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BON JOUR ist "eine Art Supergroup" (ORF) und derzeit "eines der spannendsten Musikprojekte" (FM4) aus Österreich. Die Band besteht aus den Musikerinnen Mario & Giovanna Fartacek (Mynth / Berglind), Dominic Muhrer (Makemakes / Loveboat), Leo-Constantin Scheichenost (Olympique / HFA-Studio), Julian Pieber (Good Wilson), Omar Abdalla (Siamese Elephants) und der Singer/Songwriterin Amelie Tobien. Die Vielseitigkeit der Bandmitglieder spiegelt sich in ihrer Musik wieder. Ihre Fähigkeit, sowohl autonom als auch unabhängig zu agieren, verleiht ihrer Arbeit eine einzigartige Leichtigkeit und Originalität. Mit ihrem eigenen Label (Bon Jour Records), selbstproduzierten Tracks und selbstgestaltetem Artwork manifestiert Bon Jour den Geist der Do-it-yourself-Kultur in seiner reinsten Form. Als Vorbote ihres Debüt-Albums "Chapter 1: Growth" kündigt BON JOUR ihre Single "Timebomb" an, die am 29. September über ihr eigenes Label veröffentlicht wird.

Die Detroiter Post-Punk-Band Protomartyr kündigt heute ihr neues Album "Formal Growth In The Desert" für den 2. Juni bei Domino an und präsentiert die erste Single 'Make Way'.

Protomartyr, bestehend aus dem Sänger Joe Casey, dem Gitarristen Greg Ahee, dem Schlagzeuger Alex Leonard und dem Bassisten Scott Davidson, sind zu einem Synonym für bissige, impressionistische Assemblagen aus Politik und Poesie, Wahrem und Schrägem geworden.

Casey beschreibt das zugrundeliegende Thema von "Formal Growth In The Desert" als ein 12-Song-Testament über das "Weitermachen mit dem Leben", selbst wenn es sich unmöglich hart anfühlt. Die stimmungsvolle Lead-Single/Video "Make Way" ist gleichzeitig der Eröffnungstrack von "Formal Growth In The Desert", in dem sich Casey zu Beginn des Albums direkt mit der Tragödie auseinandersetzt: “Welcome to the haunted earth // The living after life // Where we chose to forget // the years of the Hungry Knife.”

Das begleitende Video, bei dem Trevor Naud Regie führte, ist eine beeindruckende filmische Meisterleistung. Über das Video sagt Naud: "Es gibt eine bewusste Verbindungslinie zwischen den Videos zu "Make Way" und 2020's "Worm In Heaven". Die beiden Songs fühlen sich zusammengehörig an. Deshalb wollte ich, dass die Videos sich so anfühlen, als würden sie in der gleichen Welt existieren. Es gibt verschiedene Ebenen von Experimenten, die alle in einer geschlossenen Umgebung stattfinden. Wir wissen nicht, was mit der Welt da draußen passiert ist, aber es gibt einen Unterton, dass irgendwas nicht stimmt."

Die Detroiter Post-Punk-Band Protomartyr kündigt heute ihr neues Album "Formal Growth In The Desert" für den 2. Juni bei Domino an und präsentiert die erste Single 'Make Way'.

Protomartyr, bestehend aus dem Sänger Joe Casey, dem Gitarristen Greg Ahee, dem Schlagzeuger Alex Leonard und dem Bassisten Scott Davidson, sind zu einem Synonym für bissige, impressionistische Assemblagen aus Politik und Poesie, Wahrem und Schrägem geworden. Casey beschreibt das zugrundeliegende Thema von "Formal Growth In The Desert" als ein 12-Song-Testament über das "Weitermachen mit dem Leben", selbst wenn es sich unmöglich hart anfühlt. Die stimmungsvolle Lead-Single/Video "Make Way" ist gleichzeitig der Eröffnungstrack von "Formal Growth In The Desert", in dem sich Casey zu Beginn des Albums direkt mit der Tragödie auseinandersetzt: “Welcome to the haunted earth // The living after life // Where we chose to forget // the years of the Hungry Knife.” Das begleitende Video, bei dem Trevor Naud Regie führte, ist eine beeindruckende filmische Meisterleistung. Über das Video sagt Naud: "Es gibt eine bewusste Verbindungslinie zwischen den Videos zu "Make Way" und 2020's "Worm In Heaven". Die beiden Songs fühlen sich zusammengehörig an. Deshalb wollte ich, dass die Videos sich so anfühlen, als würden sie in der gleichen Welt existieren. Es gibt verschiedene Ebenen von Experimenten, die alle in einer geschlossenen Umgebung stattfinden. Wir wissen nicht, was mit der Welt da draußen passiert ist, aber es gibt einen Unterton, dass irgendwas nicht stimmt."

You could be forgiven for thinking Basso's been hitting the plant food of late. Last time out we took a trip with Trance, and now our esoteric expert nods his head, rolls his shoulders and drops a h-h-h-house record on our unexpecting asses. That's right folks, roll up the rug, push the sofa back and enjoy some ‚Personal Growth' from James Booth.
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Operating a million miles away from the kick and hiss of the trendy lo-fi folks, the Berlin based producer favours subtle rhythms, delicate textures and tender melodies - turning out a string of sophisticated dance floor winners for 100% Silk, Church and No Bad Days. Now he brings his organic house stylings to the Growing Bin with a fresh five-tracker packed with all the warmth of a Tempelhof picnic on a balmy July afternoon.

