On his brand new studio effort Styles P proves his key to success has always been consistency. The born in Corona, raised in Yonkers, NY native has really worked harder than most to earn the name GOAT, and by naming his album “S.P. The GOAT: Ghost Of All Time” you know he’s not bragging about it, in fact he’s getting his flowers while he’s alive from Hip Hop connoisseurs who know fire bars when they hear them. With productions by Vinny Idol, Termanology, Dayzel the Machine, and Noah Idol among others and guest appearances by Sheek Louch, Jadakiss, Nino Man, Fame of M.O.P, Whispers and Cris Streetz, the legendary LOX and D-Block member proves once again he’s aging like fine wine.
Leading the charge was a young band from West London called Pressure Point, whose debut single Mellow Moods caused a real stir on its release in 1985. The Stan Getz-inspired bossa nova was released initially on Viceroy Records, and immediately punched well above its weight, thanks to the considerable talents of producer Steve James, vocalist Lydia Gayle and some of London's leading session musicians: saxophonists Jamie Talbot and Ian Trimmer, trumpeter Steve Sidwell and his brother, trombonist Neil, and keyboard player Simon Etchells. It quickly became Capital Radio's 'People's Choice', winning praise on air from the likes of Kid Creole himself - August Darnell - and went on to be re-released by Bellaphon in Germany and by Gilles Peterson's HardBack Records. It is widely viewed as a rare groove classic, with copies changing hands for hefty sums in the following decades. London- based Pressure Point's core members were Matthew Best, Anthony 'Hugo' Longden and Sean Maher, who went on to work with Soul Legend Miss PP Arnold to complete 'Dreaming', a now legendary and as yet unreleased 1989 album
His discography has long been heard through the lens of the American folk tradition. But Just Beyond Endless Mountain, out October 9th on Anti- Records, quietly turns that perspective on its head. After returning to his native Dalarna in central Sweden, Matsson found himself listening to the music he had spent years trying to leave behind: the polskas, the old field recordings and the sounds of the local traditions that had surrounded him since childhood. The result is not a return to the past, but a step into new musical territory. Swedish folk music has reshaped his melodies, his voice, and the way he writes songs. The Tallest Man On Earth is back with his most deeply rooted album to date. Just Beyond Endless Mountain opens an unexpected new chapter in a career that has never settled for familiar ground
A year after the release of Adriatique’s debut LP, ‘Nude’, Afterlife presents a seven-track remix package to breathe new life into the originals.
The album found Adriatique, the duo of Adrian Shala and Adrian Schweizer, explore a more downtempo, contemplative sound than they were known for. Its profound musicality makes rich source material for a set of dancefloor interpretations, which Tale Of Us have curated together with Adriatique for the label’s 30th release.
First is Tale Of Us and Mathame’s version of ‘Mystery’, where they extend the blissful tones and Jono McCleery’s vocals into a euphoric dancefloor cut. Next Solomun brings some electro flair to the vocoder-led title track, before Kobosil toughens up ‘Tachykardia’ with a warehouse-ready kick drum and twists the serene voice of Delhia De France. Rampa is another new name for Afterlife Recordings; he gives ‘Nude’ a slick, techy overhaul to complete the vinyl release in fine style.
The digital release contains an Agents Of Time epic in their remix of ‘Buchla’s Dreaming’, Johannes Brecht’s shimmering take on ‘Ray Reincarnation’ and a chopped-up remix of Mystery by Isoleé. A diverse, tastefully-executed remix EP which does justice to the quality of Adriatique’s album.
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Official reissue for this long lost 1966 LP, the very first to be endorsed by the Trevor Lucas estate. Pressed on orange vinyl for RSD 2022. Ultra-rare 1966 solo album by singer/songwriter Trevor Lucas of Fairport Convention, Fotheringay, and Election. This Australian born folk legend recorded his own songs and a handful of covers – mostly solo acoustic, occasionally accompanied by bass, concertina, and fiddle. This is the first ever authorized reissue (by his estate), a long lost gem from a seminal songwriter.
Almost Starlight is the extraordinary new album by Jem Finer (hurdy-gurdy) and John Matthias (violin). Produced by Jay Auborn and recorded in a Medieval Church, deep in the Devon countryside, in the Summer of 2025, the music is suffused with light, heat and the natural acoustics of the space.
The album defies categorisation; forced to pigeon hole it the nearest approximation would be ‘modern-classical’ but this ignores its myriad influences and explorations which encompass inspiration from Arvo Pärt through Terry Riley to Can via Delius, Alice Coltrane and a subtle reimagining of electronic music played purely with acoustic instruments, bending and shaping their possibilities in surprising and unexpected directions.
Jay Auborn plays cello on a number of the compositions and his production opens up and expands the music through a skilled and imaginative use of space, paying homage to the atmosphere of the church; ‘the sound evolved… chasing the imagined acoustics of that church in my mind; a place for worshipping light with sound.’
Almost Starlight will be released on the 4th September by Touch, available as CD, vinyl, cassette and on streaming platforms.
BIOS OF THE ARTISTS
Jem Finer
Since studying computer science in the 1970s, Jem Finer has worked in various fields, including photography, film, experimental and popular music, sound recording, sculpture and installation.
Much of his work relates to systems, extended processes and extremes of scale and includes Longplayer, a musical composition repeating once every 1000 years, and the Gurdy and Hurdy stones, ancient rocks set upright in fields in East Sussex and Gloucestershire with Jimmy Cauty. Their work together includes a band, The Standing Stones, whose most recent release is Twa Sisters, featuring Iona Zajac and Daragh Lynch.
He was a founder member of The Pogues, with whom he has played, written and recorded since 1981.
Recent music revolves around a fascination with the hurdy-gurdy and includes hrdy-grdy, a cassette released by Benedict Drew’s Thanet Tape Centre. His latest collaboration, with John Matthias, Almost Starlight, will be released by Touch in September 2026.
John Matthias
Since studying Theoretical Physics in the late 1980s and 1990s, John has created music and sound in many forms, including for installation, popular music, music for film, for dance and orchestra.
