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,Pneuma" ist ein Zyklus von acht Kompositionen des Kontrabassisten und Komponisten Henry Fraser, erschienen bei Kou Records, der sich mit Atem, Resonanz und der sich wandelnden Beziehung zwischen Form und Improvisation auseinandersetzt. Fraser betrachtet seine Solopraktik als eine Zusammenarbeit mit dem Instrument selbst und arbeitet direkt mit der Materialität und den akustischen Eigenschaften des Kontrabasses, sodass Klang, Raum und Struktur durch tiefes Zuhören gemeinsam entstehen können. Aufgenommen, abgemischt und koproduziert von Randall Dunn (Sunn O))), Thurston Moore) und Ben Greenberg (Uniform, Marc Ribot), erweitert das Album Frasers bisherige Solosprache durch ein erweitertes melodisches Register, vielschichtige Texturen und sorgfältig gestaltete Studioeingriffe. Ausgehend von sowohl vorgefertigten Motiven als auch neu improvisiertem Material entfaltet sich ,Pneuma" in einer Reihe prägnanter Sätze, von denen jeder einer eigenständigen rhythmischen oder harmonischen Idee Gestalt verleiht und gleichzeitig zu einer größeren, zusammenhängenden Form beiträgt. Die Aufnahme, bei der der Schwerpunkt auf natürlicher Dynamik und räumlichen Details liegt, bewahrt die volle physische Präsenz des Instruments und rückt die Resonanz, die Obertöne und die leisen Mikrogesten des Basses in den Vordergrund. Bestimmte Stücke bestehen aus mehreren übereinandergelegten Darbietungen, was den Umfang und den Ausdrucksbereich der Musik dramatisch erweitert. Das Ergebnis ist ein intimes und zugleich immersives Hörerlebnis - akustische Musik, die sich gleichzeitig greifbar und weitreichend anfühlt. ,Pneuma" dokumentiert Fraser in einem Moment künstlerischer Klarheit und bekräftigt sein Bekenntnis zu prozessorientierter Komposition und aufmerksamer Klangpraxis.

BASIC - das Trio aus Chris Forsyth (Gitarre), Mikel Patrick Avery (Percussion, Drumcomputer, Elektronik) und Douglas McCombs (Fender Bass VI) - hat sein neues Album mit sieben Titeln innerhalb von zwei Tagen in den Electrical Audio Studios in Chicago aufgenommen und die Overdubs sowie den Mix zusammen mit Je Zeigler in Philadelphia fertiggestellt. Die Aufnahmen sind groovig, aber leicht und locker, wobei die Songs viel größer klingen, als man es von einem Trio erwarten würde. Für reichlich Detail sorgen die ineinandergreifenden Gitarren und Averys einzigartige Kombination aus elektronischen Beats und akustischer Percussion, die er live mit verschiedenen selbstgebauten elektronischen Prozessoren bearbeitet und manipuliert. Kurz nach der Veröffentlichung ihres Debüts (This Is BASIC, 2024) stieß Bassist McCombs (Tortoise, Brokeback) zu der Gruppe, und zusammen mit den in Philly ansässigen Kernmitgliedern Forsyth (Solar Motel Band) und Avery (Natural Information Society) tourte die Band mit dem Album die Westküste rauf und runter sowie durch den Nordosten und Mittleren Westen der USA und machte Halt bei einflussreichen Festivals wie Sound & Gravity und Big Ears. Die Chemie zwischen den dreien führte fast sofort zur Entwicklung von neuem Material, und die ,Dream City"-EP erschien im Frühjahr 2025.

Do You Feel Me sees New York house staple NY’s Finest (Victor Simonelli) return with one of his most iconic productions, bringing the unmistakable garage house sound back to vinyl.

Built around uplifting piano lines, soulful vocal elements and groove-led rhythms, the track captures the feel-good energy of classic New York dancefloors and remains a timeless cut for DJs.

A recognised name within the New York house scene, Victor Simonelli’s productions sit comfortably alongside legendary artists such as Masters At Work, Todd Terry and Tommy Musto.

Back on fresh 12" red vinyl and featuring full suite of mixes including Club Mix, Instrumental, Dub, Bonus Beat and Piano Pella, this release brings an essential garage house record to a new generation while maintaining strong appeal for long-time collectors.

On his new album, Micha Acher rearranged compositions for bands such as Tied & Tickled Trio and Ms. John Soda from previous years.

Why are we interested in ghosts? What fascinates us about the eerie? According to cultural theorist Mark Fisher, the allure that the eerie possesses is not captured by the idea that we „enjoy what scares us“. It has, rather, to do with a fascination for the outside. For that which lies beyond standard perception, cognition or experience, as he writes in his book „The Weird and the Eerie“.

In fact, also none of the 15 pieces from Henry and the Ghost is really scary. On the contrary, they all feel strangely familiar. Like revenants or doppelgängers, which in fact they are. They have all been released before. But in a different form. In different line-ups. With different band projects such as Tied & Tickled Trio, The Notwist or the Alien Ensemble.