Emerging from the watery depths of the Drexciyan ocean, opener ‚Mood' strides calmly through the morning dew, stretching those loose limbs and seeking out Hardcastle's rainforest. Drifting freely
through immersive, aquatic pads and soft focus melodies, the track takes in a little R&R before snapping electro percussion, cascading synthlines and a rolling rhythm up the intensity. The deepness continues on the A2 as ‚Dream Precipitation' offers a medicated vision of Debussy doing P-Bar while Lynch rolls the cameras. Syncopated hi-hats, jazzy keys and star-gazing sine waves wrap themselves around your cerebellum, expanding your mind as a steady kick moves your body into the pleasure zone. Booth takes a Derren Brown tip on the flip, imbuing ‚You' with the kind of mesmeric rhythm that can make the staunchest wallflower pull a Pink Panther on a packed dance floor. The exotic tumble of woody percussion and hissing castanets keep up a fascinating rhythm, driving the titular mantra and snaking synth melody through bursts of slapped bass and subtle 4/4. ‚Dhoop Stick' stays on board with the boogie hypnotism, weaving its way through celestial melodies, squelching bass and toasty Rhodes before ‚The Chorus' brings down the curtain with wailing FM vox, military snares and the dreamy synth pop charm of a lost Sheffield classic. Warm, woody and entirely organic, this is the birth of Green House...you heard it here first!
(words by Patrick Ryder)

Berlin's Exit Strategy are back with newcomer LOR. Keeping in line with the label's established modus operandi, the promising young artist delivers some deep and emotive Techno. LOR's unique productions are drawing a lot of attention lately.
These driving but nevertheless spiritual sounds are making the magic happen.

2026 repress

The clergy is pleased to introduce you to a new initiate: Birds ov Paradise. This highly anticipated Hypnus debut comes split into three separate EP's which will be released one each full moon starting October.

Some of you may be acquainted with the music of Birds ov Paradise already as he's put out two stellar records on Jens and Aniara Recordings in 2016-2017, as well as making a contribution to our podcast series The Memoir where his sound was put on a grand display. Those of you who are new to the fantastic dream world of this very talented artist will quickly get lost in the flowing rhythms that drives his magical deep techno sound.

Early support from Etapp Kyle, Ness, Slam, Iori, Refracted, Svreca, Cio D'Or and Dorisburg to name a few.

Roberto Clementi delivers his 'Cadmio' EP on Echocord sub-label Echo Echo this October, containing four original tracks from the Italy-based artist. Kenneth Christiansen's Echo Echo imprint, offers up its fifth release here, accurately reflecting his appetite for the more celestial, dubbed out side of techno. This release sees the return of Roberto Clementi to the Echo platform after three releases on the parent imprint, Echocord plus 10 years worth of released music to his name, notably a number of EP's and an album on Soma. The EP kicks off with a fresh dub induced charmer entitled 'Conte', which in Italian translates to 'with you', and stands as an accurate tag for this warm and intimate opener. 'Irradi' follows, a more upbeat and industrious dance track - with euphoric synth lines sitting harmoniously in between the more uniform percussion before stimulating crashing symbols are introduced in the latter stages. Title-track 'Cadmio' is up next, a more dropped-tempo, electro tinged number, with off-kilter drum patterns gracefully balancing amongst the alluringly sedative melody. The B2 and final track 'Blue Growth' then provides a close to the EP with a lo fi 4/4 drum pattern together with hardened snares and crashes contrasted by delicate dub swells providing feelings of symmetry - a theme that is consistent throughout the whole EP.

"Thoughts towards change, evolution, learning from mistakes. Take advantage of the time that we have ahead of us as an opportunity for development, to be who we want to be and not necessarily who we were yesterday. Having absolute control over our subconscious and unconscious mind will allow us to achieve success."

Berlin Atonal Recordings is happy to announce two forthcoming releases, both featuring live cuts from two of the most talked about performances at the 2015 edition of the festival.

Peder Mannerfelt supplies four jams fashioned out of his own exceptional live show at the festival. Raw, unsoftened, brutely analog sound from an EMS Synthi AKS punctures space in an oddly futuristic rhythmic experiment, gesturing at a brand new way of thinking about electronic music.

The cuts are also packaged in a special 12" featuring artwork based on his own breathtaking live audio- visual show.

dark & pumping

Passages in Time, the third album from Kasper Bjørke Quartet, traces the contours of a blend of spiritual jazz reverence and the calming grandeur of '80s ambient. Inspired by Christopher Nolan's observation that "time is the most fundamental part of our human experience," the compositions are approached as fragments of time and memory. Meditations on the elusive nature of time form the heart of the work, merging freeform jazz improvisations with cyclical synthesizer patterns that mirror its quiet undulations.
Dreamy synths intertwine with guitar, harp, trumpet, flugelhorn, saxophone, and flute, creating a spacious environment for contemplation. The music invites reflection on the choices that shape our lives and the lives of those closest to us, and on the quiet weight of our priorities within the brief span we call life on this planet. Each passage unfolds as a fleeting moment suspended in time. The subtitles hint at fragments from someone's diary, tender observations of love, parenthood, and connection. Together, the passages form a musical memoir of sorts, where memory and emotion are gently woven into the compositions.
Passages in Time does not impose structure or meaning, it reflects them, offering an open space as the instruments drift in and out of focus, tracing time's subtle rhythms and inviting the listener to infuse their own memories and meaning into these passages.
The album also marks a transformation for the Quartet project itself. Langstrakt (Claus Noreen), part of the original ensemble, continues to operate the synthesizers alongside Bjørke, while the wider constellation of contributing musicians has evolved. Strings and piano give way to flute and saxophone by Oilly Wallace, guitars by Danish ambient composer Anna Roemer, trumpet and flugelhorn by Malthe Kaptain, and cascading orchestral harp by Katie Buckley, principal harpist with the Icelandic Symphony Orchestra.
The cover painting is by American artist Marcus Leslie Singleton, courtesy of V1 Gallery, and reflects the meditative and timeless atmosphere of the music.
Passages in Time is released on Bjørke's own imprint, Sensitive Records, following the two previous Quartet albums released on Kompakt Records: The Fifty Eleven Project (2018), a debut that introduced Bjørke's ambient and neoclassical explorations, and Mother (2022), which expanded the ensemble's sound with emotive choir compositions and guest appearance by Sofie Birch (Unsound / Stroom). Together, these three albums trace a journey of artistic growth, from introspective experimentation to a fully realized, contemplative expression of time, memory, and human connection.