Much of John’s work plays with the physics of complex systems but he is also greatly influenced by stories and song. John has collaborated with Matthew Herbert, Stanley Donwood, Jay Auborn, Radiohead, Thom Yorke, Nick Ryan and many others to create music with a variety of textures and sonorities. He is particularly interested in simplicity and form and how context informs the way music sounds.
His latest collaboration, with Jem Finer, Almost Starlight, will be released by Touch in September 2026.
1986 veröffentlichten Bassist Ron Royce (Ron Broder), Gitarrist Tommy T. Baron (Tommy Vetterli) und Schlagzeuger Marquis Marky (Markus Edelmann) ihr erstes Demotape »Death Cult« mit Hilfe von Celtic Frosts Tom Gabriel Fischer am Gesang (Fischer war auch für die Texte verantwortlich).
Kurz darauf, Anfang 1987, unterschrieben Zürichs Avantgarde-Metal-Pioniere einen Vertrag mit Noise Records aus Berlin. Zu diesem Zeitpunkt hatte sich Bassist Ron Royce entschieden, selbst die Rolle des Leadsängers von Coroner zu übernehmen.
Schließlich buchte Karl-Ulrich Walterbach von Noise Records für Coroner Studiozeit im Berliner Music Lab Studio, damit sie ihr Debütalbum unter den wachsamen Augen von Harris Johns aufnehmen konnten. »R.I.P.« wurde im Juni 1987 veröffentlicht und erhielt ausgesprochen positives Feedback in der Presse.
1988 folgte auf Coroners Debütalbum »Punishment For Decadence« (diesmal produziert im Sky Trak Studio in Berlin, produziert von Guy Bidmead). Laut Gitarrist Tommy Vetterli war das eine natürliche Weiterentwicklung für die Band: „Wir haben uns mehr auf die Tiefe der Musik konzentriert, es war nicht mehr nur eine Demonstration unserer technischen Fähigkeiten. Die Band war ziemlich tight, definitiv tighter als auf unserem ersten Album. Insgesamt denke ich, dass die Platte etwas reifer ist. Es ging weniger darum zu zeigen: ‚Schaut her, wie gut wir spielen können‘, sondern der Fokus lag auf den Songs.“
Der herausragende Track auf dem Album ist „Masked Jackal“, ein Fanliebling bis zum heutigen Tage. Außerdem wurde ein Musikvideo zu dem Song gedreht, wie der Gitarrist erklärt: „Es ist das Stück, das auf dem Album heraussticht. MTV war damals für jede Band extrem wichtig. Deshalb ist ‚Masked Jackal‘ bis heute ein Favorit der Fans.“
»Punishment For Decadence« kam mit einem auffälligen Cover-Artwork daher (ein Gemälde mit dem Titel „Porte de L'enfer“), eine Idee von Schlagzeuger Marky: „Er kletterte mitten in der Nacht eine Leiter hinauf und fotografierte hier in Zürich das Artwork von Rodin. Das Plattenlabel fand jedoch, dass dieses Cover nicht ‚Heavy Metal‘ genug sei, also veröffentlichten sie für die zweite Pressung ein anderes Cover mit diesem Skelett, das Geige spielt. Jenes Motiv war eigentlich nur als T-Shirt-Design gedacht.“
Laut Tommy lief das Album in Sachen Verkaufszahlen ordentlich: „Anscheinend müssen die Verkaufszahlen befriedigend gewesen sein; sonst hätten wir wahrscheinlich nicht weitermachen können. Wir haben nicht viel Geld mit Coroner verdient, aber das Ganze hat viel Spaß gemacht. Wir konnten überleben und das tun, was wir lieben. Die Presse und andere Musiker mochten uns, aber wir erreichten niemals die breite Masse.“
Im Februar 2026 von Patrick W. Engel bei TEMPLE OF DISHARMONY remastert und restauriert. Die Schneidearbeiten wurden von SST Germany auf Neumann-Geräten durchgeführt, um in jeder Hinsicht optimale Qualität zu gewährleisten. Die ultimative audiophile Ausgabe dieses zeitlosen Klassikers!
Following the success of Naturalisten’s release “Forms”, E2-E8 is back with the latest offering from Milan-based artist Joseph Tagliabue. “Espansione” presents a meticulously crafted sonic exploration that transcends conventional genre boundaries. It is a double LP consisting of four distinct parts: an ambient concept presented in Part 1 & 2, and four techno tracks in Part 3 & 4. This structure makes for a multifaceted listening experience, seamlessly blending organic textures with synthetic manipulations.
Part 1 & 2 delve into immersive, post-natural ambient soundscapes. Tagliabue constructs a vaporous, dreamlike environment through the interplay of modular synthesis, analog effects, and meticulously designed soundscapes. The journey into the forest is not a merely thematic narrative, but rather a visceral sonic realisation. These expansive compositions, devoid of clear demarcations, invite the listener to a lysergic, meditative retreat, where ritualistic and mystical elements converge. The blurring of lines between machine and nature is a central motif, achieved through ethereal layers seamlessly integrated with ambient textures.
The album as a whole is a sophisticated sound collage, highlighting Tagliabue’s mastery of sonic manipulation. The dense sonic flow, characterised by echoes of distant temples and molten synthetic modulations, creates a compelling auditory and potentially visual experience. The interplay between organic and synthetic, combined with the album’s thematic depth, makes Espansione a noteworthy evolution in Joseph’s artistic expression. A work designed to be both deeply listened to, and physically experienced.
Early support comes from Vladimir Ivkovic, Marco Shuttle, Konduku, among others.
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We welcome back one of Ireland’s most important electronic music pioneers, Roger Doyle for his third solo release on our Allchival label. For those who don’t know, Doyle is a composer, producer, founding member of the influential music-theatre company Operating Theatre, and friend to the label. Doyle has been exploring the possibilities of electronic sound since the 1970s which we have been mining.
Idir brings together new fixed electronic works, software piano improvisations and voice, alongside a new recording of music from Operating Theatre’s 1986 production of Sebastian Barry’s The Pentagonal Dream, performed by Olwen Fouéré. Also included is a response to the dreamlike language of James Joyce’s Finnegans Wake.