With the „Songbook“, Micha Acher's aim was, as he says, to find out how the familiar pieces sound in a chamber music instrumentation. Therefore he met with Theresa Loibl (bass clarinet, piano), Timm Kornelius (bassoon), Markus Rom (guitar, banjo, electronics) and Simon Popp (drums, percussion) in his living room for a musical séance in the summer of 2022. The séance lasted two days. Afterwards, Markus Rom (Oh No Noh), added some haunting electronical ideas.

The mood of most of the pieces is melancholic. There are surprising twists and siren-like melodies. Just as ghost stories should be. However, most of the songs sound very light-footed. With their feet in pop, folk, jazz and classical music. Pieces such as „Johanna“ with its wheezing harmonium and spooky piano, or the dreamy „Modest Farewell“ on the other hand have a cinematic flair. Immediately faces and scenes arise in the mind. But at the beginning, there is „Hamlet“. It starts with ghostly electronics and merges into a calm, almost classical guitar piece. Could it be that the ghost of Hamlet's father is hiding between the strings?

„34E“ begins with a banjo. Then the deep humming of Micha Achers sousaphone and the other brass instruments kick in. In the slow, solemn „Aelita“, the sousaphone starts a dialogue with a children's piano. With the banjo and the other wind instruments acting as mediators. The title of „All Tomorrow's Past“ brings Velvet Undergrounds „All Tomorrow's Parties“ to mind. Another ghost from the past. What connects the two pieces is free-floating percussion, which accompanies the sumptuous melodies.

„Arc“ takes us on an exhilarating voyage at sea, with the sousaphone providing powerful propulsion. Towards the end, things get quite turbulent. With the clarinet stirring up the water, before the sea calms down again. „Henry and the Ghost“ is characterised by a ghostly mood change between major and minor. In „Radio Four“ the banjo with its stoic chords keeps the lively brass section in check. „Solid Ground“ is imbued with melancholy. „Space Minor“ takes us into outer space, with the power of sousaphone and percussion.

„Tomorrows“ is filled with cautious optimism. And the concluding „Nordlead“ turns out to be a revenant of the instrumental „N.L.“ from The Notwist's legendary album „Shrink“ from 1998. In the new version, the piece sounds like a distant echo. One that also brings to mind how Micha Acher's music has evolved. Which new worlds he explored and opened up since the nineties. And yet Acher's signature is recognisable in every single note of this fascinating „Songbook“.

Maria is the debut album from renowned Brazilian electric bassist and composer Moyses Dos Santos. A homecoming for the London-based artist, Moyses’ debut reconnects him with his North-Eastern roots while assembling an international cast of collaborators including legendary Brazilian arranger Arthur Verocai, US trumpet sensation Theo Croker and London-based vocal star Lynda Dawn.

After relocating from Brazil to London in the early 2000s, Moyses dos Santos quickly became one of the capitals’ most in-demand players, sharing stages, studios, and writing credits with best-selling artists including Nile Rodgers, Janelle Monáe, Emile Sandé, Gregory Porter and Omar.

In 2022, Moyses toured with Brazilian jazz-funk legends Azymuth, completing the rhythm section alongside Brazilian drumming master Ivan "Mamão" Conti. "It felt like he was my wise Brazilian grandfather figure." Moyses recalls. "When you spend so many years working internationally, you unconsciously start to leave certain parts of yourself behind. Mamão encouraged me to reconnect with Brazilian music, and that's where this record really began."

Brazil’s North-east, where African, indigenous and European traditions collided and fused most intensely, produced a musical heritage unlike anything else on earth, Moyses dos Santos is a product of this syncretism. On Maria, named after his mother, Moyses brings the musical vocabularies of his youth to the fore. From the soul of the church band where he began to learn his trade as a musician, to the rolling batucadas – maractus, baiaos, sambas and frevos – which he played throughout his teenage years.

Drawing on the lineage of North American electric bass giants like George Duke, Jaco Pastorius, and Stanley Clarke, Moyses runs Brazilian musical traditions through jazz, funk, soul and disco: his sound charged with the cosmopolitan energy of London's contemporary jazz scene.

Lead single and album opener “Boa Viagem’ is joyous, carnivalesque dancefloor jazz: a timeless groove for the nightclub and street party alike. Calling directly to a higher power “Brazilian Spirit” is an astral-jazz phenomenon, featuring the transcendent trumpet playing of Grammy nominated Theo Croker. On “Saudade” Moyses calls upon iconic Brazilian maestro Arthur Verocai, whose signature string arrangements cascade around the divine vocals of ascendant London artist Lynda Dawn.

With impeccable style, charisma, warmth and virtuosity, Moyses steps forward with his stunning debut Maria: out on vinyl, LP, CD and digitally on the 12th June 2026.