With her third album, composer and bandleader Jasmine Myra has stepped confidently into the next stage of her unique musical explorations. Where Light Settles is a cohesive artistic statement from a distinctive and confident voice in UK music, and a significant evolution from the critically acclaimed Horizons (2022) and Rising (2024). Nine beautiful and powerfully grounded compositions express an accumulation of the artist"s ruminations on life, growth, and progression, powered by her vision of duality. "It"s those bittersweet moments which are heart-breaking but so important. Looking forward and trying to make sense of life," she says. "Pain is unavoidable, and you"ll have hardship no matter what, but you don"t grow or learn about yourself or the world around you without it. The duality is the growth and coming out the other side. I had the concept from the start."

LEYO returns with his most refined and personal album to date

Following the success of his debut album on Cécille Records, released in September 2024, which surpassed millions of streams and firmly established his signature sound, LEYO now returns with his second full-length LP on the imprint - a project that marks both artistic growth and a deeper exploration of his musical identity.

Building further on that momentum, LEYO followed up with his ‘Circus’ EP, a release that quickly became a standout moment, with the title track ‘Circus feat. Easttown’ gaining strong support and resonating widely across dancefloors and reinforcing LEYO’s position as one of the label’s most exciting and distinctive artists.
Now, with his new eleven-track album, LEYO opens the next chapter.

Featuring collaborations with Thierry Ganz, 3DDY and Native, the project showcases LEYO at his most refined and confident to date. Building on the foundations of his debut, he continues to blur the lines between soulful house, disco-tinged grooves and raw, stripped-back club cuts - all while maintaining a sound that is instantly recognisable as his own. Where his first album introduced the world to his unique blend of influences, this new body of work feels more focused, more mature and emotionally resonant. Each track carries its own weight, with moments ranging from intimate, melodic compositions to high-energy dancefloor pieces - true gems that reveal themselves over time.

The project has been a long time in the making, reflecting a period of artistic evolution and dedication in the studio. It captures not only LEYO’s growth as a producer, but also his ability to craft music that connects both on a personal and collective level.

At Cécille, we are incredibly proud to have LEYO as part of our family. Releasing his second album on the label is something truly special for us, and a testament to the journey we’ve been on together so far.

This album is not just a follow-up - it’s a statement.

Prajñāghoṣa's debut ambient album on Into The Deep Treasury is a narrative, a musical poem, an attempt to share the story of a transformative odyssey — an outer and inner journey marked by higher aspirations, spiritual growth, and a profound connection with the world.

In Sheep’s Clothing announces the long-awaited vinyl pressing of Marc Leclair’s beloved 2005 album Musique pour 3 femmes enceintes. The album will also be available on streaming for the first time via Community Music Group.

For years after Marc Leclair released Musique pour 3 femmes enceintes, he heard from listeners who had lived with the record in an unusually intimate way. Many described how the music became part of the emotional landscape of the months leading to birth. “I never expected that,” Leclair says. “Many women told me they listened to the record throughout their pregnancies. They said it made a real difference, that it helped them. It became more than just a record.”

First issued on CD in the early 2000s, Musique pour 3 femmes enceintes (Music for Three Pregnant Women) now returns in a new edition from In Sheep’s Clothing Hi-Fi, appearing on vinyl for the first time as a double LP. The record is being pressed in Detroit at Archer Record Pressing, the historic plant behind deep-groove classics by Juan Atkins, Kevin Saunderson, Underground Resistance, UR’s Jeff Mills, and J Dilla.

Listeners who know the Montreal-based Leclair through his better-known work as Akufen might be surprised by the tone here. During the same years he was shaping the intricate micro-sampling tracks that made Akufen a cult figure on labels including Perlon, Force Inc. and Trapez, Leclair was quietly developing this far more personal project. The meticulous craftsmanship remained the same, though the focus shifted from the hyper-detailed cut-up rhythms of his dance records toward something slower and more atmospheric. “I always compare my work to a jeweler,” Leclair says. “It’s really very precise. I’m a bit of a detail freak. I can spend hours or days on just one phrase in one song. Everything has to be perfectly put together.”

The project began almost accidentally. A few members of Leclair’s circle became pregnant nearly simultaneously, including one who had long believed she couldn’t conceive. The first track he recorded for the project wasn’t meant to advance a larger concept, he says. “It was meant to highlight the fact that three of my closest friends became pregnant at exactly the same time.”

Leclair was already a father with a three-year-old daughter, so the emotional terrain of early parenthood was familiar. Gradually the idea expanded. “I began thinking, why not make a whole album that celebrates this and also follows the entire pregnancy, the nine months,” he says. The music developed piece by piece, including a track originally commissioned by the Berlin experimental duo Rechenzentrum that would later become the album’s opening movement.

Nearly seven years passed between the first composition and the finished album, and the music mirrors the strange arithmetic of pregnancy itself. What begins as a single idea multiplies outward, sounds layering and branching until the album feels less like a sequence of compositions than a living process unfolding in time. “I work very slowly,” Leclair says. “Everything has to be something I’m completely behind. I never want to rush anything. I want things to come naturally.” Across its 72 minutes, the album blossoms with the patience of a long meditation on time, growth and emergence.

When Musique pour 3 femmes enceintes first appeared via Mutek, it circulated quietly but steadily. Critics who discovered it later recognized its unusual scope. In a 2006 Pitchfork review, Mark Richardson gave the record an 8.1, calling “150e Jour” “an unfailingly gorgeous and tightly sequenced quilt of guitar and piano samples reminiscent of Tangerine Dream,” and describing “85e Jour” as infused with “viscous pop ambient drift, the gauzy synth pads ebbing and flowing with rhythm.” Boomkat described the album as “a majestic opus from a producer that's always promised so much — here delving into a panoramic construction of almost visibly radiant music that works so beautifully through each and every second of its 72 minute lifespan.”