Meaning “between” in Irish, Idir feels like a fitting title for an album that moves between eras, technologies, theatre and electronic composition: connecting Doyle’s pioneering past with his continuing practice. Returning back to an electronic foundation, the majority of tracks were composed between 2023 and 2025.
Tokyo Tea Room are a band from Margate, UK, who strive to create music inspired by human emotions, exploring themes of longing and the ephemeral nature of existence. A dreamy, moody and groovy sound with introspective lyrics. Tokyo Tea Room is a timeless project whose message transcends the music itself. The band arouses passions and emotions, taking listeners on a journey within a tender, comforting bubble. Their debut album No Rush established them as one of the most compelling emerging acts in alternative music, resonating with a growing global audience. With millions of monthly listeners and a sold-out debut North American tour, the band are rapidly building momentum - particularly in the US, where their audience continues to expand. With new music on the horizon, Tokyo Tea Room are entering a defining new chapter, evolving their sound while staying rooted in the emotional depth that defines their work.
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Risk/Reward’s fourth release sees one of the UK’s most prolific and recognizable Producer/DJ’s take the elevator all the way down to the basement of the Tech House sonic spectrum…
Archie Hamilton has achieved superstar status after over a decade of consistently excellent musical output. As the name suggests, Friends in Low Places sees him return to the underground with the rolling, acid-laced, “for the heads” sound that first saw him explode on to the scene 10+ years ago, supplying 3 original tracks that will surprise and delight in equal measure!
A1: NyLon blends the dreamy shades of 90s Italo with the rugged bounce of golden era UK Tech House, to create a beautiful, bold fever dream. Intricate synth melodies, rudeboy vocal cuts and transcendant pads play out over crunchy swinging drums. A bold opening statement to kick off the EP.
A2: The energy kicks up to 11 on Trance-Tech bomb No Signal, a certified weapon of mass dance floor destruction! Vintage Archie rolling 303 bass layered with complex acid lines, haunting siren calls and relentless, gritty drums make for a powerful peak time standout that will have jaws dropping!
B1: On the flip side Archie takes you Higher with another signature roller that’s instantly familiar yet enigmatic. Punchy yet intricate drums, deeply groovy bass, a variety of ear worm melodies and an oh so familiar voice take you up, up and away in to the atmosphere. An instant classic from a man who’s made his fair share.
B2: Returning to the scene he played a key role in building after almost a decade out, UK Tech House DON Gideon Jackson delivers a gargantuan remix that could very easily reduce the club to rubble if not handled carefully. No element of Higher was spared in this rework, but the weight and pressure get cranked up to the absolute fullest - tougher than tough stuff from the OG!
Warmer than warm club/techno groovers by the man Brooks Mosher, delivering his third release on Dolly. 4 very strong cuts with exactly that dreamy & sensual feeling which might be the main reason why we like to dance & sweat in the dark so much... body to body with the eyes closed, far away from everyday trouble... Dance, make love and heal yourself. Powerful dj-tool on several levels!
Original, Baby Doc & The Dentis, John 00 Fleming, Reinier Zonneveld, Charlotte De Witte, Red Jerry remix
Embark on a nostalgic journey through the pulsating beats of the 90s with the iconic anthem “The First Rebirth” by the visionary duo Franky Jones and Axel Stephenson. Since its inception in 1993, this timeless classic has etched its place in dance music history, and now it returns in a dazzling new avatar.
The much-celebrated track has been meticulously repackaged in a sleek, cool sleeve, accompanied by an electrifying array of both recent and classic mixes. Some of these renditions, previously confined to digital realms, make their long-awaited debut on vinyl, adding an extra layer of allure to this collector’s dream.
This exclusive 2 x 12" vinyl edition is strictly limited to just 500 copies worldwide and features a unique Inside Out cut, pressed on stunning Starlight vinyl — a striking black colour with vibrant coloured speckles, making each copy visually unique.
Don’t miss your chance to own a strictly limited piece of dance music history and immerse yourself in the reawakening of this electronic masterpiece. Only 500 copies available — once they’re gone, they’re gone.
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On her first Harmony Index album, multi-instrumentalist and producer Nico Leibman spotlights the feelings that are most difficult to express, bringing out the friction between her dreamy hooks and harsher sonics. Written almost like a DJ set, the album shifts intentionally between piano-led trip-hop, lounge, dream pop, 2-step and breakbeat house, not languishing in nostalgia but defining a language that's rooted in desire, surrender and forward motion.
Until now, Leibman has been best known as a touring musician, working alongside artists like Jessica Pratt and Ana Roxanne, while slowly putting together new solo material in-between frequent tours. The album was written in bursts over the course of five long years and provided Leibman with a much-needed outlet - a chance for her to lock into her personal musical preoccupations, like Janet Jackson's 'The Velvet Rope', Everything but the Girl's 'Walking Wounded' and Prefab Sprout's 'Jordan: The Comeback'.
It's this era of pop - when nascent technology collided at force with skillful, soulful songwriting - that provides the album's backbone, fleshed out by Leibman's potent meditations on a spectrum of experiences in Los Angeles. And as the record was evolving, Leibman let long night drives crack her creative world open. Embracing the city's notoriously cinematic romantic side, she used the car as a "little chamber of limerence," in her own words, enabling her fantasies and acting as a test system for each song. "If it wasn't hitting in the car," she says. "It wasn't going to be on the record, period."
This sense of motion is evident almost immediately on 'Recognize', when Leibman's breathy words are carried into the night by choppy, uptempo breaks and resonant pads. So even when she simply coos over chugging guitars and bass on the first half of 'Enough', the drop into a low-slung breakbeat is implied. "Another digression, a break in this tension," she sings. "Was I foolish to believe that this was never your intention?" Leibman's tales of disillusionment are imbued with power, buoyed by her pitch-perfect production, with additional help from co-producer Cesar Maria.
