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The quietest voices can be the most durable.

American Football’s original triumph, on their 1999 self-titled debut, was to reunite two shy siblings: emo and post-rock. It was a pioneering album where lyrical clarity was obscured and complicated by the stealth musical textures surrounding it.

Like Slint’s Spiderland, or Codeine’s The White Birch, even Talk Talk’s Laughing Stock, American Football asked far more questions than it cared to answer. But there wasn’t a band around anymore to explain it, anyway. The three young men who made the album – Mike Kinsella, Steve Holmes, and Steve Lamos – split up pretty much on its release.

Fifteen years later, American Football reunited (now as a four-piece, with the addition of Nate Kinsella). They played far larger shows than in their original incarnation and recorded their long-anticipated second album, 2016’s American Football (LP2). The release was widely praised, but the band members still felt like their best work was yet to come.

‘I feel like the second album was us figuring it out,’ says Nate. ‘For me, it wasn’t quite done. I knew there was still more.’

Enter American Football (LP3). ‘We put a lot of time and a lot of energy into it,’ says Mike. ‘We were all thoughtful about what we wanted to put out there. Last time, it was figuring out how to use all of our different arms. This time, we were like – Ok we have these arms, let’s use them.’ The band used the same producer, Jason Cupp, and recorded the album at the same studio (Arc Studios in Omaha, Nebraska) as its predecessor – yet they approached it in a markedly different way. There was a determination to let the songs breathe, to trust in ideas finding their own pace. The final result is a definite, and deliberate, stretching of the band.

As a result, LP3 is less obviously tethered to the band’s past than the second album. An immediate contrast between LP3 and its two predecessors is its cover. The two previous albums featured the exterior and interior of a residence in the band’s original hometown of Urbana, Illinois (now attracting fans for pilgrimages and photo opportunities), by the photographer Chris Strong. But American Football knew that LP3 was an outside record. Instead of the familiar house, this time the cover photo (again by Strong) features open, rolling fields on Urbana’s borders. It is a sign of the album’s magnitude in sound, and of the band’s boldness in breaking away from home comforts.

American Football also joked that LP3’s genre was ‘post-house’, because of this very conscious visual break. But, in a strange way, there are links in LP3 with an actual post-house genre: shoegaze. The more exploratory members of the original British shoegaze scene were inspired by the dreamtime and circularity of house music (ambient house in particular), cherishing its sonic possibilities. That spirit drips into LP3, most obviously on ‘I Can’t Feel You’, a collaboration with Rachel Goswell of Slowdive.

The album also features Hayley Williams from Paramore on the album’s catchiest moment, ‘Uncomfortably Numb’, and Elizabeth Powell, of the Québécoise act Land Of Talk. Mike wrote lyrics in French especially for her.

LP3 is contemplative, rich, expressive, yet with a queasy undercurrent. It is heavy with expectancy, revealing its ideas slowly, eliciting the hidden stories people carry around with them. ‘I feel like my lyric writing has changed a lot over the years,’ says Mike. ‘The goal is to be conversational, maybe to state something giant and heavy, but in a very plain way. But, definitely in this record, I keep things a little more vague.’ As on the first album, the lyrics on LP3 may seem confessional and concentrated, but the more you scrutinize them, the further their meaning slinks away. Or, as Mike tellingly sings on ‘I Can’t Feel You”: I’m fluent in subtlety.

‘Somewhere along the way we moved from being a reunion band to just being a band,’ says Steve Holmes. American Football is now a bona fide ongoing focus, and they are making some of the best music of their lives. American Football (LP3) stands with two other rare reunion successes – Slowdive and My Bloody Valentine’s mbv – as a fine example of how a band refinding one another can augment, rather than taint, their legacy.

‘I think that there are those albums, or the music that you heard when you were younger, and they imprint on you,’ says Nate. ‘And no matter where you go, or what you do they’re always there.’ He is talking of Steve Reich – an early and ongoing influence on American Football – but he might as well be reflecting what is said of his own band, and the ardent following they inspire. American Football stands as an enduring symbol of elusive emotional landscapes, where introspection can be as dramatic as confrontation

French electronic producer heylucas (formerly Luca) steps into a new era with his highly anticipated debut album, "hey".



Following a series of acclaimed singles throughout 2024 and 2025, "hey" marks a turning point in his artistic journey. After his first live performance in late 2024 met with enthusiasm, it became clear, Luca was no longer just a bedroom producer but a true performer. A shift that inspired the name change from Luca to heylucas, embracing a broader vision for his music. This career change is all the more significant now that he has just announced his very first solo live show at POPUP! in Paris on 24 May.


"hey" is a deeply personal recollection of emotions: the highs and the lows, the joy of loved ones, the grief of loss, and the thrill of firsts. From euphoric moments to introspective instants, the album showcase the diverse experience of the artist during this transformative year. Singles like "do the things that bring joy" "either it goes well, or it passes" and "keep dancing" are the perfect example, shaping his signature sound: heartfelt, uplifting tracks that make you want to move and reflect at the same time.


“Do It All Again” in collaboration with Swedish duo HNE, features spoken vocal snippets collected from real-life encounters in the final months of the album’s creation, blend with an energetic/euphoric production.


The album release will be doubled by the release of an exclusive live session by heylucas in which he will reinterpret classics from his repertoire as well as new tracks from his “hey” album.



More than an album, hey is a statement. It’s heylucas’s way of waving hello to listeners, to concertgoers, and to everyone who connects with the emotions he pours into his music.