The new In Sheep’s Clothing Hi-Fi edition finally presents the record in the format Leclair long imagined. “I always thought that record deserved a vinyl edition,” he says. Spread across two LPs, the music now has room to unfold at its natural pace. More than twenty years after it first appeared, Musique pour 3 femmes enceintes remains what it was from the start: a carefully shaped meditation on transformation and the quiet miracle of life beginning.

third album, "Magic Seeds". The record represents his most personal and collaborative work and blends live recordings and analogue synths to create an organic, rhythmic sound reminiscent of trip-hop and hip-hop.

"Magic Seeds" explores themes of growth and reconnection, featuring unexpected musical moments and influences from 90s electronic music to neoclassical. Tracks like "Smoke in the Air" and "Inner Child" highlight his ability to balance emotional peaks with deep, moody atmospheres. The album’s dynamic range and authenticity reflect James's commitment to musical freedom and societal reflection, making it a compelling sonic collage of his recent experiences.

Over the past few years, Leifur James has steadily built a reputation as a vital new voice in electronic music on both sides of the Atlantic. He’s played prestigious London venues like the Barbican and Village Underground in London and toured Europe, as well as being named Pitchfork and KCRW’s ‘best new music’ in the US, and his music has been championed by the likes of tastemakers Gilles Peterson, Mary Anne Hobbs, Bradley Zero and actor Cillian Murphy, and from BBC 6Music to NTS via KCRW and RMC Italia. James has also enjoyed further flagship press support from Consequence of Sound, Clash, CRACK, Passion of the Weiss, XLR8R, Complex, MixMag, DJ Mag, The Vinyl Factory, and more

Shaped from fragile, emotionally charged piano motifs that distort, disappear and transform into dense, cinematic textures, 'CANALS' is a debut that's finely matured, the result of years of friendship and growth. Italian artist Vanja Sturno and Montréal-based Belgian-Spanish composer Pablo Geeraert (aka Sanea Ima) have worked together extensively on various projects up until now, but 'CANALS' is their first official release as a duo. Having both studied music academically, the pair were eager to work more intuitively, so applied their well-honed set of skills to sound that, instead of fitting into a conceptual box, reflected more personal experiences.

Back in 2023, Geeraert travelled to Rome to support his friend at a difficult time and, during the trip, received some bad news of his own. The complicated feelings unconsciously surged through a series of delicate Ryuichi Sakamoto-inspired piano improvisations and a new project began to coalesce. They didn't realize it at the time, but once the record was finished, Sturno and Geeraert began to understand that the entire process had been a form a joint catharsis - a release of pressure. They were able to function so effortlessly and swiftly because they had already provided the space for each other to resonate emotionally and the music flowed from that point.

So the album's title, while remaining ambiguous, suggests its formation: a sequence of eight interconnected channels that feed a creative whole. On the first segment, Sturno and Geeraert's initial recordings can be perceived most nakedly, the melancholy, Satie-like phrases floating peacefully for a moment before the tranquility is agitated by stormy distortions and swelled into thick waves of harmony. The piano provides the record with its emotional anchor, offering focus and clarity as multi-dimensional noise wells up around it before inevitably dissipating, leaving gentle, unadorned sounds once again.

And the familiar instrument is reshaped into a wheezing artificial organ on the animated 'CANALS III', punctuated by percussive, tape-warped pitch fluctuations that seem to bite into its very essence. Gauzy acoustic granulations snowball into a powerful, bass-heavy crescendo on the fourth part, setting the tenor for the album's second half. But after the crushing 'CANALS VI', possibly Sturno and Geeraert's heaviest track, a brief tremolo-heavy vignette that ripples through experimental rock and ambient music's braided history, the duo clear the air with a jazzy diversion, introducing soft woodwind blasts as a palate cleanser before an epic, widescreen finale.

It's an album that's best absorbed as a whole, a vortex of ritualistic, rhythmic repetitions that Sturno and Geeraert appropriately refer to as "spiral listening".

Rebecca Goldberg presents the release of her debut full-length album, Night City, a deeply personal and expansive body of work that reflects a decade of artistic growth, exploration, and connection. Produced and arranged by Goldberg, this album captures the evolution of her sound through years of practice, travel, collaboration and mentorship.

Including 12 tracks across a 2x LP, Night City draws from the rich lineage of Detroit electronic music. Goldberg cites influences from dystopian cityscapes and futurism to space exploration and the possibilities of technology. The result is a forward-thinking genre-spanning collection.

The album features two notable collaborations: “444,” created with Jnn Aprl and recorded in her studio in Seoul, South Korea, and “Tunnel,” featuring Detroit techno artist Tiptonaires. Each collaboration adds a distinct voice and texture to the record’s immersive sonic world.

Night City was mixed and mastered by Andy Toth, with album artwork illustrated by Mark Sarmel. A limited run of vinyl is available for preorder now, pressed at Archer Record Pressing Co. in Detroit. The album will be released on Detroit Underground.

At its core, Night City is an offering shaped by experience and guided by curiosity, marking a significant milestone in Rebecca Goldberg’s musical journey.

With the Hormesis EP, Alric Aerial explores the delicate threshold between pressure and growth. The title a reference to the biological phenomenon where stress triggers a positive adaptation serves as the conceptual foundation for a sound born from deep introspection.

It is a testament to the idea that resilience is not just about enduring, but about evolving through the friction.

In his productions, Alric Aerial weaves together personal and cultural fragments, bridging the echoes of his heritage (Tales From The Desert Part II) with a conscious departure from familiar scenes and habits (Good To Be Gone). This work marks a natural evolution a shift from the noise of the outside world toward a more refined, intentional focus in the studio.

The tracks strike a balance between "dirty" authenticity and infectious, groovy basslines. From driving, straight-forward rhythms to melodic leads, the work shifts between cinematic tension and uncompromising momentum. Especially in the title track, Hormesis, Alric’s vision culminates in the transformation of fragmentation into energy. The music invites the listener to find a new kind of presence within the act of disappearing to get lost in the pulse, only to emerge more resilient.

Felipe Gordon is back on Shall Not Fade with his new album Tezeta and f*ck is it special.