On 'Don't Pretend', she sings softly and soulfully over decelerated Timbaland-inspired beats and a dubwise bassline, aided by additional production from Purelink. And 'If' marks the point where she lets go, infusing her euphoria with melancholy as her voice soars alongside the album's most infectious piano riff. Fittingly, the album concludes with 'Trust', a song about surrendering to the possibilities of love that works as a potent metaphor for the album's evolution. Over the course of five years, Leibman learned to let people in, finally trusting the process. "It's also a fantasy of what it would feel like to finally be in love again," she laughs, accepting that it's still just a fantasy. But it's this hope in unfulfilled longing that gives the album its unique character, defining a bold, unguarded voice in LA's experimental pop landscape.
Hamasaki's fifth album, released on18 December 2002.
Includes hit singles such as "Voyage" "Free & Easy" and "July 1st"
The stark, naked cover art drew attention, and this album breaks new ground with the inclusion of English lyrics for the first time, creating a pop yet profound masterpiece.
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Although best-known these days for serving up blissful Balearic beats, Chris Coco's Coco, Steel & Lovebomb project started life as a platform for his early 90s house productions. Pleasingly, the veteran British producer is now making house again, in this instance in cahoots with long-serving Italian artist DJ Rocca. On side A, they both deliver their own pass on 'Echoes In My Mind', with Rocca's fluid, warm and organic Italian dream house-meets-Balearic house pass being followed by Coco's hybrid deep house/nu-disco take. They jointly explore their love of African musical culture on languid, hazy and mid-tempo B-side 'Mama Sol Mama Africa', where fluttering flutes, warm Rhodes keys and layered percussion catch the ear. That comes backed with a lovely alternative 'dub' full of effects-laden musical details and ear-catching percussion hits.
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Between 1989 and 1992, Sea Horses released three albums that percolated through England’s DIY underground before fading into the pre-Web ether. For a small community of listeners, however, their ornate gothic romance endured as an unusual sensibility within the broader post-punk coalition.
Hailing from towns on the outskirts of Manchester—Congleton, Scholar Green, and Macclesfield—Sea Horses forged a distinctively Northern English sound. Their dark, dreamy folk carried affinities with other groups of the time, but songwriter Richard Veal’s idyllic medievalism also took unlikely influence from madrigals and liturgical music. The exalted soprano of Clare Williams and twin sisters Jo and Liz Bromley reinforces this devotional quality, hanging in nave-like ambience (the band played several shows in local churches).
For this reason, and for the subtle psychedelia of their longer-than-average compositions, critics aligned Sea Horses with England’s New Age contingent—an association that the band could not quite understand. But Sea Horses did share certain predilections with their Aquarian counterparts. The band’s pastoralism carried pagan overtones, with songs like chapters in a Saxon epic, or odes to copses, moors, and headlands.
Sea Horses: 1989–1992 collects recordings from across the band’s output, which includes two short-run albums on Mandala Recordings—Listen (1991) and Dream into Being (1992)—and a little-known self-released cassette, The Shining Net (1991), which, until now, was only known among friends and family.
A six track remix compilation born from serendipity and a creative bond between its featured artists - thee Angel 6 Suite features Mark Grusane, Daniella DeLuna, S4M23 and Vesolo.
The release reimagines Angel 6, written and performed by Daniella DeLuna and produced by Grusane - a sensual and haunting composition steeped in industrial textures.
The compilation expands Angel 6 into multiple directions: an extended edit from Grusane and DeLuna rooted in industrial body driven tension; a new beat inspired acid reinterpretation from S4M23; and an avante garde early electro dreamscape from Vesolo. The release is rounded out by an off-axis B-side from DeLuna and Grusane that pushes the project into their personal brand of dissonant grit.
Across all versions, thee Angel 6 Suite moves between dark wave atmospheres, new beat influence and acid driven club structures.
A six track remix compilation born from serendipity and a true creative bond between its featured artists - thee Angel 6 Suite features Mark Grusane, Daniella DeLuna, S4M23 and Vesolo.
The release reimagines Angel 6, written and performed by Daniella DeLuna and produced by Grusane - a sensual and haunting composition steeped in industrial textures, marking the beginning of their creative partnership.
The compilation expands Angel 6 into multiple directions: an extended edit from Grusane and DeLuna rooted in industrial body driven tension; a new beat inspired acid reinterpretation from S4M23; and an avante garde early electro dreamscape from Vesolo. The release is rounded out by an off-axis B-side from DeLuna and Grusane that pushes the project into their personal brand of dissonant grit.
Across all versions, thee Angel 6 Suite moves between dark wave atmospheres, new beat influence and acid driven club structures.
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Electronic musician nthng presents his fifth album, Last Light of the Sun, his debut release on topo2. Renowned for his meticulous productions and quietly distinctive artistic voice, nthng continues to move effortlessly between ambient, IDM, dub techno, and drum & bass without ever feeling bound by genre. Last Light of the Sun shows that the album format is a natural home for nthng's expansive musical vision. Throughout its ten compositions, the album moves gracefully between dreamlike melodic passages, restrained, fragile 4/4 structures, melancholic drum & bass punctuated by vintage house vocal fragments, and spacious ambient compositions that feel unmistakably his own.
The double LP is released by adventurous electronic music label topo2 on October 2, 2026. The record is pressed on two 180-gram discs of ICCS-certified bio-vinyl and housed in a heavyweight full-colour gatefold sleeve. Mastered by Isabel Schröer at OLO Mastering, with artwork by Alyssa Warren and Raen Coplin. Additional contributions include bamboo flute on "Flutter" by Temple Rat and typewriting by Karina Rovira.
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'Quiet Pieces' initiates Abul Mogard’s personal imprint Soft Echoes with a definitive self-portrait of calm, contemplative, and discreet inner landscapes made audible. It is the first solo album on vinyl in four years. RIYL Alessandro Cortini, William Basinski, The Caretaker.
While sifting through archived material left idle from earlier projects, a chance encounter with a late uncle’s trove of beloved 78rpm classical and opera records prompted the reworking and completion of what would eventually become the album. Spinning dusty records at 33 and 45rpm, Abul Mogard recombined their enduring spectres with unfinished sketches from his archive. The resulting soundscape blurs distinctions between his memories and those of another, exquisitely short-circuiting the senses with its waking, dream-like lucidity.