Scowl is a band that sounds exactly like their name implies. Venomous, fierce, antagonistic. A sneer not to be crossed. Over the last five years, the Santa Cruz, California, band has firmly planted their flag in the hardcore scene with their vicious sound and ripping live show, sharing stages around the world with Circle Jerks, Touché Amoré, and Limp Bizkit, and filling slots at prominent festivals like Coachella, Sick New World, and Reading and Leeds. But with their new album, Are We All Angels (Dead Oceans), Scowl is aiming to funnel all that aggression through a more expansive version of themselves.Much of Are We All Angels grapples with Scowl's newfound place in the hardcore scene, a community which has both embraced the band and made them something of a lightning rod over the past few years. Standout single "Not Hell, Not Heaven" outright rejects the narratives cast onto them by outsiders. "It's about feeling victimized and being a victim, but not wanting to identify with being a victim," explains vocalist Kat Moss. "It's trying to find grace in the fact that I have my power. I live in my reality. You have to deal with whatever you're dealing with, and it ain't working for me." The band breaks from a sense of disassociation to seek deeper connections on "Fantasy." "It's incredibly challenging to try to balance my love for the scene while also feeling, in some spaces, extremely alienated and hated," Moss says. "`Fantasy' is about feeling like I don't know how to connect with these people anymore, because I have shelled myself away so hard." The album ends in a philosophical place on the closing, titular track, "Are We All Angels," asking questions like, "Is this all there is?" and ultimately putting it on the listener to decide. "It's about the personal struggle between good and evil. It doesn't matter how `good' or `bad' you are, there are systems that will try to rewrite your narrative no matter what you actually do," explains Moss, noting that punctuation on "Are We All Angels" has been deliberately omitted in an attempt to leave the statement open-ended. Are We All Angels is the highly anticipated follow-up to Scowl's debut, 2021's How Flowers Grow, a 16-minute primal scream over punishing riffs. But amidst the pounding chaos, it was the record's sonic outlier, a cleaner interlude called "Seeds to Sow," that, true to its name, planted the seed for what was to come for the band. "It kind of laid out this destiny for us, and I feel like now we're fulfilling that," says drummer Cole Gilbert. The band continued to expand their sound on 2023's widely acclaimed Psychic Dance Routine EP, incorporating more pop hooks and favoring gentler singing over heavy screaming, paving the way for what would come next.Scowl's growth got a huge boost from producer Will Yip (Turnstile, Title Fight, Code Orange, Balance and Composure), who broadened the band's scope. "Will would say, `Everything you have here is correct, but it's in the wrong place,'" says Gilbert. Moss adds: "Will really helped restructure a lot of the material. Some songs he tore apart to make more space for the really good hooks and choruses." But even through this more eclectic approach, Scowl loses none of their edge, and still manages to convey the anger and frustration that lies underneath. They are deeply committed to carrying the ethos of punk and its sense of community. "Hardcore and punk have sculpted how we operate, what we want to do as a band, and how we participate," says guitarist Malachi Greene. "At our core, we are a punk and a hardcore band, regardless of how the song shifts and changes."

Last summer, after living across the country from each other for several years, the four members of Anamanaguchi decided to try something new. Their label Polyvinyl had rescued the famed American Football house from potential destruction, so the band took the opportunity to move in and write together. Over the course of a month, Anamanaguchi – pioneers of hyper-melodic 8-bit rock, whose extraordinary ascent has led them to topping charts with virtual pop star Hatsune Miku and scoring Scott Pilgrim vs. the World: The Game and Netflix’s Scott Pilgrim Takes Off – flipped their typically meticulous digital process on its head. Anyway, the result, is the most personal record of their career. And it's a rock record for the ages.

Recorded straight to tape by Grammy-winning rock producer Dave Fridmann (The Flaming Lips, MGMT, Sleater-Kinney), Anyway united the members around live instruments and lyrics sung by everybody in the band. As Anamanaguchi has always been an instrumental band, the decision to sing suddenly confronted them with the question of what the band’s voice would ultimately be. They explore this newfound power in every song, making it their most emotionally resonant work yet.

Anyway captures a band creatively and personally energized by the experience of four best friends reviving their connection in a disconnected world. On “Rage (Kitchen Sink),” the band confront loneliness and boredom, two epidemics of the digital age that seem to be humanity’s only common bond. The power-pop ballad “Darcie” finds inspiration in small gestures from a local unsung hero, who brightens their lives and allows unforeseen amounts of fun to happen. Taut and dynamic, “Buckwild” is a rock sing-along that serves as the album’s genesis story: a band making an effort to do something new, while accepting the risks that may bring.

USA, Anamanaguchi’s critically-acclaimed second album and debut for Polyvinyl, anticipated a crucial cultural shift in moving from escapist, nostalgic fantasy to a more introspective exploration of digital identity. Described by Pitchfork as the band’s “most emotionally grounded record,” USA laid the foundation for the openness and honesty that defines Anyway. Where USA made sense of life online, their third album Anywayventures into the world outside the front door.

Naarm/Melbourne-based rock powerhouse Shepparton Airplane are thrilled to announce the upcoming release of their fourth album, Forecast, set for release on August 8th via Wing Sing Records.

The highly anticipated follow-up to their critically acclaimed 2020 LP, Sharks, Forecast marks a compelling evolution for the band, leaning into a more song-oriented approach while still retaining the raw energy their live shows are celebrated for. While previous albums embraced extended jams, Forecast showcases a collection of more traditionally structured songs, with only one instrumental track, the epic slow-burner "Thursday, Simply."

Forecast was written during the endless Melbourne lockdowns, however the music maintains a surprisingly hopeful and, at times, pop-influenced direction.

Lyrically, Forecast delves into the darker facets of the human experience - isolation and introspection - exploring everyday interactions in tracks like "Saw You Coming," "Scribbles and Noises," and "Someone To Blame." These sit alongside apocalyptic observations in songs such as "Forecast," "Septic Dream," and "Hell No," as well as fictional narratives like the tale of a disenfranchised battler in "Angry" and the tragic seafaring love story in "Heaven Will Take Us In." Adding a touch of levity is "Stereo Youth," described by the band as possibly their most feel-good tune to Date.

Forecast promises to impress fans of outsider guitar-driven sounds and followers of the band members' other projects. Ultimately, the album reaffirms that raw, honest, loud rock'n'roll is alive and well in Naarm/Melbourne, Australia.

With creative verses rooted in technical brilliance, Detroit emcee Elzhi has attained the highest level of lyrical mastery. Now 15 years into an inspired solo career, the former Slum Village member has ramped up his output lately, joining forces with producers Georgia Anne Muldrow, Oh No, and JR Swiftz for three acclaimed albums in the 2020s. Now, Elzhi is reuniting with famed North Carolina producer Khrysis as the duo Jericho Jackson, revisiting the chemistry that resulted in a celebrated 2018 joint album. After emerging in the Justus League collective during the rise iconic group Little Brother, Khrysis has gone on to work with hip-hop royalty like Sean Price, Black Thought, Mac Miller, JID, Conway, Rapsody, Talib Kweli, Redman, and many more. With a highly anticipated album on the way, Elzhi and Khrysis are launching the new era of Jericho Jackson with the flawless EP I Am Him, channelling the spirit of vintage maxi-singles. “For me, the maxi-single represents a time when

hip-hop was unapologetically raw and underground,” Elzhi explains. “Some of my favourite artists used the format to showcase remixes, freestyles, and loose tracks that might not have fit the sound of an album. This is our way of restoring that feeling.” An exciting burst of new music from two undeniable talents, the project features appearances by Domo Genesis and Oh No.

BABY BLUE COLOUR VINYL

The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or 'Cannonball.'

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland's rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. 'Fronting this kind of band was a new experience for me,' says Stokes. 'I never thought I had the right voice for it.'

From the irresistible title track to future singles 'Happy Unhappy' and 'You Wouldn't Like Me,' Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me's dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the '60s, while inverting the trope of the 'sad dude singer accompanied by a homogenous girl-sound.'

