is your new noisy neighbour, and there’s no turning this party down.

On her third album, Berlin-based Dutch-Italian composer and sound designer Aimée Portioli, aka Grand River, asks what guiding forces might be driving, enticing, and affecting us. “All Above” is rooted in her deeply personal philosophy as an artist, blurring the boundaries between electronic music and acoustic music and sculpting familiar ambient forms into personal themes painted with rich emotional colours. Written painstakingly over the last two years, the album is the most ambitious and divergent set of music Portioli has assembled so far, with a wide variety of instrumentation (including voices, strings, organs, guitars, and synthesisers) focused around the piano. She‘s keen to assure listeners that while that instrument isn‘t always heard, it‘s constantly at the forefront of the album, shepherding its emotions and anchoring its mood. It makes sense then that on the opening track ‘Quasicristallo’, the acoustic piano is the first element we hear, recorded closely, so its characteristic rattle and creak can speak as loudly as the familiar tones themselves. When the music blooms into abstraction and processed electronics, it‘s almost imperceptible: reverb mutates into ghostly vapour trails, and distortion forms the keys into another instrument entirely.

“All Above“ follows 2020‘s acclaimed “Blink A Few Times To Clear Your Eyes“ and 2018‘s “Pineapple” released on Donato Dozzy and Neel‘s Spazio Disponibile imprint. Having garnered praise from outlets like Resident Advisor, XLR8R, The Quietus, Inverted Audio, and The Verge, Portioli operates in a unique space within the electronic music scene, straddling the art world and the wider electronic music scene. She‘s developed sound art installations for Rome‘s La Galleria Nazionale and the Terraforma Festival-related Il Pianeta, and has appeared at Barbican, MUTEK, Le Guess Who?, Kraftwerk, and other internationally renowned venues and festivals, often collaborating with Marco Ciceri on A/V presentations. Ciceri also maintains the visual identity of Portioli‘s label One Instrument, a concept imprint that asks artists to create music only using a single device. All this experience is poured into “All Above”, a richly visual album that‘s far more than just an imaginary film score. While on ‘Human’, her piano punctuates a rhythmic synthesised bassline and smudged choirs that can‘t help but trace out the silver screen. The composer is keen to clarify that she doesn‘t think of her music (or sound in general) in visual terms.

Portioli studied as a linguist and used her art to develop an emotional language that‘s not bound by expected cultural constraints. When she adds a different instrument or process, it‘s not to reference a visual cue but to mark a journey through different states of being. Each element embodies a different emotion or mood: the electric guitar represents strength or violence, synthesisers shuttle us into the dream world, and the acoustic instruments highlight intimacy and warmth – even heart. Read like this, the tracks are like meditative poems rather than cinematic vignettes: ‘The World At Number XX’ is seemingly centred around a chugging synthesised arpeggio, but the cosmic, Klaus Schulze-esque pads, strangled guitar and evocative organ tones hint at the open-hearted, literate psychedelia of the 1970s; ‘In The Present As The Future’ meanwhile is breathy and windswept, juxtaposing urgent rhythmic phrases with light, flute-like gusts of harmony.

Dedicated to Editions Mego founder Peter Rehberg, who died suddenly last year, “All Above” demands engagement and refuses to evaporate into the background. The album asks listeners not just to absorb the album as a whole but notice the cracks in the structure and discern the tension they cause. That‘s never more evident than on the closing track ‘Cost What It May’, a piece of music almost jarring when Portioli chops into noisy waves of electric guitar. In the wrong hands, this might sound like a power move – some rock posturing to act as a finale. But Portioli‘s expression is different. She‘s forcing a level of engagement that perceives the negative space as just as necessary as the saturated positive, and what could be more haunting and emotionally resonant than that?

Composed, produced and mixed by Aimée Portioli.
Mastered by Stephan Mathieu.
Cut by Andreas Kauffelt at Schnittstelle, Berlin.
Photography by Federico Boccardi.
Design and layout by Riccardo Piovesan.

Wipe your blade clean. The bloodline of Eastern European kosmische and groundbreaking, grinding cinematic psych rock finally emerges from fifty years of forbidden forestland to fill your thirsty grails. Poland’s prime progressive provocateurs Żuławski and Korzyński finally expose the jagged roots of Possession and The Silver Globe and give the devil his due via this historical vinyl release.

If an opening strapline that reads “Forget everything that you thought you knew about the history of psychedelic rock and horror movies” appeals to you, then further potentially hyperbolic phrases like “Lost Grail” and “Banned Forever” will surely clinch the deal, leaving the hugely significant wider context of this dream come true release surplus to requirement. But as we hope you have come to expect from Finders Keepers releases “The devil is in the detail” and the fact that any mention of the perpetually elusive original master tapes to a 1972 project entitled Diabeł and the phrase “Holy Grail” have become synonymously associated only adds the twisted irony that surrounds this genuine masterpiece of both aforementioned fields.