This was a process I hadn’t explored in my earlier works. I began sampling brief moments from these records, altering them with studio effects and playing them at slower speeds. In many cases, I wasn’t entirely sure how the original music sounded. These fragments, once further processed, became a source of inspiration for my new compositions. Over time, I realised that the old pieces from the archive and the new material derived from the samples naturally complemented each other.”
The resulting pieces hover over a threshold, a liminal space that harmonises the old and older material. Voluminous waves of quiet and loud undulate between consonance and dissonance, conjuring imagery of a decaying grandeur that humanity’s decadence has surrendered to the elements. Abul Mogard’s seemingly abandoned yet vast landscapes are nevertheless intimate with timbral frissons of red-lined distortion. Elusive, yet as tangible as sea spray or smog, they affect the olfactory senses with a rarified, synesthetic quality that modestly engages one’s emotional register – a hypnotic, distinguishing feature long hailed as one of the hallmarks of his work. A fidelity to memory and dream recall is sensitively probed in the journey from the stately symphonic stasis of 'Following a dream' to the almost industrial, untethered brutality evoked by a looming silhouette that’s never fully visible in 'Constantly slipping away', culminating in the foreboding coda of 'Like a bird'. Those pieces appear to shield the album’s sentimental core, where the tempestuous play of light and shadow of 'In a studded procession' escalates to breathtaking, panoramic climax, while 'Through whispers' evokes an out-of-body-like experience encountered with visceral poignancy.
Looking back, Mogard notes an unexpected influence: “I realise being inspired by Phill Niblock, whose work I had barely known at the time but explored after his passing in 2024. His album 'Boston Tenor Index' changed the way I approached dissonance. It encouraged me to push my sound further, to the edge of a space where I began to feel uncomfortable.”
The album artwork, created by longtime collaborator Marja de Sanctis, features a photograph taken at the Temple of Jupiter Anxur, an archaeological site overlooking the Mediterranean Sea. Captured with an iPhone, the image traces the residual presence of construction techniques and architectural forms of the Romans, where material history is transcribed through contemporary tools. The convergence of ancient and modern technology aims to reverberate the site’s lasting spiritual presence – an echo persisting in what is now perceived as a quiet, emptied space. The spiral gestures towards infinity and light. Past and present dissolve into one another, reflecting 'Quiet Pieces' meditation on sound, memory, and time.
RIYL Alessandro Cortini, William Basinski, The Caretaker
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Belgian artist Jennifur announces MAZDA, an album inspired by long car rides, emotional transitions, and the strange beauty of existing between places, people, and versions of yourself.
Musically, MAZDA moves fluidly between genres and emotional textures, blending electronic love songs, indie rock structures, UK bass influences, cinematic electronica, and flashes of classical composition.
The project began when Jennifur's brother sent him a playlist called MAZDA, filled with songs their father used to play in the car. What started as a nostalgia gesture quickly became the emotional blueprint for the album.
While writing MAZDA, Jennifur realized he was unknowingly creating the soundtrack to a fictional romcom film that existed only in his imagination. Rather than avoiding clichés like love, heartbreak, growing older, or transition, he chose to embrace them wholeheartedly.
"In a car, you exist in a kind of in-between space," Jennifur explains. "You've left something behind, but you haven't arrived yet. That feeling became the entire record."
The album opener, From A to B, sets the emotional framework for the entire project. Its extended introduction mirrors the exact moment you pull out of your street and realisethat something new has begun.
Highlights include "I Need You To Hold On", written for Jennifur's brother as a message of encouragement. The song "I Once Had a Dream Where I Could Fly" originated from a conversation with his father about recurring dreams of flying. Meanwhile, "From The Sideline" confronts a quieter existential fear, becoming a coming-of-age anthem for anyone who suddenly realizes they have become more of a spectator than an active participant in their own life.
Tracks like "In The Sun" bring a softer, almost cinematic intimacy to the album. Written around the image of spending one final Sunday at the seaside with someone who is seriously ill, the song captures the beauty and fragility of fleeting moments. The closing track "The Dialogue Before We Left" serves as the emotional final scene of the album.
"For me, it's the moment after a long drive when you turn off the engine but stay seated for a minute," Jennifur explains. "You realise something happened. You listened to my story, and we travelled from A to B together."
Wishys ,Nature's Pill" fängt eine Welt ein, in der sich das Leben unvorhersehbar und überwältigend anfühlt, aber dennoch voller Möglichkeiten ist. Auf ihrem pulsierenden zweiten Album gibt sich Wishy dem Wahnsinn hin - und fängt romantische Frustration, neurotisches Verlangen und das Melodram ein, das sich daraus ergibt, einfach nur Mensch zu sein, in einem ausgelassenen Remix der Vergangenheit. ,Nature's Pill" trägt alle Markenzeichen von Wishy: schräge Texte, die Melancholie in Freiheit verwandeln, Refrains, die sofort zu Klassikern werden, und eine unheilige Fusion aus zuckersüßem Grunge, Indie-Rock und Dream-Pop. Wishys Entstehungsgeschichte war ein produktiver Ausbruch, angetrieben von der musikalischen Synergie der Band: die EPs ,Mana" und ,Paradise" im Jahr 2023, das Debütalbum ,Triple Seven" im Jahr 2024 und die Folge-EP ,Planet Popstar" im Jahr 2025. Nachdem diese Veröffentlichungen Beifall fanden und das Ansehen der Band wuchs, war die Konzeption von ,Nature's Pill" grundlegend anders. Das Album entstand in engerer Zusammenarbeit als frühere Veröffentlichungen, und die Gruppe traf sich erneut mit dem ,Triple Seven"-Co-Produzenten Ben Lumsdaine in Los Angeles, wo sich das Quintett in ein winziges Studio quetschte und die Hälfte der Songs live im Raum aufnahm, wodurch das Album die unmittelbare Energie einer Band erhielt, die nach intensiven Tourneen perfekt aufeinander eingespielt ist. Das gab ihnen diesmal die Möglichkeit, eine noch größere Bandbreite an Einflüssen zu vereinen, wobei sich der 90er-Jahre-Dream-Pop und Alternative-Rock von ,Triple Seven" mit dem College-Rock der 80er und dem Indie der 00er vermischte.