Felipe Gordon is SNF label mainstay... (we released his triple repressed debut album "A Landscape Onomatopeya" in 2022 as well as 7 x 12" EPs on SNF over the years plus an extra 12" on Lost Palms)... so given his consistent and exceptional output on our record label you'd probably forgive some complacency with this write up, you might even afford us license to assume we're preaching to the choir and allow us to rest easy knowing that at this stage Felipe Gordon's records sell themselves.... Well none of those things are happening here because when an artist makes a record this complete, this good, you have to try to find the words. You use words like "timeless", "complete and "special". Words that can carry the weight. Because when you've listened to an album dozens of times, and not once, in any part, on any listen in any way has it fatigued you, you need to say. When a record felt so wonderfully familiar from the first listen and just kept on giving you the same feels ever since, you need to say. When a record makes you think about you how you feel about certain Air & St Germain albums (even when you know what it means to put that in a press release), you need to say. So here we are, saying these things.. Tezeta is a special record, one that exists in the rarefied air. A proper album. A record that every time you press play you will immediately remember why you own it and why you love it. A record that your subconscious will know so well that if shuffle is on you will know in an instant. An album that when it's in your collection and the first track starts you get a twinge of annoyance because you didn't listen again sooner and when the final track stops you stop too.

Given paint and a canvas we can most of us paint a picture, but only those that are gifted can paint something that makes us feel. Tezeta makes you feel. Feel familiarity when it's playing, yearning when its not, and absence when it ends. This alone would be enough to make the argument as to why this album is special and justify the gushing opening paragraph of this press release. But we're not done yet.

We don't really have a word in english for what Felipe Gordon has created with this album and how it makes you feel. "Tezeta" that word.

Tezeta is a one of four musical modes within the traditional Ethiopian modal music system known as Qiñit. Mulatu Astatke, the father of Ethio-jazz, frequently uses this mode, often translating it as "nostalgia" or "longing". Gordon says Mulatu's own tezeta recordings convey to him "feelings of melancholy and longing from a point of affection". This is exactly the feeling Gordon has captured. It is what he has woven through every recording on this album. Tezeta is the prime ingredient. It's the base note in recipe, it's sprinkled over the signature jazz-sampled house tracks. It powers the vast array of synthesizers Gordon deploys. It underpins the explorations into trip-hop. It's present in Gordon's varied vocal deliveries and it tunes his guitar. It's in the running order. It's the flow. Tezeta is tezeta in electronic music form, with 4/4, breakbeats, samples and synths.

Gordon says a big part of what differentiates this album from from his previous albums is that is was recorded in a period where he allowed himself to create music without the constraints of time or self-pressure which coincided with a moment of heavy personal growth which allowed him to reflect deeply on his work.

There is a word in Portuguese "Saudade" that Gordon says has a similar meaning to Tezeta - Saudade is defined as a deep, sometimes bittersweet, longing or nostalgia for someone or something that is absent or lost. But here at SNF we think that in Tezeta nothing has been lost. Quite the opposite. Through Felipe Gordon's artistic explorations we have all gained something very special indeed.

With Mr. Coconut, Cosmo Dance delivers a four-track EP that strengthens a distinctive sonic identity, blending retro aesthetics, club culture and cinematic sensibility into a cohesive body of work.

The title track unfolds through refined dynamic control. Warm multilayered percussion, textured guitars and a deep yet restrained bassline create an organic groove that evolves gradually rather than relying on obvious drops. The production favors subtle progression and hypnotic growth, resulting in elegant, mature dance music.

Goodbye expands the project’s narrative dimension. Inspired by the atmosphere of Italian ’70s library music, the track represents the protagonist’s theatrical exit from the club — not a melancholic farewell, but a charismatic closing scene. A playful detail emerges when Dandolo (Cosmo Dance’s alter ego) delivers an ironic “cough solo” precisely as an off-voice introduces Mr. Coconut, adding a self-aware cinematic twist.

Dub nuts explores deeper dub-informed territory. Built through layering and subtraction, the track showcases careful spatial control and restrained low-end management.

The EP closes with the Coccappella Version, a stripped-down reinterpretation of the title track focused solely on percussion and voice, revealing the rhythmic backbone of the project.

Mr. Coconut is a refined balance between club functionality and cinematic storytelling — controlled, elegant and unmistakably personal. It’s not about peak-time fireworks — it’s about atmosphere, detail and identity.

Death Cab for Cutie is one of the definitive indie-rock bands of the century. After twenty-odd years in the major label system, the band returned to their indie roots and signed with ANTI- Records and they"re back with a brand-new eleventh album titled, I Built You A Tower out June 5th. I Built You A Tower is the sound of loss, compartmentalization, and then grief bursting out from the seams. It"s also the sound of the growth that comes after falling apart, of acknowledging pain without letting it destroy you. "I see the tower existing on your emotional horizon," Ben Gibbard states. "You don"t always have to look at what"s inside it, but it"s a reminder that it happened. You know it"s there. You have to face it." The band is set to hit the road in the US this summer, kicking off on July 10 and includes a two-night run at The Greek in Los Angeles. This comes on the heels of a historic, sold-out global tour marking the 20th anniversary of the album Transatlanticism, and the release of their universally acclaimed, 2022"s Asphalt Meadow.

Death Cab for Cutie is one of the definitive indie-rock bands of the century. After twenty-odd years in the major label system, the band returned to their indie roots and signed with ANTI- Records and they"re back with a brand-new eleventh album titled, I Built You A Tower out June 5th. I Built You A Tower is the sound of loss, compartmentalization, and then grief bursting out from the seams. It"s also the sound of the growth that comes after falling apart, of acknowledging pain without letting it destroy you. "I see the tower existing on your emotional horizon," Ben Gibbard states. "You don"t always have to look at what"s inside it, but it"s a reminder that it happened. You know it"s there. You have to face it." The band is set to hit the road in the US this summer, kicking off on July 10 and includes a two-night run at The Greek in Los Angeles. This comes on the heels of a historic, sold-out global tour marking the 20th anniversary of the album Transatlanticism, and the release of their universally acclaimed, 2022"s Asphalt Meadow.

