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Acclaimed London collective Kokoroko have announced a brand new remix EP titled Brownswood Remix Editions 009 - Kokoroko remixes, set for release on 12th June 2026. The project reimagines standout tracks from their 2025 album Tuff Times Never Last, offering fresh perspectives on three fan favourites through a carefully curated selection of producers.



The EP brings together a dynamic trio of remixers: IG Culture, IZCO, and Musclecars, each delivering a distinct sonic interpretation rooted in club culture, soul, and rhythm-forward experimentation.



Brownswood Remix Editions 009 - Kokoroko remixes will be released on vinyl as part of the Brownswood Remix Editions series, landing as Edition 009. Known for spotlighting forward-thinking reinterpretations from across the global jazz and electronic spectrum, the Brownswood imprint brings a tangible, collector-friendly dimension to the project. This limited vinyl run offers fans and DJs alike the chance to experience these reworks in their fullest analog form, further cementing the EP’s place within the label’s celebrated remix catalogue.



Each remix expands the sonic world of Tuff Times Never Last, an album that resonated widely upon its release in July 2025, praised for its uplifting themes and rich blend of jazz, afrobeat, and soul influences.



With this release, Kokoroko continue to highlight the evolving dialogue between live instrumentation and electronic reinterpretation, reinforcing their place at the forefront of contemporary UK music.

Nicola Conte and Nico Lahs’ Tema Due project finally comes to full realization in a double LP entitled “Universo Astratto”,adding a wealth of new musical shades and ideas to the two EPs released on Schema Records in 2025. The albumrepresents not only the natural evolution of their artistic dialogue, but also a statement of intent in terms of sound.Fans of the most sophisticated and refined club music, elevated by the fusion of exquisite electronica with spiritual jazz (it isno coincidence that the opening track evokes the baseline of “A Love Supreme”), African-American rhythms and tribalpercussion, will be thrilled by this complex and multi-layered album, which unveils new hidden details upon each listen.A meticulous selection of exceptional musicians contributes in a distinctive and significant way to broadening the scope ofthe project: Giovanni Guidi, Pietro Lussu, and Dario Bassolino on keyboards, Gabriel Prado and Abdissa Assefa onpercussion, Magnus Lindgren on wind instruments and Hammond organ, and Pasquale Calò on saxophone. On vocals wehave Lalin St. Juste, Siya Makuzeni, Nina Miranda - for what is probably the best track on the album, “Share Your Love”- and Toco - for a new and previously unreleased version of the track “Macumba de Oxalà” featured on the first EP.In “Universo Astratto”, Tema Due’s vision is finally fulfilled: a world of ancestral grooves, cosmic jazz, and electronic musicconceived for clubs as a type of “active experience” in which one is transcended by music. This record is an invitation—tomove, to feel, to elevate—and a manifesto for those who see the dance floor not just as a location, but as a shared experience of awareness and rhythm

Back to Titanic is the second soundtrack album released for the ultimate classic film Titanic. Composer James Horner created a new suite of light and dark music to represent "the soul” of his original score. The inspiration used in composing the original soundtrack formed the basis for the new pieces Horner developed for this album. It features a piano solo performed by James Horner in “The Portrait” and newly recorded suites by the London Symphony Orchestra and the Choristers of King's College.

The first highlight is the opening 19-minute suite, "Titanic Suite", which captures the essence of the film. The other major suite is the final track, titled “Epilogue - The Deep and Timeless Sea”. James Horner returns to the main Titanic theme in a subtle way, honoring the losses of the disaster.

The soundtrack of Back to Titanic is available as a limited edition of 1500 individually numbered copies on violet vinyl. The records are packaged in a deluxe sleeve finished with linen laminate and includes a 4-page booklet with liner notes by director James Cameron.

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

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

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

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

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

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

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

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

''Incorregible" is an album where sound becomes a symbolic form of expression and a tool for introspection.

With a sonic language that crosses borders and draws from diverse cultural influences, the album seeks to reframe electronic music as a bridge between the ancestral and the contemporary.

After years of exploring and experimenting with different musical genres such as punk, noise, witch house, reggaeton, Mexican tribal etc., I have arrived at a moment in my life where I seek a deeper, more intimate form of expression, one connected to my personal world.