Wishys ,Nature's Pill" fängt eine Welt ein, in der sich das Leben unvorhersehbar und überwältigend anfühlt, aber dennoch voller Möglichkeiten ist. Auf ihrem pulsierenden zweiten Album gibt sich Wishy dem Wahnsinn hin - und fängt romantische Frustration, neurotisches Verlangen und das Melodram ein, das sich daraus ergibt, einfach nur Mensch zu sein, in einem ausgelassenen Remix der Vergangenheit. ,Nature's Pill" trägt alle Markenzeichen von Wishy: schräge Texte, die Melancholie in Freiheit verwandeln, Refrains, die sofort zu Klassikern werden, und eine unheilige Fusion aus zuckersüßem Grunge, Indie-Rock und Dream-Pop. Wishys Entstehungsgeschichte war ein produktiver Ausbruch, angetrieben von der musikalischen Synergie der Band: die EPs ,Mana" und ,Paradise" im Jahr 2023, das Debütalbum ,Triple Seven" im Jahr 2024 und die Folge-EP ,Planet Popstar" im Jahr 2025. Nachdem diese Veröffentlichungen Beifall fanden und das Ansehen der Band wuchs, war die Konzeption von ,Nature's Pill" grundlegend anders. Das Album entstand in engerer Zusammenarbeit als frühere Veröffentlichungen, und die Gruppe traf sich erneut mit dem ,Triple Seven"-Co-Produzenten Ben Lumsdaine in Los Angeles, wo sich das Quintett in ein winziges Studio quetschte und die Hälfte der Songs live im Raum aufnahm, wodurch das Album die unmittelbare Energie einer Band erhielt, die nach intensiven Tourneen perfekt aufeinander eingespielt ist. Das gab ihnen diesmal die Möglichkeit, eine noch größere Bandbreite an Einflüssen zu vereinen, wobei sich der 90er-Jahre-Dream-Pop und Alternative-Rock von ,Triple Seven" mit dem College-Rock der 80er und dem Indie der 00er vermischte.
Wishys ,Nature's Pill" fängt eine Welt ein, in der sich das Leben unvorhersehbar und überwältigend anfühlt, aber dennoch voller Möglichkeiten ist. Auf ihrem pulsierenden zweiten Album gibt sich Wishy dem Wahnsinn hin - und fängt romantische Frustration, neurotisches Verlangen und das Melodram ein, das sich daraus ergibt, einfach nur Mensch zu sein, in einem ausgelassenen Remix der Vergangenheit. ,Nature's Pill" trägt alle Markenzeichen von Wishy: schräge Texte, die Melancholie in Freiheit verwandeln, Refrains, die sofort zu Klassikern werden, und eine unheilige Fusion aus zuckersüßem Grunge, Indie-Rock und Dream-Pop. Wishys Entstehungsgeschichte war ein produktiver Ausbruch, angetrieben von der musikalischen Synergie der Band: die EPs ,Mana" und ,Paradise" im Jahr 2023, das Debütalbum ,Triple Seven" im Jahr 2024 und die Folge-EP ,Planet Popstar" im Jahr 2025. Nachdem diese Veröffentlichungen Beifall fanden und das Ansehen der Band wuchs, war die Konzeption von ,Nature's Pill" grundlegend anders. Das Album entstand in engerer Zusammenarbeit als frühere Veröffentlichungen, und die Gruppe traf sich erneut mit dem ,Triple Seven"-Co-Produzenten Ben Lumsdaine in Los Angeles, wo sich das Quintett in ein winziges Studio quetschte und die Hälfte der Songs live im Raum aufnahm, wodurch das Album die unmittelbare Energie einer Band erhielt, die nach intensiven Tourneen perfekt aufeinander eingespielt ist. Das gab ihnen diesmal die Möglichkeit, eine noch größere Bandbreite an Einflüssen zu vereinen, wobei sich der 90er-Jahre-Dream-Pop und Alternative-Rock von ,Triple Seven" mit dem College-Rock der 80er und dem Indie der 00er vermischte.
Stone Age Is Now: Poems from Lithic is the new album by musician and poet Caleb Nichols - both a companion piece to his book Lithic: A Hyperballad (Harbor Editions 2026) and a follow-up to his album Stone Age Is Back (Royal Oakie 2025). Across twelve tracks Nichols interpolates poems from Lithic: A Hyperballad with tracks from Stone Age Is Back, bringing new depth to his indie-rock and alt-folk compositions. A meditation on grief, but not in the ways you’d expect, the album explores what it means to be living and dying right now, in this moment of extraordinary change.
Inspired by the raw immediacy of Neil Young, early REM, and Califone, Nichols adhered to a first-take best-take rule and tracked the album in just five days. Produced by Nichols, the album was engineered by Jay Pellicci (Deerhoof, Om, Sleater-Kinney) at Brother’s (Chinese) Recording in Oakland, CA, with Nichols later recording the spoken word overdubs after hours at an empty bar in San Luis Obispo, CA. Pellicci later mixed the tracks and David Glasebrook (Patti Smith, Peter Case, Sugar Candy Mountain) mastered the album at The Garden Shed in Oakland, CA.
Featuring even more experimentation than Stone Age Is Back, the album is peppered with field recordings captured by Nichols from many locations, including Kew Gardens, London; Llan Tysilio, Yns Mon; Treborth, Gwynedd; a secret beach in Bangor; Kelvingrove Park, Glasgow; and Broad Street in San Luis Obispo, CA. In addition to contributions from band members John Metz and Aaron Kroeger, the album features saxophone by Lorenzo Coretese , and Rhys Trimble provides the Welsh translation and performance you hear on “Orme Dream At The Car Park”. Additionally, Nichols took some liberties adapting the poems from the book to the recordings. “You’ll notice that there are differences between the printed poems and the poems recorded here. That is because a poem is never finished and can exist in multiple instances at the same time, like in quantum mechanics. The cat in Schrodinger’s box is both alive and dead; at the bottom of the cliff, our eyes are both: closed and open” says Nichols.