Jeffrey Alexander and the Heavy Lidders return with their best album yet, and a UK tour this August. Press by Silver PR
‘’On the alternate timeline where the Meat Puppets inherited the bulk of the Grateful Dead’s tourheads when Jerry Garcia died in 1995, none of this would be necessary, because Jeffrey Alexander and the Heavy Lidders are a household name for evolving their own musical space that overlays dusty folk, cosmic jazz, deep psych, free improv, and even (gasp!) indie rock, building an audience that ranges from open-eared curiosity seekers to deep committed music weirdos that’s also yielded the Heavy Lidders, an infamous sub-cult of concert tapers that you’re already sick of hearing about. A lot of other things are better over on that timeline, too.
But in this consensus reality (and probably the other one, too), Liquid Donnon catches the Lidders at their heaviest, “heavy” in the Lidderverse being far from a monolithic musical idea. There’s heavy like the album-opening “From Loch Raven to Fells Point,” one of several tracks with elegant and gnarled conversational jams featuring the core Lidders lineup of Alexander alongside guitarist Drew Gardner and bassist Jesse Sheppard (both of Elkhorn) and drummer Scott Verrastro. But there’s heavy, too, like “Calliope Walker” and “Tightroping,” featuring Gardner shifted to dream-space vibraphone, the former with saxophonist Tacuma Bradley, the latter with Christina Carter of Texas noise-psych legends Charalambides on veil-crossing wordless vocals, her first collaboration with Alexander in some 20 years.
But then there’s also heavy like the cover photo of Alexander’s late friend and album namesake Donnon, taken at a Dead show at Rich Stadium in Buffalo in 1989, a spirit threading through the songs and weaving unexpectedly into Alexander’s life decades later, emerging especially when Alexander passed through a near-death experience of his own. But, taken together, the different heavies of Liquid Donnon add up into a state of musical grace, where all the Heavy Lidders from all the universes come together as one. Just, like, imagine.
Convened in 2019 on Alexander’s relocation back to his native east coast, the Heavy Lidders are the latest hard-touring expression for the guitarist’s music, joining a vast and tangled discography (and tape list) that includes the beloved long-running west coast Dire Wolves Just Exactly Perfect Sisters Band and, before them, the Iditarod and Black Forest/Black Sea, as well as a bushel of solo play-all-the-instruments projects, a stint with Jackie-O Motherfucker, sessions with Kemialliset Ystävät and Avarus and others, and you’ll have to keep digging for the rest.
And while it’s not hard to find tapers at Lidders gigs (and they encourage you to be one), or to track themes and songs over Alexander’s many live releases, Liquid Donnon makes a new primary text, the original versions of six new pieces for the repertoire. The album closes with a devastating pairing of “Reservoir Drop” into “The Summer Song,” floating into a duo between Alexander’s guitar and Carter’s voice. Catch a half-dozen Lidders shows this summer, and you might not ever catch them playing it like that again, but you just might open the doorway back to that better place." - Jesse Jarnow (writer, WFMU DJ, producer and host of The Good Ol’ Grateful Deadcast)

As the so-called “Latin boom” becomes a new anchor for hard-swung club sounds, it is crucial to recognize that the region’s musical culture extends far beyond dembow edits and the pop-trap hybrids that have edged into the mainstream. Monterrey-born, New York City-based producer and DJ Delia Beatriz, aka Debit, returns to NAAFI with Potpourri, a generous and kinetic collection of dancefloor-oriented tracks filled with percussive flourishes, squelching 303 basslines, and rhythmic mutations that actively challenge the status quo. Rather than rebuilding “Latin sounds” as a fixed category, the album rethinks their internal logic, tracing the evolution of techno and house in cities like Detroit, Chicago, and New York alongside parallel innovations emerging in Mexico, Colombia, and across the wider Latin world. Positioned on the bridge between Mexico and the US, Potpourri does not seek synthesis as a gesture of smooth fusion, but as a site of disruption.

The album can be heard as a loose follow-up to System (2018), Debit’s NAAFI-released EP that expanded the sonic potential of tribal guarachero through triplet-driven rhythms, industrial pressure, and noisy reconstruction. Potpourri retains guaracha as a structural backbone while drawing further influence from veteran DJ and producer Javier Estrada—who also appeared on System—and particularly from his fast-paced, nonlinear style of mixing. That approach becomes a formal principle here: canonical structures are dismantled, repetition is avoided, and tracks evolve without sacrificing propulsion. Coming after the introspective temporal inquiry of Desaceleradas and the speculative historical acoustics of The Long Count, Potpourri arrives as a deliberate surge of energy. As Beatriz explains: “It’s a manifesto for rethinking form and sound in dance music. By stepping outside traditional structures and embracing the potpourri approach, I’m creating new meaning with familiar rhythms. I’ve also been applying this to my DJ sets, using it as a tool to break free from established norms and explore new narrative possibilities.”

Years in the making, Potpourri imagines an alternate timeline in which the psychedelic squelch of acid—echoing pioneers such as DJ Pierre and Mr. Fingers—and the dub-inflected atmospheres of Basic Channel entered into direct and sustained contact with Latin American club mutations. Those references are legible, but never merely quoted. Instead, they are folded into syncopated hi-hats, overdriven kicks, and unstable arrangements that absorb both the intensity of the parties Beatriz remembers from Monterrey and the abrasive edge she sharpened at DIY noise shows in New England. The result is unmistakably a dancefloor record—heard in tracks as forceful as “Pero like” and the peak-time pressure of “tuvesuerte”—but one saturated with grotesque, psychedelic atmospheres, where sounds dissolve into hoarse croaks, acidic smears, and anxiety-inducing growls. Here, the rave becomes not simply a site of release, but a platform for navigating identity, hybridity, and artistic formation across borders. Moving through peaks and ruptures, Potpourri reveals a party narrative that is not linear but multidimensional.