Although I do not believe in God, I believe in the power of invisible worlds, in the strength of being, and in music as a bridge toward expanded states of consciousness.

This work is born from that conviction: the possibility of turning dance and sound into tools for connecting with the spiritual.

A sonic journey that seeks to connect with the universal rhythms of life through powerful percussions, chants that are poems, Andean instruments, and the hypnotic force of electronic music. Each piece is designed to induce a collective trance, where the body finds its natural place: movement.

Among its most significant moments are the poems in Nahuatl written and recited by Maribel Galicia, a native of Teotihuacán and a member of the Nahua people. Her words resonate like ancestral memories that dialogue with electronic instrumentals, reminding us that tradition and innovation are not opposites, but can dance together.

Tribal Sound System – Incorregible is a sonic ritual that seeks to: Create altered states of consciousness through repetitive musical patterns. Celebrate sonic diversity by fusing sounds from indigenous folklore, Andean instruments, elements of regional Mexican music, and contemporary electronic music. Honor cultural roots by re-signifying electronic music as a bridge between the ancestral and the contemporary.

This project is my way of affirming that music, dance, and shared energy can transform into a healing and transcendent experience. - Rosa Pistola

Collaborating for more than two decades, Oren Ambarchi and Will Guthrie arrive at a place of expansive, intuitive interplay on "Cold Shoulder." Their musical dialogue, which previously moved through abstraction and volatile electro-acoustic experimentation, now unfolds with relaxed confidence, melding drifting Leslie tones, shimmering percussion, and fluid pulses that emerge and dissolve. It's a document of experience; music that feels freer, more direct, perhaps quietly fearless.

"Remnants" is an album marked by the ambiguity of presence and absence. The pieces, recorded using minimal equipment in what Suzuki describes as a ritual-like atmosphere, began as a way of processing the loss of her father in 2019. But beyond this, they also come to speak to the ways in which loss changes our relationship with someone, and our experiences of the world. Indeed, the experience of loss is not marked merely by a single event, but is instead a process that unfolds over time. Despite the other's absence, a particular location, the smell of a certain brand of tobacco, a look on a friend's face - traces such as these are enough to bring about a renewed presence.

It is through these subtle traces and remnants, encountered over time, that we come to understand loss as not only the acceptance of absence, but the recognition of a continued presence. As Suzuki says, "this is not a solo album." Its creation was instead shaped by an ongoing dialogue, the continued elaboration of a complex and ambivalent relationship. At once melancholic, warm, and embracing, it is this ambiguity, these subtle traces, that Suzuki’s compositions speak to. These are not merely the sounds of mourning, but instead have been shaped by the evolving dialectic of presence and absence into something far more subtle and haunting. (Zefan Sramek, 2026)

Filmmaking and music-making share a common element of worldbuilding. Whole cloth, environments are raised in which a perspective can be placed; the viewer, the listener, is taken on a ride into the unknown for a time. Movie, the newest album by DMV-based duo Lifted, is like a film shot with microphones rather than cameras, using the pacing, spatialization, and semiotics of cinematic sound design to lead us through a surreal soundworld that draws as much from Foley artistry as dub, jazz, and electronic music. Musical elements and field recordings shift in and out of focus, collaged in spontaneous improvisation sessions on CDJs by the core duo of Andrew Field-Pickering (Max D, Dolo Percussion, Beautiful Swimmers) and Matt Papich (Co La, Ecstatic Sunshine). We may not see where we are, but our ears give us all the information we need.

We open on a pedal steel, played by More Eaze, but it’s been warped and slowed, gradually pitching upward until it's met by drums and electronics. Imagine the THX logo emerging onscreen. Movie is bookended by two related themes, “The Ice Chewers (Opening Credits), ” and “Midnight Snack (End Credits), ” giving the spatial experiments at the heart of the record form and focus. If there’s a broader narrative to latch onto, it’s in the transition moments, the juxtaposition of various field recordings that indicate movement of characters through space and life happening at its own pace. Tracks are defined by other thematic elements: a wandering piano in "Repossessed, " the drone of Duncan Moore’s bagpipe on “Melts Very Nasty, ” the delicate dance of Dustin Wong’s guitar over Jeremy Hyman’s drums on “Midnight Snack. ” Even with such an expansive ensemble cast, the focus remains squarely on the flow from one scene to the next.