GoldFord’s soul music is rooted in truth. His raw, unvarnished songs are a balance of introspection and catharsis, grappling with heartbreak, healing, and the quiet revelations that come with growth. After spending a decade in corporate America, the St. Louis native (now based in Los Angeles) turned to music as a means of survival following a devastating personal loss. “I was more afraid of dying with regret than I was of failing,” he says of his decision to finally choose the path at 30, a choice that set his entire trajectory in motion.
That initial fearlessness has since fuelled extraordinary momentum. With over 4 million monthly listeners on Spotify, GoldFord has rapidly become one of the most compelling emerging voices in contemporary music. His breakout EP, Orange Blossoms (Oct 2024), has surpassed 100M streams, and his latest project, Space of the Heart (Sept 2025), has already generated 90.8M streams, 2.7M saves, and over 153,000 pieces of user-generated content across TikTok and Instagram. The standout track “Easy Does It” has reached 43.5M streams and continues to accelerate with more than 250K new weekly discoveries on Spotify.
GoldFord’s touring trajectory has followed the music's rapid ascent. He began in intimate rooms like Los Angeles’ Moroccan Lounge and New York’s Baby’s All Right before embarking on a debut North American tour that sold over 25,000 tickets. This momentum carried over to his first UK and European run, which required multiple venue upgrades in cities like London and Manchester. The international momentum continued with an Australian debut in March 2026, alongside key festival appearances at Austin City Limits and Noah Kahan’s Out of the Blue. He is currently headlining 1,000+ capacity venues on the Space of the Heart North American tour, including sold out shows in historic rooms like The Fonda and Webster Hall, with upcoming festival slots at Shaky Knees and Oceans Calling.
Vocalist, producer and musical visionary Jimetta Rose announces the release of solo album MettaSun, via our dub label Day Dreamer. Inspired by the interplanetary mythologies of Sun Ra, MettaSun reimagines a selection of the cosmic jazz pioneer"s most iconic recordings through Jimetta"s unique lens - a powerful expression of the female imaginary and a positive vision of radical hope and Black joy amid the chaos of contemporary America.
Whisper Doll's new music comes from a time in frontwoman Fiona Tagami's life when she was actively trying to cultivate whimsy, a sense of possibility. "It's about this switch of trying to be in the world as a hopeful person," she says. The songs' dream-pop sound, with their woozy guitars and ethereal vocal melodies, evokes that feeling. Some moments feel weightless and joyous, others dense with mystery. Whisper Doll began as a solo project when Fiona was in high school in Atlanta, writing in her bedroom while she fell in love with bands like The Sundays, Mazzy Star, and The Cranberries. During the process of making her debut album, 2024's Perfume Garden, she moved to New York and became quickly wrapped up in the city's indie scene. While playing in various other bands, she met her future Whisper Doll bandmates: drummer Shawn Majeed, guitarist sophomore album Lucky Clover is Whisper Doll's first full-band record, and the first one made in full in NYC, representing a newfound sense of clarity for Fiona as well as a newly collaborative process. With their meticulously crafted sound and deeply thoughtful songwriting, Whisper Doll place us in a world that's unmistakably their own.
Presented here is the complete 1962 album Evidence, Steve Lacy's fourth album as a leader. It presents him in a piano-less quartet with Don Cherry on trumpet, Carl Brown on bass, and Billy Higgins on drums. The repertoire consists exclusively of compositions by Lacy's heroes, Thelonious Monk and Duke Ellington. Includes the bonus tracks 'Day Dream' and 'Ask me Now'. "This album has a great deal to recommend it. Lacy's dry tone provides a nice contrast to Cherry's richer trumpet sound. The improvising is first rate." - ***** Harvey Pekar, DownBeat
Linda’s Head is the first new album in over a decade by the Pacific Northwest trio of Liz Harris (guitar, vocals), Scott Simmons (bass), and Jed Bindeman (drums) .
Like its predecessor, 2015’s The Original Faces, the album maps a uniquely intimate and potent vision of bedroom dream pop. Theirs is a shoegaze of half-light and silhouettes, attuned to the shadowplay of melody, melancholy, and undertow.
The record’s title is a refraction of meanings: a head in the clouds, a severance, a fictitious landform jutting into the sea. The music is similarly layered, both yearning and weathered, its edges blurred by years in the wild. Lyrics of waves, storms, and escape further shade the songs in subcurrents of desperation and beauty, tinged in the palette of the New Zealand pop underground. But at its core Helen’s chemistry is one of warmth and release, powered by the kinship of old friends in dark times.
The single is the latest collaboration from the pioneering electronic artist and follows “Intertwine,” which featured TT, aka Theresa Wayman of Warpaint. Other collaborations on A Body Of Voices include “Turns,” featuring the ethereal vocals of Nicole Miglis (Hundred Waters), and “True Love, Don’t Be Afraid” featuring Stephen McBean (Black Mountain & Pink Mountaintops), “Fight or Flight” ft. Aisha Badru, “Falling” ft. Maiah Manser and multi-instrumentalist Aaron Shaw, “Floating” ft. multi-instrumentalist and composer Spencer Zahn, and the unreleased track, “Take Me” ft. Raphaelle Standell-Preston (Braids, Blue Hawaii). A Body of Voices delivers the most collective and melodically driven project of his acclaimed quarter-century. Having spent decades mastering his natural instincts for space, tempo, and timing, LaValle set a deliberate goal to break beyond his usual parameters by inviting an expansive community of vocalists and marquee indie players into his realm. The resulting record pushes his sonic map entirely, seamlessly blending his signature, textural synthesis with a vibrant tapestry of voices spanning dream-pop, alternative, and R&B. Nearly thirty years into the project, A Body of Voices proves that while The Album Leaf remains unmistakably his, it is a pioneering musical universe he is never afraid to redefine.