All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that's equal parts seasoned perfectionist and D.I.Y.

'There's a lot of sad sincerity in the lyrics,' she continues, 'that relies on the music having a light heart and sense of humor to keep it from being too earnest.' Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. 'That's another New Zealand thing,' Stokes concludes with a laugh. 'We're putting our hearts on our sleeves—and then apologizing for it.'

Suzzallo (pronounced Süe-zahh-Lōw) is a new Seattle based rock band fronted by Rocky Votolato. After the devastating loss of his child in a tragic car accident, Votolato created an entire new world inside of aggressive anthemic rock songs to transmute extreme grief and loss into something healing and beautiful. This is a return to form for Votolato, who for the past 2 decades has had a successful career as an Indie-rock solo artist, but who started out playing in heavier bands - most well known for his work in Waxwing.

With Rudy Gajadhar on drums (ex-Waxwing), Steve Bonnell on bass (ex-Schoolyard Heroes) and teaming up with legendary producer John Goodmanson, Suzzallo recently finished recording their debut album “The Quiet Year” at Robert Lang Studios in Seattle, WA. Ben Gibbard (Death Cab For Cutie / The Postal Service) is featured on several tracks on the album, adding some levity to the songs with beautifully placed backing vocals, electric guitar, bass 6, and piano.
Funded via a crowdsourcing campaign that raised over 100K dollars, Suzzallo’s highly anticipated debut is due to be released on Thirty Something Records in the spring of 2025.

The Populists—the alias of Yan Wagner—are about to unleash their latest assault on the dancefloor with the hotly anticipated EP, Extrême Intensité. This drops on Deadbeat Records in July and comes equipped with a dark, dusty, electro-infused remix from Mr. Ho.

When these demos landed in our inbox, we instantly knew that we needed to release it. This couldn’t be more Deadbeat if it tried; ravey, playful, banging. Expect this to be on heavy rotation throughout summer.

Produced in the vibrant heart of Marseilles, France, Extrême Intensité is a raw, unapologetic salute to UK rave, early dubstep, electro, and acid - the sounds that make your head spin and your jaw shake. Yan describes the project as “probably the most heavy and ‘brainless’ (in the best way) bunch of tracks I’ve ever created; the most UK sounding too.”

This new EP was produced in Yan’s home studio in Marseilles in March 2025, amidst a fierce USBJ digging craze and emerged as a most welcome breath of fresh air as he was immersed in the production process of another, more sombre, project. It’s packing hallmark breakbeats, gritty samples, and vintage Roland synths, all wrapped up in a playful, confident package designed to obliterate the dancefloor.

And to cap things off, Mr Ho, one of the current scene’s biggest producers and close friend of the label, has delivered a dark and warehousey remix that’s guaranteed to keep dance floors ablaze. As a big fan of his, we’re buzzing to finally land him on Deadbeat.



c B1. Extrême Intensité vinyl only

“Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that.” Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous sonic tableaux that places the listener right in the center of the film.

While arranging the score the composers consulted musician and ethnographer Poul Høxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. “Electronic music has almost limitless potential when it comes to making sounds and that’s obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There’s no risk of that happening when you only have a few primary instruments to draw upon.” Robin remarked.

They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn’t have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. “One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances.” Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

Celebrated Blues artist Patrick Sweany returns with his much-anticipated new record Baby, It’s Late.

Utilizing ace players from two of his Nashville side-projects (the 50s/60s era Blues combo Tiger Beats, and the Soul/Funk quartet Super Felon), Baby, It's Late is a pastiche of Sweany's wide-ranging influences and history, incorporating Classic Rock, Soul, Country and, of course, a massive dose of vintage Blues.

Sweany produced the record himself - a first in his storied career.

After roughly 15 years out of the game, Marc Kushin makes a highly anticipated return with his Ely Muff project - a label favourite since its inception - debuting proper on Love Love with 4 tracker 'Human Nature'. Kushin's proto-tekno take on the early breakcore sound was a stand-out of a particularly noisy strain of hardcore which emerged in the UK in the late 90s and early 00s, releasing on the likes of Headfuk, One Inch Punch, Deathchant, as well as Kushin's own labels Kinky Stump and Dead Pig, run alongside longtime collaborator Tantrum.



Unpretentious, unserious and completely unapologetic, 'Human Nature' features four tracks of brutal hardcore spiral tekno, distorted and mangled but retaining groove and swagger. The EP features two re-released classics from Kushin's back catalogue: the pumped-up pirate radio pastiche of 'Hold Tite The P, No Need For London' and the feedback-laden blunt lobotomy of 'Automatic Predator', two decades on from their original releases in 2005 on Capsule Core and One Inch Punch. Complementing them are tracks 'Human Nature' and 'Cycle Dirty', previously unreleased spasmoid gems from the same era, unearthed and seeing the light of day for the first time.



All four tracks have been lovingly (re)mastered by Love Love's own Ben Pest for a maximal sonic experience, shining a light on this criminally overlooked corner of UK rave heritage.

The discovery of Doris Dennison's score represents a genuine musicological breakthrough—what once would have been "a tree falling in the woods" thirty years ago now holds the potential to render "a thunderous clap in our minds." While researching Anna Halprin's lesser-known collaborators, scholar Tom Welsh uncovered the archives of AA Leath, one of Halprin's principal dancers. Buried within these materials was Dennison's handwritten score for Earth Interval, dated May 1956. Born in Saskatchewan, Canada, in 1908, and raised near Seattle, Dennison (1908-2009) encountered John Cage while teaching Dalcroze eurythmics at the Cornish College of the Arts. She joined Cage's earliest percussion quartet—alongside Margaret Jansen, the composer and his wife Xenia—in the group widely regarded as having performed the first complete concert of percussion music in the United States. This historic December 1938 concert was followed by tours and the landmark May 1941 performance at the California Club, comprising Cage and Lou Harrison's Double Music, the premiere of Cage's Third Construction, and Harrison's 13th Simfony.

As Bradford Bailey observes in his extensive liner notes, Earth Interval demonstrates "an extraordinary balance of elements that imbues the piece with a sense of clarity, directness, and constraint that is both distinct and ahead of its time." The work's most remarkable innovation lies in its approach to extended techniques, particularly Dennison's notation for the central movement: "In 2nd movement, 1st player lowers + raises a gong into a tub of water while beating." This technique, absorbed from Cage's experimental vocabulary, generates what Bailey describes as "fields of acoustic abstraction that bend and warp time through sustained resonances, beat, and space." The temporal sophistication of these manipulations anticipated Karlheinz Stockhausen's Mikrophonie I (1964) and Annea Lockwood's water-based sound investigations by over a decade. After joining Mills College as dance accompanist, Dennison maintained crucial connections to the Bay Area's experimental scene, collaborating with figures like Merce Cunningham and programming Cage's music throughout the 1950s.