By folding together the fluidity of DJ culture, the experimental charge of acid, and the rhythmic vitality of guaracha, Potpourri proposes a space of formal and political innovation within Latin America’s rapidly expanding electronic music landscape. It is a record that refuses containment, pushing against the templates through which Latin electronic music is often consumed, and insisting instead on friction, instability, and transformation as generative conditions for the dancefloor.

“L’École de la nuit” marks Versatile Records’ 30th anniversary with a musical découpage by label founder Gilb’R. The album’s 12 songs and numerous collaborations form an adroit exploration of life and music, all threaded together by lifelong “partner in crime” I:Cube’s signature mixdowns.

“Hà mar” represents the peak of the album’s organic spectrum—an instantly captivating melodic and percussive Brazilian song featuring Alvaro Lancellotti on guitar and vocals—while “White Light” serves as its electronic counterpart, with a classic pop feel, featuring Swedish singer Monica Tormell

Musically, “L’École de la nuit” moves across many different landscapes and languages, intersecting rock, shoegaze, ambient, electronica, and, of course, jazz. Gilb’R collaborates with a rich arsenal of guest musicians: saxophonist Quentin Rollet; guitarist and producer Maxime Delpierre; French artist Judah Warsky, with whom Gilb’R previously released an album; Jonny Nash, producer and guitarist; as well as Ben Shemie. Not least, father and son Julio and Julinho Pimentel contribute their distinctive percussion, alongside François Creamer on bass clarinet.

“L’École de la nuit” is the 50th album release on Versatile Records. It was initiated in Amsterdam, then entirely reimagined and rebuilt in Paris. It stands as a manifesto for the album format and a tribute to the listener.

Balearic London's very own Ben Gomori presents his first extended play since his 2024 debut album 'Collapsing Time', collecting an array of sensual sounds across four tracks. 'It's Always Sunny Above The Clouds' is a punchy collaboration with German powerhouse Lauer, powered by bright piano and synths paired with '80s acid house drums and a thick melodic bassline. 'Mucho Gusto!' goes full Italo, bouncy energy matched to an anthemic horn sample. 'Fun As Fk' makes great use of rising star Caio Cenci's infectious guitar licks over a phat-bottomed groove and camp '80/90s sample synths, and 'Inner Luv' slows the tempo for a chuggy flamenco-flecked bliss-out.

Das zeitreisende Duo Angine de Poitrine aus dem kanadischen Quebec, inspiriert von den größten Rockstars der Welt, ist fasziniert von Hotdogs, Pyramiden und der schieren Grandiosität der Rockmusik. Mit treibenden Drum-Grooves und kunstvoll geschichteten mikrotonalen Gitarren erzeugen Klek und Khn de Poitrine hypnotische Klang- und Bildwelten im psychedelischen Math-Rock-Kosmos. Ihre Live-Session bei KEXP hat bereits Millionen von Aufrufen erzielt – Tendenz steigend. Im Februar 2026 zählt die neue Single und Album-Opener "Fabienk" zu den 50 meistgesuchten Songs weltweit auf Shazam. Hinzu kommen in wenigen Minuten ausverkaufte Konzerte, Auftritte auf internationalen Festivals und zehntausende Vinylpressungen, um die Nachfrage zu decken… All das ist vor allem für uns Menschen wichtig. Angine de Poitrine hingegen spielen einfach nur gerne Rock’n’Roll.

A little over a year ago Tim Reaper made his first appearance in the town LoDubs is based in, Portland, Oregon, at the always forward thinking westside venue Barn Radio. The bill was rounded out by yours truly, Jon AD, who set the standard for the night, which was a boggy, thick warehouse vibe, even though the venue was more of a tightly packed repurposed storefront with an overactive fog machine.

This stop turned into a bit of a several day stopover for the TR, who saw the town, met up with other Portland people, and after that was left with a bit of a aural vision of the whole experience, the DIY ethos of the Portland, and the desire to document these impressions on the label of his bill mate for the aforementioned night, LoDubs.

Shortly thereafter "Triumphant March" arrived at the LoDubs mailbox, and reverb heavy, oozing slab of Jungle funkiness.

Upon realizing this would be good material for a dubby remix, the next step was reaching out for people to do so, and Beatrice M was at that time really getting noticed with their take on Dub. This year has seen them really move up the ranks, needless to say.