This songwriting-focused approach on A Body of Voices marks a natural evolution for an artist who has been steadily making his mark as a soft-spoken innovator since 1999. Now based in Los Angeles, LaValle started out in the San Diego music scene, creating vivid, rhythmic, soaring instrumentals centered around the Rhodes piano. Over more than two decades of acclaimed releases on seminal labels like Sub Pop, City Slang, and others, he has become a definitive touchstone for meditative electro-organic music. While earlier milestones like 2023’s Future Falling and 2024's Blast EP found him increasingly renewed by outside perspectives, A Body of Voices brings that collaborative spirit to its full, unbridled potential.
The eponymous debut EP by London-based dreampop duo deary. The six-track release is available on 12" vinyl, CD with five additional bonus tracks/remixes and digitally. Their debut single 'Fairground', which came out at the end of January, was an instant classic. A mix of shoegaze beauty and trip-hop beats, it was amazing to see people falling in love with it in real time as it gained airplay around the world, a remix by Saint Etienne and hit number one on the Official Charts' vinyl singles chart. The EP includes the follow-up, the deliciously dark 'Beauty In All Blue Satin', and third single 'Sleepsong', plus three more tracks. The CD format adds a cover of Pretenders' "2000 Miles", the Saint Etienne "Fairground" remix and three more versions of that track (a.o. Live and Extended).
Oscar Perry may not be a household name even in soul/blues circles, but this Texan's fine and expansive body of work deserves greater recognition. Throughout his career, he demonstrated multifarious talents as a producer, arranger, singer, songwriter and guitarist. He first cut his teeth in the late 1960s on Don Robey's Duke/Peacock/Backbeat set-up, writing for Bobby Bland amongst others. Once his contract with Robey had lapsed, Oscar signed with the equally colourful character Huey P. Meaux, for whom he recorded a slew of excellent albums on the Crazy Cajun imprint. It is the source of the three self-penned tracks presented here. Echoes of Jerry Butler can be heard on the string-laden emotive ballad "We'll Spend Tomorrow Falling In Love" (co-written with studio engineer Mickey Moody) with its femme support, whilst the piano-led deep beat-ballad "End Of The Road" was subsequently recorded by Bland on his Dreamer LP for ABC-Dunhill in 1974. The strong, mid-paced, bluesy "I Give Up You Win" completes this wonderful EP.
Norway's Aura Noir was formed in 1993 by Aggressor & Apollyon in pursuit of a more thrash- based form of black metal than much of what was coming out at the time - particularly in their homeland - citing bands such as Slayer, Sodom & Kreator as inspirations along with purveyors of the scene such as Venom, for a dirtier, stripped down, violent black/ thrash metal sound. Their first official release was the 'Dreams Like Deserts' EP on Hot Records, & from there-on the band became a truly cult act, releasing a string of albums among ongoing live performances over the subsequent decades. All members of Aura Noir have had illustrious careers to date, with Carl-Michael Eide (Aggressor) notable for his work in Ved Buens Ende, Dodheimsgard, Virus, & Fleurety, as well as being part of other scene icons such as Ulver & Satyricon in their formative years. Apollyon, currently also seen in Coffin Storm with Darkthrone's Fenriz, previously featured in Dodheimsgard, as well as Lamented Souls & Immortal. Completing the trio is Blasphemer, formerly of fellow Norwegian legends Mayhem, as well as being current mainman in his recently established band, Ruim. Originally released in 2012, 'Out To Die' was the band's fifth full length release, & a continuation of the savage raw & ugly feast offered by its predecessors, containing eight relentless tracks in praise of the old thrash masters & early primal black metal forefathers of the 80's. 'Out To Die' features additional guest lyrics by Dirge Rep (Gehenna/Enslaved), & Fenriz, whilst the fittingly underground cover art was created by the prolific artist, Costin Chioreanu.
Featuring a collection of 10-new tracks produced by Boney, the album marks a high point in the chart- topping, smooth jazz icon's remarkable three- decade career, one that includes a long list of accolades; four GRAMMY nominations, three NAACP Image Award nominations, a Soul Train Award for Best Jazz Album and four RIAA Gold Record certifications, to name just a few. A Simple Man also features guest contributions from guitarist Larry Carlton, trumpeter Marquis Hill and vocalist Ledisi.
Der Antwerpener Songwriter Noonzy (Arnaud Stockbroekx) schlägt mit seinem Debütalbum Plan Is Bad (VÖ: 2. Oktober 2026) ein neues Kapitel auf. Nach seinem selbstproduzierten EP Post-it-tapes (2022), dem Finale von De Nieuwe Lichting und dem gefeierten Album Puppies (2025), entwickelt er seinen Sound konsequent weiter: weg von DIY-Lo-Fi, hin zu mutigem, experimentellem Indie-Pop.
Gemeinsam mit Produzent Nathan Jenkins alias Bullion (Ben Howard, Nilüfer Yanya u. a.) entstand ein Album voller eingängiger Melodien, grooviger Produktionen und überraschender Wendungen. Plan Is Bad verbindet Feel-Good-Energie mit alternativem Anspruch und vereint spielerische Leichtigkeit mit tiefgründigem Songwriting.
Das Ergebnis ist ein frischer, facettenreicher Sound, der Noonzys künstlerische Entwicklung auf den Punkt bringt – vertraut, überraschend und voller Entdeckungen. Seine musikalische Welt ist längst größer geworden als er selbst: ein kreativer Raum, in dem Zusammenarbeit, Spontaneität und Neugier den Ton angeben.
When The Rain Stops is the forthcoming indie pop LP from LA duo CD Ghost and marks the band’s most mature work to date. Balancing two sonic palettes — in-your-face dance beats and glossy synths alongside warm, dreamy guitars and laid-back acoustic drums — the album explores themes of fate, love, and disaster while grasping for something to hold onto as everything falls apart. Ethereal and cinematic yet vulnerable and grounded, When The Rain Stops finds CD Ghost with their head in the clouds but feet still firmly planted on the ground. For Fans of Toro Y Moi / Washed Out / Neon Indian / Beach House Nation Of Language