Comprising three movements—Land Form, Air Tide, and Earth Play—Earth Interval is scored for recorder, drums, gongs, maracas, muted gongs, and bowl gongs. In total, the piece is just under eight minutes: "a fleeting glimmer of moment in time, a life spent at the cutting edge, and a singular creative vision that packs a powerful punch." When viewed in historical context, placed in contrast to roughly contemporaneous avant-garde percussion works by Cage, Harrison, Louis Thomas Hardin (Moondog), and Harry Partch, or important precursors like Edgard Varèse's Ionisation (1931) and Henry Cowell's Ostinato Pianissimo (1934), it's clear that Dennison was following her own path. Earth Interval is not derivative. It is a precursor to what was yet to come, alluding to developments of avant-garde and experimental music that wouldn't begin to appear on the cultural landscape until the 1970s and '80s, with the emergence of Post-Minimalism and more idiosyncratic artists and ensembles like Midori Takada, Ros Bandt, Peter Giger, Frank Perry, Christopher Tree, Michael Ranta, Gamelan Son of Lion, and Niagara.

This recording by Chicago's Third Coast Percussion, captured in March 2022, represents the first complete documentation of this pioneering work. The ensemble's interpretation reveals the piece's remarkable contemporaneity while maintaining its historical specificity. Where Cage, Harrison, and Partch employed "self-consciously off-kilter polyrhythms," Dennison's rhythmic sensibility anticipates minimalist developments by nearly a decade, yet integrates "forceful rests, as well as sharp shifts in sonic character, tempo, and meter, that break the momentum and breathe a sense of life into the piece's structure." This positions her work closer to Post-Minimalism decades before its emergence. The architectural approach demonstrates Dennison's understanding that "the composer almost entirely disappears" in favor of phenomenological listening experience, creating what might be called an egoless music that places its realities and meaning entirely in the ear of the beholder. The present recording, realized by Chicago's distinguished Third Coast Percussion ensemble, represents a significant achievement in experimental music scholarship and performance practice. As specialists in the Cage tradition and contemporary percussion repertoire, Third Coast Percussion approached Earth Interval with the historical sensitivity and technical precision required to illuminate Dennison's subtle compositional innovations. The March 2022 recording sessions, engineered by Colin Campbell, capture both the work's intimate chamber music qualities and its bold exploration of extended techniques. The ensemble's interpretation reveals the piece's remarkable contemporaneity—its ability to speak directly to current musical concerns while maintaining its historical specificity.

This recording serves multiple scholarly functions: it provides the first complete documentation of Dennison's compositional voice, offers insight into the broader network of experimental music practitioners surrounding Cage and Harrison, and demonstrates the sophisticated level of compositional thinking that was occurring within the Bay Area's dance-music collaborations of the 1950s. The work's emphasis on phenomenological listening—what might be called an "egoless" approach to musical experience—places it within a lineage of American experimental music that prioritizes perceptual process over compositional personality. The work's original obscurity—limited to AA Leath's performances at venues like the 1957 Pacific Coast Arts Festival at Reed College—paradoxically allowed it to remain "entirely on its own terms," free from the constraints of historical categorization. Drawing on Jacques Derrida's Archive Fever, the argument emerges that "the archive can acknowledge, celebrate, and resurrect" overlooked voices, transforming our understanding of experimental music history. The present Blume edition, featuring Third Coast Percussion's authoritative interpretation, includes a lavishly illustrated 16-page booklet designed by Bruno Stucchi / dinamomilano, containing complete scholarly apparatus, historical photographs, and detailed production notes. This recording enables "cross-temporal intersectionality," allowing Dennison to "belong to a newly formed and more dynamic understanding of the present and past," demonstrating how forgotten voices can reshape entire historical narratives when given proper scholarly attention and performance advocacy.

oulette - GO! (2025) | Melodic Rock at Its Finest!
Roulette is back, delivering another AOR/Melodic Rock milestone with their highly anticipated full-length album, "GO!" Featuring 10 brand-new
songs, this release follows the critically acclaimed "Now!" (2019) and continues the band's remarkable musical evolution.
Their recent EP "From Now Until Today" (2024) showcased their ability to develop their songwriting while staying true to their roots. Now, "GO!"
takes that journey even further.
"We have connected to our roots of Thin Lizzy, Def Leppard, Bryan Adams, and Van Halen," says bass player Hansi Fellbrink.
Expect powerful melodies, soaring vocals, electrifying guitar riffs, and a pounding rhythm section-everything that defines Roulette's signature
sound.
Following the massive success of their latest single, "Love's The Drug"-which has dominated the Swedish charts for over 7 months-"GO!" is set to
raise the bar even higher.
And with their reputation for extraordinary live performances, Roulette will bring their energy to the stage with several live shows, including an
exciting tour in Spain this October (2025).

Sounds like: Def Leppard, Journey, Europe oder Foreigner!

oulette - GO! (2025) | Melodic Rock at Its Finest!
Roulette is back, delivering another AOR/Melodic Rock milestone with their highly anticipated full-length album, "GO!" Featuring 10 brand-new
songs, this release follows the critically acclaimed "Now!" (2019) and continues the band's remarkable musical evolution.
Their recent EP "From Now Until Today" (2024) showcased their ability to develop their songwriting while staying true to their roots. Now, "GO!"
takes that journey even further.
"We have connected to our roots of Thin Lizzy, Def Leppard, Bryan Adams, and Van Halen," says bass player Hansi Fellbrink.
Expect powerful melodies, soaring vocals, electrifying guitar riffs, and a pounding rhythm section-everything that defines Roulette's signature
sound.
Following the massive success of their latest single, "Love's The Drug"-which has dominated the Swedish charts for over 7 months-"GO!" is set to
raise the bar even higher.
And with their reputation for extraordinary live performances, Roulette will bring their energy to the stage with several live shows, including an
exciting tour in Spain this October (2025).

Sounds like: Def Leppard, Journey, Europe oder Foreigner!

Following on from 2018's "Wires" LP, their first studio album in over 25 years, and following up with "Humbucker" in 2020, and "in the Dust" in 2023, "Red Eyes" is the latest highly anticipated instalment in the reborn band that even a global pandemic couldn't stop , MOVING TARGETS! MT in the 21st century is a powerhouse, having toured US, Europe and Japan extensively since their reformation, and their latest album couples the next-level songwriting craft of Kenny Chambers with the cast-iron rhythm section of Yves and Emilien in arguably their most complete offering since reforming, "RED EYES" manages to sound reassuringly familiar and new and dynamic at the same time , and is everything you would want and expect from a MOVING TARGETS record, and more. Recorded with J ROBBINS (JAWBOX) at the helm (who also adds some percussion and backing vocals) "RED EYES" continues the MOVING TARGETS rebirth!