Fust’s first record "Evil Joy" was a bitter domestic drama obsessed with the kitchen-sink passage of time measured by moments of leaving and returning. With "Genevieve", we find a different kind of leaving: leaving behind, leaving one’s old ways, starting anew, a small life together, in “Family Country.” Thus, Genevieve: an historical name for both the saintly and the ordinary, the peasantry and the family, the community and the wife, extreme devotion and absolute forbearance. While sonically and instrumentally louder than Evil Joy, Genevieve is thematically more quiet about its pains—more settled in its ways. It is a collection of pathetic love stories written in dedication to “small life,” moving from gentle exceptions (“I can take the late hours if you’re with me”) to pitiful admissions (“I’m never going to change when I leave…”). What comes with a quiet life? The highest forms of beauty, but we also find here songs of unspeaking companions, the sublime dread of having children, the balance of humility and humiliation, playing the fool for the greater good, and… budget birthday parties. With these stories of possible growth, "Genevieve" can’t help but also feature tried and true examples of crisis and repression: seeking a bygone lifestyle in an old friend who hasn’t changed much over the years, pissing contests, search parties as the form of community for melancholics with no clue what they’ve lost, old flames you won't let go and dying flames you won’t admit. "Genevieve" was recorded throughout 2021-2022 (mostly) at Drop of Sun studio in Asheville NC by Alex Farrar. The painting by Sasha Popovici is exactly right: a domestic scene yet unfinished. Many friends helped to make it much better than it was without them—Xandy Chelmis, Michael Cormier-O’Leary, Indigo De Souza, MJ Lenderman, Courtney Werner.

2026 Repress

Akusmi is the project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album 'Fleeting Future.' With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. 'Fleeting Future' stands apart as an inventive and inspirational debut.

The creation of the album's richly colourful and multi-layered sound world was originally inspired by Bideau's journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on 'Fleeting Future' seed from the 'Slendro' scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; "the compelling way things dramatically change when you shift from any given scale to another."

The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track 'Fleeting Future', on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece 'Neo Tokyo' is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo's Akira, a dizzying work of art set in a sprawling futuristic metropolis.

'Yurikamome', meanwhile, is an imaginary soundtrack inspired by Bideau's yearning to visit Japan which he fuels by watching Youtube videos of drives and rides through Japanese landscapes and cities. "It's amazing" he adds, "that we have the ability to access almost anywhere in the world and see what it's like, that people document it and upload it. It's never going to be any replacement for the real thing, but with places that really touch you, it works." The track is named after a Japanese monorail train line which rides from Shinbashi to Toyosu, a last journey that feels like a new beginning.


'Fleeting Future' was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiralling into the unknown is the future, about which Bideau leaves us with a final thought:

"The future is fascinating: It is constantly readjusting to new events. I feel we left a linear approach to the future to enter an arborescent one where all the data and information we have about what could happen is exponentially ever-growing. Following a branch might allow you to glimpse into what it may become, but the evolution of the whole picture might very well render the prediction totally obsolete, and even meaningless. In that sense, there is not one future but innumerable ones all cancelling each other. That's what makes it fleeting."

Pick a Piper is a Toronto-based electronica duo featuring Caribou drummer Brad Weber and vocalist–songwriter Sophia Alexandra. Their music pairs catchy, ethereal vocals with warm synths, upbeat percussion, and a distinctive sense of sound design that feels both grounded and vulnerable.
The duo’s live show is an intoxicating blend of vibrant physicality and immersive lights and visuals, creating an experience that is both danceable and hypnotic. Pulsing with momentum, vocally driven and haunting, it radiates a charisma that unites the band and audience in cathartic release.
Their new album "Dandelion", explores how we exist in the space between opposing feelings while calling for resilience and the courage to recognize that growth is possible and inherently beautiful, even in life’s most difficult experiences. The record employs skippy beats, bass-heavy kicks, warm subs, hyperactive percussion, woozy synths and organic textures, delivered with a lovingly human-curated feel.
Pick a Piper has toured across Europe, the US, Canada, Guatemala, and Colombia, and has shared the bill with Bonobo, Gold Panda, Blue Hawaii, Do Make Say Think and Ghetto Kumbe.

Gennaro, formerly known as Blackchild, returns to Cécille Records with his second release on the label, delivering a confident and deeply musical four-track EP that captures the full scope of his sound.

Each track reveals a different facet of Gennaro's musical identity.from stripped-back, groove-driven club tools to more nuanced and emotive moments - all tied together by his unmistakable sense of rhythm and atmosphere. It's a release that feels focused yet expansive, showing an artist who knows exactly where he stands and where he's heading.

Nick Curly and Marc Scholl are proud to continue working with Gennaro and to welcome him back on the label with a release that underlines both artistic growth and creative consistency. This EP isn't about following trends; it's about personality, craftsmanship and club-ready music built with intention.

A strong statement, a natural progression and a clear reflection of Gennaro's range - this is his next step on Cécille Records

Mean Field Mutation is a thermodynamic phenomenon occurring just below the vaporization point of voracious growth. It relies on the debris of false and almost forgotten narratives. Astral residue of consumer angst, echoes of obsolete newspeak and oscillations of promotional imbecilities collide with free floating particles hovering under the radar of the megamachine. In steady intervals, this results in a meltdown producing random waves of reconfigurations driven by cryptic but sanguine naivety.
Released on Lustpoderosa, Mean Field Mutation is the first musical output by Des Coda. Written and produced by Piero Scherer during the pandemic winter of 2021 in his bedroom studio in Zurich. Moving between playful
serenity and feral distortion, it was produced by layering sounds from field recordings, radio and TV clips, as wellas sequences from drum machines and analogue synthesizers. Taking a stance against commercial copyright, all stems of this production are available for download free of charge and ready to be reappropriated.
Des Coda is an open field for collaborative, cultural experiments beyond the conventional understanding of authorship and representation. It engages with an artistic position that defines the creative process as an interplay between context and concept. The resulting work is not a rigid product of authoritarian ingenuity, but a sensitive, living organism guided by the tensions between society and individual. Des Coda is the zestful curiosity rummaging through the rubble of the present in search of future aesthetics.