‘They went beyond punk before punk had properly started…the entire album is a controlled explosion of ideas. Nearly fifty years on, This Heat’s debut is something the world has still not completely caught up with.’ - Simon Reynolds

‘Over the years, there have been bands to play as aggressively, or even as strangely, but very few have been able to rise from their collective influences and histories to create music so singularly distinctive and inspiring.’ – Pitchfork 9/10

‘This Heat sounded like the future then ... and still do now.’ - Dan Snaith (Caribou)

Although widely considered to be Post-Punk’s finest, This Heat actually began performing and recording their music in 1976, the early days of London’s punk era. Within their two albums and an EP they perfected a strange and volatile new strain of avant-garde rock that time has proved to be massively influential, a blueprint for much that would follow: post-rock, math rock, homemade musique concrète, experimental electronica.

Numerous critics have recognised the band's influence on the music of Sonic Youth, Glenn Branca, Steven Wilson, Public Image Ltd., Radiohead, Swans, Shellac, Young Knives, Black Dice, Lightning Bolt and numerous other experimental and post-rock bands. Disbanding in 1982 they have left an undeniable legacy that has only continued to grow in stature and relevance.

The album This Heat, also known to fans and critics as the ‘Blue and Yellow’, was their eponymous debut release, recorded in sessions between February 1976 and September 1978 in a variety of studios including their own Cold Storage, a converted cold storage room in the Acme Studios complex. Innovating throughout, they combined loops and tape manipulation (producing for example the proto-drum and bass ‘24 Track Loop’) with live performance and haunting vocals to a complex, dissonant whole. The band recorded everything they ever did – including gigs – and tracks such as “Water” were entirely improvised in the studio.

Having recently passed the 50 year anniversary of their first gig, and the recording of material that appears on their debut album, the group’s surviving members Charles Bullen and Charles Hayward, true to their DIY roots, have set up an imprint to release their recordings for their growing fan base that is increasingly recognising their influential place in music history. 


Particles of the oxymoron walking on a basalt canal, dazzled by the riot’s rays stilled, yet unsure.

A telepath counts the voices, a transparent monk whispers; and a silver nettle-bush dances, shivering in its quiet flame. All creatures born of love belong to Quanteen. W&P and produced by MYKI Vocals on Quanteen by Yaara Haim Artwork by O.neblina Mastered by Justin Drake Manufactured by KPM Distributed by KMA60

In Lande’s words: “It’s a daydreaming song about wanting a life of excitement and adventure rather than a dull and ordinary life - one where people underestimate you and belittle you. And where you’re forced to buy into capitalism and become a pathetic, losing player in a game that you hate. I’d rather escape and live in a queer space fantasy and be brave.”

Available on limited turquoise vinyl and digipack CD

It is with both pride and excitement that we announce the reissue of ‘House Without A View’, the out-of-print second album by singer-songwriter Lande Hekt – the first of a three-part reissue series on Circuitry, with ‘Going To Hell’ and ‘Gigantic Disappointment’ (first time physically) to follow in the coming months.

With a new album ‘Lucky Now’ released on Tapete in January, supported by an extensive spring UK tour (dates below), Lande’s contemporary twist on the classic C86 indie sound - with a queer feminist punk identity lyrically explicit throughout – is drawing in an ever-growing audience of devotees, such is the consistent quality of her songwriting, and the personality within.

The opening track of the album is ‘Half With You’ which “is about growing into yourself as a queer person, and enjoying who you are after not enjoying it for so long,” says Lande. ‘Cut My Hair’ is about how her relationship with her gender has changed over the last few years, becoming more comfortable in herself and understanding more about what makes her happy. “It’s also about how easy it is to not talk to people when you’re struggling, which is something I did for a long time,” admits Lande.

The title track of ‘House Without a View’ deals with childhood trauma and how events of our formative years “affect us so much into our adult lives and are intrinsic to our personalities and the way we cope (or don’t) with life and relationships,” says Lande. Although there’s darkness and sadness within the record, there’s also some shining beacons of positivity and a light-hearted side, albeit with a side of frustration. ‘Lola’ was written about Lande’s cat shortly after she came to live with her and her girlfriend. “She’s the first pet I’ve ever had and I wasn’t quite ready for how hard it would be to not be able to verbally communicate with her. I worried constantly that she was depressed because all she did was sleep, but my girlfriend assured me that that was regular cat behaviour.”


APRIL 2026 DATES: 4th Cardiff/5th Trowbridge/6th Penryn/7th Portsmouth/9th Ramsgate/10th Cambridge/11th Norwich/12th Nottingham/13th York/19th London/20th Brighton/21st Bristol/22nd Exeter/23rd Manchester/24th Sheffield/25th Oxford

Pluralone, das Soloprojekt des Songwriters und Multi-Instrumentalisten Josh Klinghoffer, kehrt mit ,A Drop In The Ocean" zurück - seinem vierten Album unter dem Namen Pluralone und dem ersten seit ,This Is The Show" aus dem Jahr 2022. Bekannt unter anderem für seine Arbeit mit den Red Hot Chili Peppers und Pearl Jam, bringt Klinghoffer dieselbe melodische Sensibilität und emotionale Direktheit, die seine Karriere geprägt haben, in ein eher akustisches, songwriterorientiertes Werk ein, bei dem Stimme, Texte und intime Arrangements im Mittelpunkt stehen. ,A Drop In The Ocean" setzt auf Wärme und Unmittelbarkeit statt auf dichte Produktion und unterstreicht seine Stärken als Komponist und Arrangeur - das Ergebnis ist eine fokussierte und persönliche Sammlung von Tracks.