Robert Altman’s use of sonic perspective shifting, as well as Apichatpong Weerasethakul’s intricate construction of environmental ambience and aural representations of the unknown, were both inspirational for Lifted’s focus on sound as a way to establish set and setting in film. We hear Altman especially in the way dialogue emerges and recedes: as Papich puts in a sandwich order, as Field-Pickering browses the grocery store. These techniques have been a part of the duo’s arsenal in Lifted and their own projects for years, but here, without the mandate to make something overtly musical, they are foregrounded and placed in crisp focus. Here is another way to listen to the world, to understand how time, place, and personality are communicated through sound as Lifted closes the gap between artforms. What you can’t see only drives the imagination to more brilliantly invent.

Auf dem im Juni 1965 aufgenommenen Album “Components” vertiefte Vibrafonist Bobby Hutcherson seine
Zusammenarbeit mit Schlagzeuger Joe Chambers, die er wenige Monate zuvor auf “Dialogue” begonnen
hatte. Zu hören sind die beiden hier mit einem erstklassigen Sextett, das mit Trompeter Freddie Hubbard
und Pianist Herbie Hancock zwei weitere Blue-Note-Stars jener Zeit umfasst. “‘Components’ ist wohl das
Album, das Bobby Hutchersons frühe musikalische Persönlichkeit am besten widerspiegelt”, schrieb Steve
Huey bei AllMusic und gab dem Album die Höchstwertung von fünf Sternen. “Es ist passenderweise in
zwei sehr unterschiedliche Hälften unterteilt. Die erste enthält vier Eigenkompositionen von Hutcherson im
melodischen, aber dennoch anspruchsvollen Hard-Bop-Stil, während die zweite Hälfte vier frei interpretierte
Avantgarde-Stücke von Chambers bietet.”

For Metro Beirut’s latest release, Cem Mo steps forward with his debut vinyl EP, a record that bridges the roots of Chicago and Detroit house with his own deep and textured approach to groove.

Born in Ankara and having taken piano lessons at an early age, Cem drifted from classical into jazz, re-teaching himself harmony and improvisation before finding his way into production. After moving to Amsterdam in 2016, the city’s community and music scene expanded his horizon, shaping a sound that treats producing like improvising, with curiosity for grain, color, and repetition, where subtle shifts make all the difference. Along the way, Cem has released on Handy Records and Rhythm Section, while his project Nowhere People has appeared on Artisjok Records.

This EP brings together a tight circle of artists who deepen its character. Saxophonist Moritz Schuster, known for his work across electronic music and past work with Cem and Malik Kassim, formerly known as Retromigration, delivers a striking, free-flowing performance charged with raw intensity. On “The Hard Way”, Franco Corica joins Cem for a deep, soulful, jazz-leaning moment that feels both reflective and quietly defiant. Finally, longtime friend Malik pulls up with a dancefloor remix that preserves Cem’s melodic sensibility while adding his own loose, resulting in a circular dialogue between two artists who’ve grown side by side.

Artwork: Shahd Issa

2026 Repress

Malmo-based producer Martinou returns to his roots with a debut on hometown label Kontra-Musik. Since crafting his first album for Nous'Klaer Records (NL) at Inkonst's studio, Martinou has steadily built an international presence through acclaimed releases on Mule Musiq (JP) and Turbo Recordings (CA). This three-track EP is the result of a long-running dialogue with label head Ulf Eriksson--blending Detroit-inspired techno, hypnotic depths and broken lush, all produced with subtle precision and emotional weight. A homecoming of sorts, but also a new departure.