'Trying Times' is a record about being in love whilst battling the limits of the self against a backdrop of global uncertainty. James Blake explores the tension between intimacy and isolation, the pressure to curate and perform even as everything, inside and out, feels fragile and precarious. Themes of reflection, both literally and metaphorically, run through the record’s visual presentation, as Blake holds a mirror to the contradictions of modern connection - how we see ourselves, how we’re seen by others, and what gets lost in between. It’s about the disorienting loop of joy and dread: feeling safe in love, yet knowing the bubble could burst at any moment; struggling to stay present while global anxiety and private doubt pull you in different directions. A meditation on love, identity, and fragility in an age where the world feels balanced on a knife edge

13 Track Album is James' seventh studio album and first fully independent release Album features British rapper Dave, and singer-songwriter Monica Martin Marketing plan will support long term growth, audience building and connecting with super fans Strong Content Plan including Single / Focus Track Performance Videos Alternative album versions TBC inducing deluxe, piano version and more

Nia Archives returns with Emotional Junglist, an album about love – but not just the shimmering romantic parts. Written throughout 2025 – a year that saw Nia fall in, and horrifically back out of, love – each track will encompass something of the experience.

Marking her biggest sonic leap to date, her alt-jungle sound honed alongside James Ford (Arctic Monkey’s, Blur), Ethan P. Flynn (FKA Twigs, David Byrne) and Julia Michaels (Lady Gaga, Sabrina Carpenter), will see her flirt with everything from dewy-eyed indie pop and nineties electronica, underscored by the syncopated beats and thudding basslines of her jungle roots with a tracklist that features Jorja Smith and Sampha.

The motif for the album is a shell – tough on the outside, but through pressure, maturation and resilience, something precious is built within. Nodding to the female form, the spiral chamber also symbolizes growth and self-development.

Accepting the darkness can be a liberating experience. Realising, and struggling with just who we are and what world we live in requires it. By further complicating the fractured sense of beauty found on his droning 2022 release, ‘I dreamt we found a way’, Bristol-based composer, Rob Winstone creates a language that encapsulates the lifelong reach for our own personal heavens, along with the darkness and fear on which those foundations are built.

Winstone’s instrumental palette continues to reach out far from behind his keyboards, however the sound of ‘sifting through heaven’ is stripped back and pared down, putting melody front and centre. 'postcards and loose tea', a love song written for Winstone’s partner during a period coming to terms with health difficulties had previously self-released with heavy spectral and granular manipulation from the artist. Here Winstone re-presents the original: “the stripped back recording I made in my old damp and cold studio that was in a building that has since been demolished”. It reflects the composer’s own journey, doing away with veils and histrionics, and embracing emotional bliss wherever it can be found, warts and all. Even the rumbling dark ambience of ’hospital corridor’ - where distant chimings, groans, and droplets synthesized from field recordings made nervously in a hospital waiting for test results coalesce - harbours a sacred-seeming beauty and aseptic warmth within its very bleak sense of dread.

There’s no better way to describe Winstone’s method than ‘sifting through heaven’. The hymnal organ chords, sketched out acoustic guitar phrases, scattering drum thuds, and meditative field recordings may flit between tenebrous to incandescent, but his focus is always on the embrace of love; “a view of life that embraces positive growth, yet doesn't deny immense suffering,” as he puts it. The album is bookended by two of Winstone’s most outright peaceful moments, summarising his core message: 'in spite of it all...' '...love finds a way'.

Maurice “Mobetta” Brown has always thrived at the crossroads—between jazz and hip-hop, improvisation and songcraft, trumpet and microphone. With Betta Days, the Grammy-winning trumpeter, composer, and MC sharpens his genre-bending vision into one of his most dynamic statements yet.

The album plays like a conversation between worlds: lush horn arrangements sit beside hard-hitting beats, verses weave seamlessly through melodies, and Brown’s trumpet leads with equal parts fire and finesse. A student of jazz tradition who came up in Chicago’s storied scene, he’s since expanded his reach into hip-hop and soul, collaborating with icons like Aretha Franklin, Santigold, Talib Kweli, and Anderson .Paak. Betta Days captures the spirit of all those influences while standing firmly in Mobetta’s lane.

At its core, Betta Days is about resilience and growth—finding light even in heavy times. The songs carry a message of pushing forward, fuelled by the energy of community and the joy of creation. Whether he’s delivering sharp verses or soaring trumpet lines, Maurice Mobetta Brown reminds listeners that the future is wide open, and that better (or Betta) days are always ahead.

With this new chapter, Blackwater Label presents an EP exploring the frontier between ethereal, electronics and sonic horror. Two tracks move like ambiguous presences, evoking atmospheres suspended between dream and nightmare, body and shadow. "Hypnoptera" is a journey through dense textures, oblique frequencies and subtle pulsations that seep into the listener, keeping alive the tension typical of the label's most radical productions. A work that does not seek comfort, but disorientation: a sonic ritual digging into the dark matter of imagination.

The A-side opens with "Gomma", a sonic mass that deforms, viscous and elusive. Gomma moves through dry hits and elastic reverbs, a living organism mutating at each beat. The atmosphere oscillates between tribal and industrial, like a ritual dance seen through distorted lenses. A track that fascinates with its physicality and hypnotic nature, suspended between attraction and unease. "Dulcis in Fungus" descends into a humid and cavernous sonic landscape where sweetness and decay coexist. It layers ethereal drones and underground pulses, creating an environment that feels both organic and alien. The piece develops like the growth of a fungus-silent yet unstoppable, seductive and corrosive at the same time.