Das Debüt des transzendentalen Gitarrenmeisters aus dem Jahr 1971, remastered für all eure Sabbat-Bedürfnisse. 37 Minuten ambienter Gitarrenzauberei und der perfekte Soundtrack für das Erwachen des dritten Auges, Lichtalchemie oder Menschenopfer. Mit diesem Werk könnte man eine Sekte gründen. Der kalifornische Versandhandelsmystiker Master Wilburn Burchette wurde erstmals durch seine Anzeigen bekannt, die auf den hinteren Seiten des ,Fate Magazine", von ,Beyond Reality" und ,Gnostica News" versteckt waren. Im Angebot: Burchettes siebenteiliger, im Blockdruckverfahren hergestellter ,Psychic Meditation Course", der den Menschen beibringen sollte, wie man Musik hört. Passend zu seinen Lektionen verkaufte Burchette eine Reihe von Instrumentalplatten mit Gitarren- und Elektronikmusik, die mit kunstvollen, handgezeichneten Cover-Motiven versehen waren und Höranweisungen vom Meister selbst enthielten. Bereits seit seinem zwölften Lebensjahr war Burchette von der Parapsychologie fasziniert und verbrachte ebenso viel Zeit mit dem Lesen von Büchern über die Grundlagen der tibetischen Mystik wie mit dem Üben auf der Gitarre, deren Schwingungen er nutzte, um Klangbilder und -muster zu erschaffen. Nachdem er eine Zeit lang klassische Gitarre unterrichtet hatte, veröffentlichte Meister Wilburn Burchette in den sieben Jahren von 1971 bis 1977 sieben Alben, bevor er abrupt alles, was mit seinen musikalischen Erkundungen zu tun hatte, verbrannte und wegwarf.

,Manifestations in the Shadow of an Uncertain Land" entfaltet sich durch aleatorische Komposition und intuitive Prozesse, geprägt von tief miteinander verflochtenen politischen und ästhetischen Traditionen. Verwurzelt in den gelebten Erfahrungen von Körpern und Köpfen, die sich mit der lokalen und globalen Last des Imperialismus auseinandersetzen, schöpft das Werk zudem aus der zeitlichen Logik von Film und Literatur, in der Erinnerung, Angst und Vorfreude nebeneinander existieren. Mit Stimme und modularer Elektronik arbeitet Lowe und behandelt Klang als skulpturale und filmische Kraft, geprägt von der entfremdeten Erinnerung an Chris Markers ,Sans Soleil", der politischen Desorientierung in Peter Watkins' ,Punishment Park" und der prozeduralen Gewalt in Kafkas ,In der Strafkolonie". Anklänge an elektroakustische und zeitgenössische klassische Traditionen kommen eher durch die Atmosphäre als durch direkte Zitate zum Vorschein und führen die Musik durch Zustände der Kontemplation, des Schreckens, der Feierlichkeit und der Dynamik. Das Ergebnis ist ein spannungsgeladenes Klangfeld, das sich einer festen Bedeutung widersetzt und von Bruch und der Möglichkeit der Transformation geprägt ist.

,Looks Far Woman" ist ein konzentriertes und eindringliches Album der Cellistin und Komponistin Aliya Ultan, das als Zyklus aus sechs elementaren ,Liedern" aufgebaut ist, die sich an der Schnittstelle von Komposition, Traumlogik und ritueller Praxis entfalten. Ausgehend von einer Phase körperlicher und emotionaler Erschöpfung arbeitet Ultan mit Atem und anhaltender Aufmerksamkeit als kompositorischen Materialien und schafft Musik, die sich an einer hypnagogischen Schwelle bewegt - jenem liminalen Raum zwischen Wachsein und Schlaf, wo die Wahrnehmung weicher wird und innere Welten an die Oberfläche treten. Geleitet von der Figur der ,Looks Far Woman", einer Seherin und Hüterin in Ultans persönlicher Kosmologie, zeichnet das Album einen stillen Bogen aus Aufbruch, Heilung und Rückkehr nach. Aufgenommen kurz vor einer großen geografischen und psychischen Wende in Ultans Leben, verzichtet das Album auf Virtuosität zugunsten von Geduld, Zurückhaltung und tiefem Zuhören. ,Looks Far Woman" wurde von Randall Dunn aufgenommen, abgemischt und produziert und ist ein eindrucksvolles Statement eines aufstrebenden Komponisten, der an den Rändern der zeitgenössischen experimentellen Musik arbeitet.

You can't put Bebe Rexha in a box. From her Grammy-winning songwriting roots on Eminem's "The Monster" to global chart-toppers with David Guetta and Florida Georgia Line, Rexha has established herself as a premier musical chameleon. With her latest project, Dirty Blonde, she officially enters a new era as an independent powerhouse. Now signed to EMPIRE, the Brooklyn-born star has crafted a 13-song "genre kaleidoscope" that serves as her first-ever visual album, representing a total creative rebirth and a departure from the major-label system she's known since she was a teenager.