For those fastidious enough to pursue the hunt, these unearthed recordings represent the crowning glory of the lifelong unison of Maestro Andrzej Żuławski and filmmaker Andrzej Korzyński, two genuine mavericks of Polish experimental cinema who challenged artistic and societal norms, on both sides of a politically restricted regime and on an international artistic stage, without compromise. Friends since childhood, Korzyński and Żuławski may have become divided by limelight and geography (Żuławski the intrepid emigre), but they remained united in their kaleidoscopic creative vision, resulting in a fractured stream of troublesome and mind-bending golden era collaborations such as Possession, The Silver Globe, and Third Part Of The Night. This long-awaited liberation of the psychedelic masterpiece known as Diabeł finally completes the duo’s full vista with what many consider the most vital piece of the prism.

“Amid a buzzing scene of solo guitarists, Salsburg feels both like a figurehead and one of its most active players, with each new release offering a bright step forward.” – Pitchfork // The third volume of the Landwerk series by guitarist, archivist and 78 collector Nathan Salsburg. After releasing three acclaimed acoustic guitar records from 2011-2018, Salsburg pivoted with the first volume of Landwerk in 2020. Alone on a tree farm in rural Kentucky one winter night, he put on an old 78 by the Jewish cantor Yossele Rosenblatt and was struck by an organ chord. He sampled it, looped it and began playing guitar alongside it. It was like “conversing with a ghost” he told Uncut Magazine in 2021. Landwerk No. 3 contains six new compositions across two LPs. Tracklisting: 1. IX 2. X 3. XI 4. XII 5. XIII 6. XIV

If we want to look into the future, we have to start considering the implications more holistically. All too often, science fiction is a dystopian projection of the current era's grimmest realities spiked with pragmatic historical hindsight - but what if instead it was able to reflect our needs, hopes, and dreams? On "SPINE", award-winning Danish composer SØS Gunver Ryberg considers a sustainable alternative, buoyed by interconnectedness, empowerment, and understanding. Channeling her dextrous sound design into advanced, time-bending music that fluctuates through techno, experimental ambient, and soundsystem-vibrating bass music, she maps out an artistic landscape that's futuristic and complex, but never oppressive.

Ryberg is an accomplished producer who's developed her sound over many years, playing concerts and working tirelessly on video game soundtracks, film scores, dance, performance, and multichannel installation pieces. Her first solo album "Entangled" appeared in 2019 on Berlin's esteemed Avian imprint, and was praised for its sensitive approach to noise and abstracted techno, while its EP-length followup "WHYT 030" was nominated for the Nordic Council's prestigious music prize this year. "SPINE" is the inaugural release on Ryberg's own label Arterial, and stands as a thematically dense statement of intent. The label provides a platform to extend Ryberg's artistic goals and reflect not just her world but a world she wants to see develop in the future: somewhere connected and creative, where exploration and free expression is prioritized over genre division and petty compromise.

This philosophy is central to the sounds on "SPINE", which have been carefully sculpted to accurately lay out Ryberg's worldview. Opening track 'Unfolding' presents a sonic ecosystem that flourishes as it spreads itself out, and quivering kick drums vibrate alongside unstable atmospherics. There's the faint fingerprint of Chain Reaction's notional dub techno in there somewhere, but Ryberg interrupts the thought before it can coagulate, assuring the listener that her vision isn't ponderous but playful and optimistic. This mood flickers into view again on the title track 'Spine', as fragmented breaks rumble beneath disorienting synths, faint images of a life we once knew refracted into cosmic beams of light. 'Mirrored Madness' meanwhile is warm, assertive, and optimistic, contrasting skittering cybernetic percussion with dense, enveloping harmonies.

When she pushes rhythm into the background, like on the cinematic 'We tumble on the edges', Ryberg's compositional skill is placed under the microscope. We're presented with the opportunity to examine another dimension of her work, the mystery beneath the stone, hearing saturated, alluring pads infused with hidden harmonies. In these moments, Ryberg implores all of us to consider the environment, asking us to think about the earth's essential nutrients on the dreamy 'Phosphorus Cycle', and what we might do to save ourselves on the delirious 'Where do we go from here'. Ryberg's concern isn't chastising, it's laid out in a warm embrace. The future could still be bright - there's something beautiful in the complexity if you just take the time to look closely.

Jessica Winter is the queen of sad-bangers, a purveyor of dark glittery synth-pop and a truly unique artist, as well as an acclaimed producer and writer (The Big Moon, Jazmin Bean, Phoebe Green, Walt Disco & more). Growing up on a diet of Nine Inch Nails and Siouxsie and the Banshees, her music is just as likely to channel Madonna, trap, pop, and indie disco. Much of her childhood was spent gazing out of the window from her hospital bed due to hip dysplasia, which led to a very vivid imagination to grow.

Across Jessica Winter’s debut EP ‘Limerence’ for new label Lucky Number, Winter shows her versatility as an artist, from the cinematic-pop aesthetics present in ‘Choreograph’, to a more raucous, dance-heavy approach with ‘Funk This Up’. Grounded within her unique, unmistakable style, Winter delves into everything from synth-pop, punk, and 80’s glam and cements her glimmering pop vision.

“Limerence was written during a time when I was trying to understand my relationship to love and my behaviours around it.” says Jessica; “Love confuses me so much and I think this EP demonstrates that.”