LIMITED QUANTITIES TO 100

There are techno classics, and there are techno classics! It’s without doubt that Joey Beltram has played a pivotal role in the growth of the techno sound that gestated in Detroit and was lapped up in Europe during those early years. Beltram spearheaded a darker sound that became a staple in the UK and European rave scene in the early 90s, and a sound that continues to come back around for revival and a new twist on the genre from the producers and DJs of the day.

‘Beltram Volume 2’ was first released on R&S Records in 1991, and despite the huge success of the ‘Energy Flash’ single, released a year prior, ‘Volume 2’, some say, is ‘Beltram’s definitive release on R&S’. Deep, dark and deliciously hypnotic, all four cuts on this EP still sound as raw and devastating 30 years later. Big tunes at seminal clubs like Rage (Fabio & Grooverider) and the network of UK raves soundtracked by the likes of Carl Cox, Colin Faver, Eddie Richards et al, Beltram’s unique sound help spawn the bass heavy drum & bass genre that was also burgeoning at the time.

‘Beltram Volume 2’ has been remastered by Beau Thomas at Ten Eight Seven Mastering, and the release comes in an updated sleeve, faithfully recreating the 1991 packaging featuring Christel Brodahl’s now legendary oil painting.

‘Beltram Volume 2’ by Joey Beltram is available on R&S Records from 9th December 2022.

Over the past decade, East London artist Kojey Radical has cemented himself as one of the most creative and unique voices in British music. His debut album Reason to Smile (2022) was released to critical acclaim, and saw him emerge as one of the defining voices in UK culture. Now, the 32-year-old readies to release his second album Don’t Look Down.

“I wanted to make this album more personal and more honest,” he says, “we have to be able to accept that the messenger has flaws and all.

16-tracks long, Don’t Look Down, set for release on 19th September 2025, is a musically rich and deeply introspective reflection on the shifting tides, lows and joys that have passed through his life since his emergence into the public eye.

Sonically, the album provides the most experimental and eclectic music of his career, with influences ranging from golden age Hip Hop to disco, grime to Indie, Jazz to Ska. Together, these strings combine to give a pertinent insight into Kojey’s inner world, and a timestamp documenting the feelings, emotions and experiences that arise when many reach the milestone of their 30s.

“When you’re younger, certain ages seem so grown,” he says, “you feel like you’re supposed to have your life together and all figured out by 30. Then especially when you're in the spotlight you feel extra pressure to have it figured out because so many people are looking towards you.”

Don’t Look Down follows debut album Reason to Smile (2022). A critical success, it landed at No.11 on the UK Album Charts and was nominated for the Mercury Prize as well as two MOBO Awards. In the following year came a nomination for Best New Artist at 2023 BRIT Awards and Best Contemporary Song at the Ivor Novello Awards. He toured across the UK, as well as hitting the festival circuit.

This sense of growth was not limited to music. Kojey was tapped by the British Fashion Council to host the 2023 and 2024 editions of The Fashion Awards as his stock in music and wider culture continued to rise.

The album he says, is a reflection of “the experiences I’ve had over the past few years. That shaped the direction I took going forward. It’s given me the opportunity to tell new stories from newer perspectives. It was liberating, and it was very necessary to keep me in love with the process and to keep making music.”

The result is his most innovative album yet, a project where a sense of profound personal interrogation and introspection dance in union with the rich musical tapestry. Don’t Look Down is a story of purpose lost and then found, of what happens in the aftermath of achieving your childhood dreams, and the ranging flux of emotions that rise to the surface once the music stop

lim. 150 blue transparent 180 Gr LP + 7" + Poster / incl. Silent Servant Remix

A cross-cutting label exploring the boundaries between different disciplines based on deep listening and music research, Modern Obscure Music is set to release 'INRI' (INDUSTRIA NACIONAL DEL RUIDO INFINITO) on the 1st December, the new album from Dellarge.

Inspired by the scenic beauty of his studio's surroundings at Lake Pátzcuaro in Michoacan, Mexico, Alejandro Barba, aka Dellarge, delves deep into the depths of his artistic consciousness to craft a spiritual album that encapsulates the essence of the place. 'INRI' stands for Industria Nacional del Ruido Infinito (National Industry of Infinite Noise) and serves as a vessel for Dellarge's innermost self-expression and reflections on the potential of humanity.

A multifaceted artist and veteran of the music industry for over two decades, his latest musical creation is an intimate and personal album and a departure from previous Techno/EBM-orientated Dellarge releases. 'INRI' (INDUSTRIA NACIONAL DEL RUIDO INFINITO) offers a mesmerizing blend of ambient, futuristic, and industrial sounds that transport listeners into a realm of mysticism, futurism, and duality and stands as a testament to Dellarge's artistic growth and his ability to transcend boundaries, offering listeners an immersive experience that connects them to his world.

Drawing inspiration from numerous sources, Dellarge found creative fuel in books such as 'El Arte de los Ruidos' by Luigi Russolo, 'Manifiestos y Textos Futuristas' by F.T. Marinetti, and science fiction classics including 'Congreso de Futurología' by Stanislaw Lem, 'Neuromancer' by William Gibson, and 'Dune' by Frank Herbert. Musically, he delved into the works of Coil, Michael Bundt, The Threshold Houseboys Choir, krautrock legends CAN and Popol Vuh, early Kraftwerk, Arthur Brown, Yello, Esquivel, The Residents, and Hector Lavoe for inspiration.

When asked about the creative process behind the album, Dellarge revealed a disciplined routine that involved immersing himself in the sounds, focusing on minute details that connected with the vivid world he envisioned. Ethereal tracks such as 'Viento Androide' and 'Viaje al Sol' offer a glimpse of a hopeful future, while darker compositions such as 'Corpus de Sangre' and 'Toro de Falaris', explore the wickedness and compassion within humanity. Each piece in the album represents a unique sonic journey.

'Viaje al Sol', the first single to be taken from the album, is set for release on the 27th October, and is also available as an EP which includes a remix from Juan Mendez aka Silent Servant. The remix is also included on the digital version of the album and available on 7" vinyl alongside an exclusive reworking of 'Cascabel' by the founder of Modern Obscure Music, Pedro Vian.