Recorded across London, Tokyo, and Europe, Dirty Blonde captures the energy of Rexha's global travels. The project seamlessly blends heavy-hitting dance floor anthems with deep, personal storytelling. With the lead single "New Religion" she takes us straight to the club by reimagining the iconic dance record "Insomnia" by Faithless. On "Tokyo," she explores a drum & bass pulse inspired by a late-night rendezvous in Japan, while "Cike Cike" (produced by long-time collaborator DJ Snake) sees Rexha embracing her Albanian heritage by mixing traditional linguistic roots with modern 808 basslines.

At the emotional core of the album is the lead single, "I Like You Better Than Me." The track strips away the pop-star veneer to tackle themes of insecurity and self-scrutiny, blending raw lyrics with a pop-rock edge. From the Jersey-bounce-meets-country vibes of "Drink and a Little Love" to her vulnerable reflections on fame, Dirty Blonde is a celebration of an artist who is finally playing by her own rules. As Rexha firmly asserts, "The old Bebe is dead," leaving behind a focused, stronger creator who is making the music she truly loves.

You can't put Bebe Rexha in a box. From her Grammy-winning songwriting roots on Eminem's "The Monster" to global chart-toppers with David Guetta and Florida Georgia Line, Rexha has established herself as a premier musical chameleon. With her latest project, Dirty Blonde, she officially enters a new era as an independent powerhouse. Now signed to EMPIRE, the Brooklyn-born star has crafted a 13-song "genre kaleidoscope" that serves as her first-ever visual album, representing a total creative rebirth and a departure from the major-label system she's known since she was a teenager.

Recorded across London, Tokyo, and Europe, Dirty Blonde captures the energy of Rexha's global travels. The project seamlessly blends heavy-hitting dance floor anthems with deep, personal storytelling. With the lead single "New Religion" she takes us straight to the club by reimagining the iconic dance record "Insomnia" by Faithless. On "Tokyo," she explores a drum & bass pulse inspired by a late-night rendezvous in Japan, while "Cike Cike" (produced by long-time collaborator DJ Snake) sees Rexha embracing her Albanian heritage by mixing traditional linguistic roots with modern 808 basslines.

At the emotional core of the album is the lead single, "I Like You Better Than Me." The track strips away the pop-star veneer to tackle themes of insecurity and self-scrutiny, blending raw lyrics with a pop-rock edge. From the Jersey-bounce-meets-country vibes of "Drink and a Little Love" to her vulnerable reflections on fame, Dirty Blonde is a celebration of an artist who is finally playing by her own rules. As Rexha firmly asserts, "The old Bebe is dead," leaving behind a focused, stronger creator who is making the music she truly loves.

MEGAPTERA, the scientific name of the humpback whale, is also the title of the new album by French producer and composer Rone.


Born from an ambitious film project, the record was largely composed at sea, off the coasts of Brittany and Réunion Island, using a modular synthesizer and melodic sketches developed for an almost unreal proposition: attempting to resonate with whales through music.


Following Room With a View—a soundtrack to a performance created with the alternative dance company La Horde, exploring collapse and rebirth—Rone continues his investigation into new imaginaries. If that earlier work emerged from reflections on ecological, social, and technological tipping points, MEGAPTERA marks a shift: away from the city, toward the sea.


Gradually, he moved away from performance toward a more craft-based approach, extending his practice beyond the studio into a wider space of listening, exchange, and fieldwork. Early footage of sailors broadcasting his work into open water—seemingly answered by whale presence—circulated online, generating fascination, but also a growing unease for the artist regarding what these projections might imply.


This tension became the starting point for a longer period of field experimentation, developed in dialogue with scientists, environmentalists, sailors, and bioacousticians. The resulting 15-track album reflects this open-ended inquiry — not only into whether human-made sound can reach whales, but also into how this process can shape a new form of electronic music, and open it towards new deep-sea soundscapes.


Rather than seeking imitation, Rone works with reduction. Drawing on research into cetacean vocalisation, he pares back his language—focusing on frequency bands, repetition, and suspended structures. Minimalism appears less as reference than as natural convergence.

Jazz-fusion, disco-funk, Latin jazz and batucada rhythms get the Filipino treatment onAfter Midnight, the sublime second album from keyboardist Boy Katindig. Originally released in 1980, After Midnight draws heavy influence from soul and funk contemporaries in the US as well as Latin America, in particular the famed Brazilian percussionist Paulinho da Costa.

It’s a testament to his musical prowess that Katindig weaves effortlessly between styles and tempos. His reverence for Paulinho da Costa extends far, with covers of several songs from the latter’s 1979 Happy People album. This includes slow-burner ‘Déjà Vu’ written by Isaac Hayes originally for Dionne Warwick; on the Filipino instrumental version, local legends Jun Regalado and Roger Herrera (from Regalado’s ‘Pinoy Funk’ single) are reunited on drums and bass respectively.