Mutant, in partnership with Hollywood Records and Marvel, is proud to present MARVEL RIVALS: GALACTIC TUNES, the soundtrack to the highly anticipated MARVEL RIVALS video game.

The soundtrack to Marvel's first Team-Based Superhero Shooter is appropriately epic in every way. It’s heavy on guitar solos, symphonic strings, choirs, and powerful percussion, with infectious melodies that make for an endlessly listenable experience, even outside of the game itself.

The album starts with Adriana Figueroa's "Rivals 'Til the End (Main Theme),” which instantly becomes one of the best anime opening themes you’ve never heard of until today. It’s an immediate earworm that leads off a compilation of fifteen incredibly kinetic tracks, including South Korean singer Le'mon's "Fate of Both Worlds," a mid-album pop funk classic in the making.

As time is passing...
A letter from the past

The highly anticipated 3rd full-length by this Finnish band. Morbific is a rotten-to-the-core Death Metal trio deformed in the filthy and profaned boneyard of Kitee in early 2020, featuring Olli (guitar), Jusa (vocals / bass) and Onni (drums). The band’s Pestilent Hordes demo was unleashed in the summer of 2020, and it rapidly gained them some following amongst the finest gourmets of the variety of festering, moldering and disgusting Death Metal that’s malignantly influenced by Autopsy, Rottrevore, Deteriorot, Mortician, Grave, Maimed, Undergang, Impetigo and ancient Finnish masters of death and decay, such as Funebre and Disgrace. Shortly after, in the spring of 2021, the debut full-length Ominous Seep of Putridity saw the odious light of day to unanimous praise by both the fans and the media. Just a year later, and now aligned with Memento Mori, Morbific released their second full-length, Squirm Beyond the Mortal Realm. Aptly titled, the album quickly became a cult favorite of utterly uncomfortable, slimy Death Metal. Now, Morbific are prepared to eclipse such a sewer-dwelling “highwater” mark with Bloom of the Abnormal Flesh. Whereas its not-inconsiderable predecessor confronted the listener with a blown-out, almost demo-level feel, the Finns’ third full-length proves that they can move and mesmerize and maim no matter what the soundfield is. And on Bloom of the Abnormal Flesh, it’s a raw-yet-robust show of strength, “classic” Death Metal production in a most late 80’s fashion; just witness that gurgling, fuzz-tinged bass and feel its radioactive waves envelope you. But production is one thing and songwriting is another, and with the latter, Morbific are truly hitting their stride here. Lumbering and stomping, with well-timed bouts of disgusting gallop or even ragged blasts, their songwriting twists and indeed squirms with off-kilter insanity; some would call it chaos, if not for the exceptionally tight musicianship on display here, with the sum result being an uncomfortableness that bubbles up from a deeper gutter. Thankfully, Bloom of the Abnormal Flesh conveys its dark, disgusting and unconventional aura across every element -said chops simply heighten these sensations- and is, thus far, Morbific’s best melding of form and content. Cro-Magnon as ever but somehow enlightened in the creepiest sense possible, Morbific continue their reputation as Finland’s filthiest and Death Metal’s untrendiest weirdoes. Vividly captured by Chase Slaker’s cover artwork, Bloom of the Abnormal Flesh is the foulest stench only for the brave!

The fourth release on ALT, the sub label of Cartulis Music, sees the return of AV1, the freshly formed French duo composed of Chris Carrier and Le Loup. Following the success of Waves + Plants Pt. 1 (ALT004.1), the pair now delivers the highly anticipated second chapter, pushing the boundaries of their sonic exploration

AV1 is the result of a deep-rooted connection between two of the most respected names in the Parisian underground scene. Chris Carrier, a prolific producer and DJ since the late ‘90s, has carved out a legacy with his unmistakable approach to house and techno. Le Loup, equally revered for his refined touch and forward-thinking productions, brings his own signature style to the table. Together, they craft an electrifying synergy built on a shared love for acid, deep grooves, and classicist house/techno foundations.

Waves + Plants Pt. 2 (ALT004.2) expands on the energy of the first release, offering a fivetrack journey through a diverse soundscape. Blurring the lines between trance, techno, breaks, and experimental sounds, the EP showcases AV1’s ability to merge different sonic textures into a cohesive, cutting-edge release. From hypnotic acid sequences to raw drum programming and ethereal atmospheres, each track presents a unique side of their creative vision.

This latest installment solidifies AV1’s place as a standout project in contemporary electronic music and reaffirms ALT’s commitment to releasing forward-thinking, genre-defying sounds.

“Everytime I try” by DJ Chus & Cevin Fisher was one of the biggest worldwide club hits in Summer 2023. That catchy acid-inspired synth line, along with Chus’ signature driving percussion and Cevin’s iconic voice preaching such an inspired message was a peak hour favorite immediately upon release.

And now comes the well-deserved and much anticipated remix treatment. Wheats adds some minimal leaning deep tech flavor with an appealingly mutated effect added to the vocal; Audio Junkies retains the acid based synth line but strips it down and then builds it back up with some new melodic elements that will open up the track to a dancefloor community that looks for more eclectic house music sounds; and finally the 12” includes the Viot remix where this emerging Brazilian producer adds building hypnotic rhythmic elements that give the track an early morning feel to go along with its already established peak hour energy. Rounding out the 12” is the original DJ Chus extended mix, released on vinyl now for the first time as part of this remix package.

This release comes in special yellow colored vinyl.

Enjoy The Ride Records and Enjoy The Toons Records in partnership with WaterTower Music proudly present |The Day the Earth Blew Up: A Looney Tunes Movie (Original Motion Picture Soundtrack) by Emmy-nominated composer Joshua Moshier (Baskets, The Shrink Next Door). Pressed on limited edition colored vinyl, this pressing is limited to 1,000 copies.

That’s not all folks! From Ketchup Entertainment, Warner Bros. Animation, director Pete Browngardt, and the creative team behind the award-winning “Looney Tunes Cartoons” comes The Day the Earth Blew Up: Looney Tunes Movie, a brand-new buddy comedy starring one of the greatest comedic duos in history - Porky Pig and Daffy Duck! This richly crafted, hand-drawn 2D animated adventure marks the first fully animated feature-length film in Looney Tunes history, told on a scope and scale that’s truly out of this world.

Porky Pig and Daffy Duck venture to the big screen as unlikely heroes and Earth’s only hope when their antics at the local bubble gum factory uncover a secret alien mind control plot. Faced with cosmic odds, the two are determined to save their town (and the world!)... that is if they don’t drive each other totally looney in the process. Featuring the voices of acclaimed actors Eric Bauza, Candi Milo, Peter MacNicol, Wayne Knight, and Laraine Newman with the laugh-out-loud gags, vibrant visuals, and beloved characters that make the Looney Tunes so timeless and iconic. The Day the Earth Blew Up: A Looney Tunes Movie arrives in theaters on March 14, 2025.