But Katindig’s original compositions hold just as much weight and unique personality: title track ‘After Midnight’ opens with a sultry funk serenade reminiscent of The Isley Brothers, and quickly transforms into a catchy, blistering, saxophone chorus that brims with swagger. Hidden B-side gem ‘Got The Need’ is an uptempo tribute to batucada that would not be out of place in a jazzy house set, and boasts increasingly elaborate and psychedelic solos from Katindig on keys and Ben Concepcion on soprano sax.

Meanwhile, ‘Love Till the End of Time’ is a masterclass in instrumental disco funk, penned by the prolific Greg Phillanganes who at that same time was writing for many of the greats including Chaka Khan, George Benson, Stevie Wonder, The Jacksons and Cheryl Lynn.

This album is lovingly reissued by Sama Sama Records, a boutique label from DJ and collector Norsicaa, who ran the esteemed Soundway Records for 8 years and released the compilation Ayo Ke Disco in late 2024.

Back on Celestial Echo Records with a true modern soul classic — Jan Jones “Independent Woman”, finally given the treatment it deserves.

A record that’s been circulating in DJ sets and collector circles for years, often via bootlegged pressings as the originals are incredibly rare, this is the first fully licensed reissue, presented properly and with both sides intact - something the bootleggers didn’t do.

A-side Part 1 delivers the track in its purest form — tight, uplifting, and driven by that unmistakable modern soul groove. On the flip, Part 2 stretches things out into a longer, more open version, letting the arrangement breathe and giving the dancefloor the 6 minutes it deserves.

Musically, it sits right in that sweet spot for us — rich vocals, warm keys, and a rhythm section that just grooves. It’s one of the ultimate modern soul tracks.

Licensed officially, as always. Celestial Echo is here to put proper soul records back into circulation — respectfully cut, properly pressed, and ready to play.

Constant Black is one of the many, many labels that Burnski heads up. It's where he focuses on stripped-back minimal and tech house with a moody undercurrent. Kerouac is a mainstay in his orbit and here takes one side of a new 12" that opens with 'This Method,' a rigid thumper with an eerie edge. 'Produce To The Max' has a dark bassline and ghoulish vocal sounds, while 'Talking About' is a more light and bumpy percussive number. Mees Mattern takes care of the flip with the dusty, garage-y loops of 'Sloppy Tekniic,' rubbery bass minimalism of 'Reeses Pieces' and grittier '404 Not Found. Six fresh tools for rewiring a dancefloor.

Adeen Records is next to give weight to the rising profile of Paolo Aniello aka New Digital Fidelity, an accomplished house producer who heads up his own Scopic label which this release is in collaboration with. Raised in Bari and now based in London, Aniello shows this love of Midwestern classics with a release that is slow burning and soulful rather than extroverted in its grooves. The A-side cruiser '4 Hours Away From Southside' sets a smooth tone with gentle chords awakening your soul then '9 Hours Landing' has a jumbled percussive element and heavy, almost beatdown kicks. 'Lake Shore Drive' glides into candlelit late-night territory with dusty drums and frayed analogue edges that get reworked by Ge-Ology into something more busy and futuristic.

Jhobei has been on a constant ascent in the last couple of years, and he's worked with some of the most credible labels in the game in that time, from Fuse to Picnic to Semi Delicious. Now he steps up to Burnski's Pilot with four absolute nuggets. 'Pulse Reflex' is amped right up and ready to go - tightly circling synths, buoyant beats, garage shuffle and slick fills that all demand you bust out some moves. 'Believe' dials things back into a more heady, deeper dub tech vibe and 'Cannei Getcha (To Feel)' brings crispy electronic synths and pensive pads to a future groove before 'Synthetic Symphony' closes with buffed neon pads and smooth progressive chords that ride clean, meticulous drums.

Aubrey is Allen Saei, a UK techno veteran who shaped the early scene as a DJ and record shop worker, but also with his influential label Solid Groove. It launched in 1991 and burned bright for 13 years with fans including Derrick May and Terry Francis. In 2026, it returns with a brand new EP from the boss himself, following a major studio upgrade. His sound harks back to those golden early days but in subtle ways: 'Timing Shock' has booming kicks and wispy synth details bring a future feel. 'Complex Vortex' is a trippy wormhole, 'Spinning Gravity' is deep, Detroit-style machine warmth and 'Cracker Jacker' burrows into a distant cosmic abyss. A fine return from Aubrey.

Three decades deep and as essential as ever, Ralph Lawson's 20/20 Vision Recordings continues to mine its rich back catalogue with care. To that end, 'Full Circle Vol.3' feels both respectful and forward-facing with new mixes of enduring classics. Roman Flugel reworks 'Machine Life' into a driving club sound with fresh vocals and elastic acid lines, while MADVILLA sharpens 'Rhythm Freq' into a sleek hybrid of house, UKG and electro. Simon Baker's updated 'The Liptrick' retains its raw punch, and Formidable Force close with a warm, late-night dub of 'Reactivate'. It is a tidy reminder of the breadth and depth of sound this label has always dealt in.