NZO goes sick on a standout debut album for Demdike Stare’s DDS, distilling 2-step UKG, R&B and computerised funk within whirring mechanisms adjacent to mutant jungle and footwork - the proper good stuff.

On ‘Come Alive’ SoYo’s NZO bruks wild but tight on nine tunes chiselled from a distinctive percussive palette cut into fidgety, soulful samples. She dances in and around the cracks of myriad styles with a canny grasp of limb-animating, rhythmic diffraction; all stop/start rhythms and stuttering diva-vocaloids arranged with a rudely shatterproof, grooving pliability. More simply put: it’s dance music for those who like to get super loose and freaky with it.

Chopped up and stitched together over six months in Sheffield, it’s not hard to hear a lineage of advanced Afro-American rhythm science that also feeds into SND’s jerky-but-sexy angularities, and subsequently Rian Treanor’s rugged pugilism, now morphing back to the source, but heavily skewed with it. Her judicious sampling of R&B gems is offset in obliquely funked-up structures in ways that knowingly mess with conditioned anticipations yet never lose sight of the ‘floor, and we’re here for it.

Jumping in with the writhing darkside tekkerz of ‘Rolling Around’ and clocking out with a standout downbeat pearl ‘Looking For’, we hear her displace amapiano closer to halfstep D&B in ‘AXMM’, and decimate 2-step like Akufen on ‘CFML’, while ‘K-space baum bap’ appears to dart in the spaces between UKG and singeli, and the sloshing congas, bass motifs and dub chords of ‘Deadweight’ settle to a sort of aqueous UKF.

BIOGRAPHY BY IRVINE WELSH
I discovered the Beta Band, like I discovered a lot of great music, basically through eventually surrendering to the enthused urgings of a mate who was cooler than me. He continually evangelized about the EP's. I was lost to the concert hall and firmly ensconced on the dancefloor by then and highly resistant, but quite taken by the idea that a band would bring out extended plays rather than singles. When I did check them out, I was instantly smitten by their originality and power.

The band, therefore, were pivotal for me in terms of my own musical journey, in that they represented a gateway back into indie guitar music, which I'd basically given up since becoming obsessed with rave and acid house.

The Beta Band were definitely a band for the cool cognoscenti- like my buddy- the ones you make a bit of a tit of yourself trying to convert quite straight boring people to.

The emotions they induced were a kind of throwback to school days when you were very pompous and prescriptive about what you liked, and derisive towards non believers. It's a testimony to the power of the music that they could take me to the raw state of the younger man.

I took it personally that they didn't hit the mainstream commercial base. At least two of the three albums they made deserved quadruple platinum status. Hot Shots II and Heroes to Zeros are permanently lodged very high in my top one hundred albums of all time.

So, the return of the Beta Band has me moving into the same mode of immature, adolescent anticipation. Everyone should have the Beta Band albums and EP's in their collection. It still kind of annoys me - in fact it bugs the shit out of me - that most of them don't.

And that really is something.

The Sorcerers' latest long player lands in perfect time for the summer, offering a further progression into their unique take on Ethio-inspired jazz. Other Worlds and Habitats is, of course, released on ATA Records and is blessed with the analogue recording and painstakingly loving production we have come to expect from this boutique studio. This, The Sorcerers eagerly anticipated fourth LP, follows on from the success of I Too Am A Stranger, a record which garnered praise from BBC Radio 2’s Jamie Cullum, “I love this, this is so good!”, Ethio-jazz legend Mulatu Astatke, “I like the grooves, and it is good to see The Sorcerers interpret Ethio jazz in their own unique way”, and Nightmares on Wax, “This sounds great! Love the way it's recorded”.

Never ones to stop moving forward, and ever vigilant to avoid the realm of pastiche, The Sorcerers see the Ethiopique sound as a building block for their natural progression as a group, but a block that sits at the base of a much larger, ever expanding, structure, The addition of keyboardist Johnny Richards, whose use of the Jen 73 piano, Mellotron and Farfisa Compact Duo, alongside the core members of the group, has opened some exciting doors for The Sorcerers, fusing the future looking optimism of the late 60s and 70s (when artists began to experiment with the new electronic technology and synthesisers becoming more readily available) and more traditional sounds. Taking inspiration from Ethiopian keyboardist Hailu Mergia and Nigerian musician William Onyeabor, Other Worlds and Habitats, as the name suggests, showcases The Sorcerers' shift to a new, and deeply exciting, musical landscape.

The Sorcerers’ Other Worlds and Habitats is a natural progression in the world they have created for themselves. Richer for shared experiences, and accepting the rise of the machines, they prove that while their journey is always going forward, there are many different paths to take.

With her highly anticipated CiCi album, Grammy Award-winning icon Ciara steps fully into her power — reclaiming her narrative with clarity, confidence, and the most dynamic soundscape of her career. A celebration of freedom, femininity, and evolution, CiCi is more than a return — it’s a full-on reinvention. Featuring standout singles like “Ecstasy,” “How We Roll” (with Chris Brown), “Wassup” (featuring Busta Rhymes), and “Run It Up” (with BossMan Dlow), the project seamlessly blends Ciara’s R&B and pop legacy with futuristic production and unfiltered storytelling.

Influential hardcore innovators Botch have delivered their electrifying new live album 061524, recorded at the iconic Showbox in Seattle on June 15, 2024—exactly 22 years to the day after their original farewell show at the same venue in 2002. 061524 captures a band still pushing sonic and emotional boundaries, now sharper, louder, and more dynamic than ever. Botch’s impact on aggressive music is undeniable. Their chaotic, math-laced brand of hardcore helped shape the genre’s landscape well after the band’s abrupt breakup in 2002.

For years, a reunion seemed unlikely—until a chain of unexpected events brought the original lineup back together for the band’s first new recording in over 20 years: 2022’s “One Twenty Two.” The song was released to critical acclaim, building into a frenzy of anticipation for Botch to reunite. What started as a nostalgic experiment quickly became a full-circle celebration, with the band reconnecting both personally and musically. That spark unleashed a wave of activity: secret warm-up shows, sold-out headlining gigs, and eventually a carefully curated international reunion tour, culminating in their hometown return at the Showbox—where 061524 was recorded in front of a packed, exhilarated crowd. 061524 is a blistering, unflinching document of a band reawakened—not as a legacy act, but as a vital force.

The album captures the energy, grit, and heart of a group that’s not only older and wiser—but more rehearsed and way more ambitious. The performances are tight but still full of the raw unpredictability that defined their early years. Fan favorites like “To Our Friends in the Great White North” and “Transitions from Persona to Object” are more complex and invigorating than ever before. Other songs, like “Afghamistam” and “Oma,” never considered feasible to pull off live previously, are delivered with the intricacy and intensity that has earned the band a lasting legacy and fresh legion of followers.

Influential hardcore innovators Botch have delivered their electrifying new live album 061524, recorded at the iconic Showbox in Seattle on June 15, 2024—exactly 22 years to the day after their original farewell show at the same venue in 2002. 061524 captures a band still pushing sonic and emotional boundaries, now sharper, louder, and more dynamic than ever. Botch’s impact on aggressive music is undeniable. Their chaotic, math-laced brand of hardcore helped shape the genre’s landscape well after the band’s abrupt breakup in 2002.

For years, a reunion seemed unlikely—until a chain of unexpected events brought the original lineup back together for the band’s first new recording in over 20 years: 2022’s “One Twenty Two.” The song was released to critical acclaim, building into a frenzy of anticipation for Botch to reunite. What started as a nostalgic experiment quickly became a full-circle celebration, with the band reconnecting both personally and musically. That spark unleashed a wave of activity: secret warm-up shows, sold-out headlining gigs, and eventually a carefully curated international reunion tour, culminating in their hometown return at the Showbox—where 061524 was recorded in front of a packed, exhilarated crowd. 061524 is a blistering, unflinching document of a band reawakened—not as a legacy act, but as a vital force.

The album captures the energy, grit, and heart of a group that’s not only older and wiser—but more rehearsed and way more ambitious. The performances are tight but still full of the raw unpredictability that defined their early years. Fan favorites like “To Our Friends in the Great White North” and “Transitions from Persona to Object” are more complex and invigorating than ever before. Other songs, like “Afghamistam” and “Oma,” never considered feasible to pull off live previously, are delivered with the intricacy and intensity that has earned the band a lasting legacy and fresh legion of followers.

This album released in 1957 showcases Chet Baker's trumpet skills alongside Bobby Jaspar on tenorsaxophone. The recordings for the album took place between October 25, 1955, and February 10, 1956, at Studio Pathe-Magellan in Paris and features a mix of cool jazz and bop styles with tracks like "How About You," "Once in a While," and "Alone Together." The ensemble of musicians on this album includes notable names such as Jean-Louis Viale on drums, and Benoit Quersin on bass; the album highlighting Baker's distinctive trumpet tone and his collaboration with talented European musicians: "I Get Chet" is a significant work in his discography and reflect his mastery in the cool jazz and bop genres. The tracks are characterized by its relaxed tempos and lighter tone, and bop, known for its complex rhythms and harmonies, it is praised for its lyrical and cool jazz elements. For this and other reasons and considered a gem from Chet Baker's Paris sessions, showcasing his talent during a pivotal time in his career.

Originally issued on Hut Records in June 2000, Alone With Everybody was eagerly anticipated, as it was Ashcroft's first recordings since the demise of the group he founded and led, The Verve - This re-issue replicates the 2000 UK first pressing and is available on audiophile 180g double vinyl in gatefold sleeve.

Opening the album with its string overture, "Song For The Lovers" signalled Ashcroft's intent immediately. Intensely melodic, anthemic, it picked up exactly where The Verve's 1997 multi-platinum album Urban Hymns left off. Lifted as a single, it reached No 3 in the UK and spent most of the summer on the charts.

Recorded at Olympic Studios and Metropolis in London, big, bold and frequently beautiful, Alone With Everybody raced to No 1 in early July; it played to all of Ashcroft's strengths, memorable hooks, catchy choruses, beats subtly influenced by dance music; the brass-blazing bold hoedown of "Money To Burn" was the album's second single; other highlights include the ballad "Slow Was My Heart", the upbeat joy of "C'Mon People (We're Making It Now)" and the reflective, string-enrobed "You On My Mind In My Sleep".

Globally beloved Australian trio Sons Of The East have announced their highly anticipated second album, SONS, due out via MGM (Metropolitan Groove Merchants) The Sons Of The East -- Jack Rollins (vocals, guitar), Nic Johnston (vocals, keys) and Dan Wallage (guitar, banjo) -- originally hail from Sydney's Northern Beaches, but their unmistakable sound has carried them to every corner of the globe. Blending folk, blues, soul, and classic country, their music channels the raw vulnerability of Townes Van Zandt and Gram Parsons, combined with the soaring harmonies of Crosby, Stills & Nash and The Avett Brothers. Known for their deft songwriting and a palpable sense of joy that runs through every note, they've built a career on both timeless recordings and legendary live shows -- the kind that leave audiences singing along.

After making their mark with their debut album, The Risen Dread returns with their highly anticipated second studio album. Produced, recorded, mixed, and mastered by Marco Mastrobuono at Bloom Studios in Guidonia, Rome, Italy. This new record showcases the band's evolution, delivering an even heavier, darker, and more intense sonic experience.
While not a concept album, death looms large as the central theme, weaving through the lyrics with raw emotion and unsettling storytelling. From existential dread to violent ends, each track explores different facets of mortality, drawing the listener into a visceral journey through the inevitable.
The music delivers heavy riffs, dynamic drumming, and a mix of intensity and melody, further refining the band’s identity while pushing their sound forward.
Set for release on June 13, 2025, via Time to Kill Records, the album builds on the band's signature sound with a balance of aggression, atmosphere, and storytelling.

Air Texture proudly announces its latest artist-curated compilation, “Hardwired,” assembled by Berlin-based musician JakoJako. This expansive collection celebrates the implicit connection between hardware-focused electronic producers, featuring contributions from Rødhåd, Acid Pauli, The Field, Neon Chambers, and many more.

“Hardwired” draws its conceptual foundation from synthesizer terminology. As JakoJako explains: “A hardwired synth has connections already soldered into the machine—it comes with certain functions without needing to patch cables externally. As a hardware producer, I feel whenever I meet someone who creates music as I do, we have this immediate connection, like a hardwired synthesizer. There’s no need for small talk—we can speak about gear.”

This metaphor of pre-established connections forms the emotional core of the compilation, celebrating the community of hardware enthusiasts who share an intuitive understanding and appreciation for machine-based music creation.

JakoJako has established herself as one of electronic music’s most intriguing voices, exploring the territory between technical precision and emotional expression. Her artistic approach balances rigorous knowledge with unrestrained intuition, creating works that reach beyond genre boundaries.

A Berghain resident with performances at Dekmantel and Fusion, to the Royal Albert Hall and the Barbican, JakoJako has released music on prestigious labels including Tresor, Mute, and Leisure System, and crafted remixes for artists like New Order and Martin Gore. Her deep relationship with analog and modular synthesis, including her ongoing connection to Berlin’s SchneidersLaden, informs her distinctive sound.

Following her recent Mute album “Têt 41,” this curation for Air Texture provides further insight into the musical universe that has shaped JakoJako’s artistic vision.

“Hardwired” showcases 23 tracks for its digital release, with a select 9 tracks pressed to vinyl. The collection spans the spectrum of contemporary electronic music while maintaining cohesive focus on hardware-driven production approaches.

Highlights include collaborative works between JakoJako and fellow producers Mareena and Frank Wiedemann, alongside contributions from established artists like Rødhåd, Acid Pauli, and The Field, plus emerging talents representing the hardware renaissance in electronic music.

Founded by James Parker Healy, Air Texture emerged from New York City’s late ’90s rave scene, carrying forward the fundamental PLUR (Peace, Love, Unity, Respect) ethos with a collaborative and curatorial focus. Air Texture has evolved from its roots in Manhattan’s club era and Brooklyn’s warehouse scene to embrace a global perspective, working with producers across diverse styles and regions worldwide through the label and its PLace: nonprofit series.

After a three-year hiatus from releasing new music, Błoto knew they had to make up for the long wait with a flood of fresh material. Their fruitful recording sessions at Studio Pasterka produced a wave of new tracks—like mushrooms springing up after the rain. These sessions have already brought us two 7" singles, the Grzybnia LP, and now, rounding off this chapter, comes the final piece: the album Grzyby (eng. Mushrooms).

Anticipation for new Błoto releases reached a fever pitch. Vinyl collectors quickly snapped up all copies of the singles Szlam / Ścieki and Bakteria, the latter featuring a guest appearance by DāM-FunK. In less than six months, nearly all copies of Grzybnia were sold out—setting a record pace for Astigmatic Records. In the meantime, the album was nominated for a Fryderyk Award in the Alternative Music category. Though Grzybnia didn’t take home the prize, Błoto did win a Fryderyk for their track “Godzina W”, featured on the WAWA album dedicated to the Warsaw Uprising. It’s been an electrifying time for the band, filled with shows across Poland and abroad.

After what seems like an aeon of anticipation, Yugen Blakrok returns bolder than ever with The Illusion of Being, a raw, fearless exploration of emotion and resilience. This album is a call to triumph. Through poetic lyricism and experimental soundscapes, this project offers the listener a journey into the heart of uncertainty and the power of perseverance. Created and recorded in a world in flux, The Illusion of Being reflects the artist's evolution as a storyteller and resonates directly with the era that shaped her. Driven by incisive lyrics andsoundscapes blending grunge, trip-hop, and 90s spirit, this project tests the boundaries of alternative hip-hop. Here, rhythm speaks louder than reason, and the acceptance of "Being" becomes the thread that ties each track together. This album captures a bold new chapter in Yugen Blakrok's discography. While rooted in the lyrical mastery and poetic precision that fans cherish, it marks a departure from the familiar, embracing a more unfiltered and experimental approach. The collaborations seem purposeful, and match this intensity: Sa-Roc delivers combative and sisterly energy,Cambatta brings his visceral urgency, while Hannah Allen offers a touch both delicate and impactful. Instrumentally, the arrangements dare to break new ground: wailing electric guitars,enchanting flutes, and hypnotic beats create a striking sonic alchemy. As described by Yugen in three words: Free. Involved. Anti.Free from convention. Involved in the fight. Anti-establishment. In many ways this album is a sonic manifesto. Each track resonates as a call to rebellion, an anthem for those who refuse to bow down. The Illusion of Being is not just a work of art; it’s a statement: for freedom, for community, against oppression. A mirror of our collectivestruggles and a light for those who keep moving forward. It promises its listeners a deeply personal connection, offering a glimmer of hope amidst despair and a soundtrack for their fight.

‘Time Flies… 1994 – 2009’ is Oasis’ complete singles collection.

Now available with remastered audio, this quadruple vinyl deluxe box set is released to celebrate its 15th anniversary and ahead of the band’s eagerly anticipated Oasis Live ’25 tour, and includes a limited edition print. Released on Big Brother Recordings, the tracklisting spans fifteen years across Oasis’ staggering seven consecutive number one albums. 1994’s ‘Definitely Maybe’, 1995’s ‘(What’s The Story) Morning Glory?’, 1997’s ‘Be Here Now’, 2000’s ‘Standing On The Shoulder Of Giants’, 2002’s ‘Heathen Chemistry’, 2005’s ‘Don’t Believe The Truth’ and ‘Dig Out Your Soul’ from 2008. Starting with their irresistible debut, ‘Supersonic’ and finishing with their last release ‘Falling Down’, this compilation features all 26 singles - including ‘Whatever’ and ‘Lord Don't Slow Me Down’, which have previously never appeared on an Oasis studio album.

EGO IN MIAMI 2025 comes to life by showcasing current music trends through the most hyped EGO
tracks of the moment. Not only: it represents the beginning of the annual series of compilations signed
EGO, as a tradition for ten years. Again this year, at the Miami Winter Music Conference, we have
selected several tracks that will count down with you, accompanying you to the start of one of the most
anticipated EDM events of the year. The MMW brings together thousands of professionals and
enthusiasts who will participate in a series of events in Miami, concluding with the iconic “Ultra Music
Festival”.

The selection presented this year reflects current musical trends. Established names like TR3NACRIA,
Cecilia Krull and Tommy Vee with the talented emerging Defreeze, Bohemoon and just a boy, the great
returns of Sapienza, Solarys and Bacon Popper. The energy of Berin, the good vibes of Roberto Tropea
and the euphoric productions of Ema Feud and B-Rain. The ensemble takes place through the extended
version braid that creates a collection usable by both EDM fans and professionals: DJs and producers.

Mit ihrem fünften Studioalbum machte die Band um Frontmann Nergal einen großen Schritt weg von ihren rohen und primitiven Anfängen. Es war ein wichtiger Meilenstein in der Entwicklung von Behemoth und führte mehr Elemente aus dem Death-MetalGenre ein, während sie sich als Komponisten und Musiker immer weiter von ihren traditionellen Black-Metal-Wurzeln entfernten und entwickelten.

After making their mark with their debut album, The Risen Dread returns with their highly anticipated second studio album. Produced, recorded, mixed, and mastered by Marco Mastrobuono at Bloom Studios in Guidonia, Rome, Italy. This new record showcases the band's evolution, delivering an even heavier, darker, and more intense sonic experience. While not a concept album, death looms large as the central theme, weaving through the lyrics with raw emotion and unsettling storytelling. From existential dread to violent ends, each track explores different facets of mortality, drawing the listener into a visceral journey through the inevitable. The music delivers heavy riffs, dynamic drumming, and a mix of intensity and melody, further refining the band's identity while pushing their sound forward.