,now i imagine a place not the same" ist eine Doppel-LP und ein neues Solo-Statement des Gitarristen und Komponisten David Torn, veröffentlicht bei Kou Records. Es kehrt zur rohen Energie seiner frühen Klangsprache zurück und treibt diese gleichzeitig mit der Klarheit jahrzehntelanger Erkundungen voran. Das Album ist gleichermaßen viszeral und schwerelos und konzentriert sich auf Torns langjährigen Dialog zwischen alternativen Stimmungen, Loop-Architekturen und berührungsempfindlicher Elektronik - eine Klangwelt, in der Melodie, Noise und Atmosphäre sich ständig ineinander verschmelzen. Als Pionier der E-Gitarren-Bearbeitung ist Torn weithin bekannt für seine Arbeit in Musik und Film, darunter langjährige Kooperationen mit dem Komponisten Howard Shore, Beiträge zu Filmen von David Cronenberg und einflussreiche Veröffentlichungen bei ECM Records, die dazu beitrugen, eine atmosphärische, filmische Sprache für die E-Gitarre zu definieren. Torn nähert sich jedem Stück als einer Form kompositionsorientierter Improvisation und behandelt alles in seiner Reichweite als musikalisches Material: Saiten, Tonabnehmer, Verstärker, externe Elektronik, Stimme, resonante Oberflächen und den physischen Raum selbst. Aufgenommen, gemischt und produziert von Randall Dunn und mit einem Schwerpunkt auf Unmittelbarkeit und physischer Präsenz eingefangen, wird die Gitarre Teil eines größeren Systems - Schaltkreise atmen, Delays wiederholen unvollkommene Erinnerungen, Töne regenerieren sich durch Berührung. Klänge entstehen durch Zufall, Geste und Intuition und werden dann durch aufmerksames Zuhören geformt, während sie sich entwickeln. Anstatt auf festgelegte Ergebnisse hin zu komponieren, lässt Torn die Form durch Feedback und Wiederholung entstehen und nimmt jeden Klang - ob beabsichtigt oder nicht - in einen sich ständig weiterentwickelnden musikalischen Körper auf. Indem er grundlegende Werkzeuge aus seinen prägenden Verarbeitungsjahren wieder aufgreift - alternative Stimmungen, Looping-Logik, Röhrensättigung - lehnt Torn Nostalgie ab und gewinnt stattdessen ihre Unmittelbarkeit als lebendiges Material zurück. Gleichzeitig intim und gewaltig fängt ,now i imagine a place not the same" einen Künstler ein, der seine einzigartige Sprache voll und ganz beherrscht: zutiefst melodisch, rigoros experimentell und verwurzelt in Vertrauen, Berührung und Elektrizität. Nicht als rückblickende Geste, sondern als gegenwärtige Erklärung bietet das Album eine kraftvolle Meditation über Vergänglichkeit, Erneuerung und das fortwährende Leben des Klangs.

Church Andrews and Matt Davies return with Tilt, a pinpoint collection of skewed microtonal and discordant compositions for percussion and digital synth.

Tones ascend but don’t resolve, rhythms loop, collapse and reassemble, patterns wriggle with geometric precision, sounds tilt, the edges fray.

Kinetic, elastic, wonky without being obtuse, Church Andrews (aka Kirk Barley) and Matt Davies new LP Tilt is the culmination of six years of creative collaboration, refining and redrawing the relationship between Davies’ virtuoso percussive practice and Barley’s off-kilter synthesis.

Where their 2024 release Yucca, took rhythmic cues from the Fibonacci sequence, Tilt explores a more intuitive approach, returning the duo to a minimal sound interrogating the interplay of chance and control, system and body, freedom and mechanisation. Featuring prepared guitar, finely resonant muted percussion and a crisp palette of digital synths, it draws on the pair's long-standing interest in alternate time signatures.

Here, a tripped-up 11/8 beat gives ‘Yokai’ a disorientating quality, threading unusual paths through the playful, mysterious 5-note Hirajoshi scale - a pentatonic scale from Japan hinted at in the track’s playful reference to a supernatural spirit in the country’s folklore.

Using a simple on-off system between drum and synth to trigger a Shepard tone - an auditory illusion of a sound that ascends or descends in pitch without actually changing - ‘Shepherd’ revels in the stripped-back simplicity of its sonic palette, where the nuance lies in what Barley calls “subtleties in the timbre of the sounds” as they dialogue with Davies’ warped loops.

It’s these finely tuned melodic drum tones and an eerily abstracted prepared guitar that give ‘Debris’ its uncanny feel, yet never feeling overly controlled. Like the album’s meticulous, graphic artwork, Tilt seeks the shifting ground between the physical and the digital, as acoustic tones are tweaked and disambiguated into new and unexpected forms.

Tilt represents Church Andrews and Matt Davies’ ongoing collaboration in its purest form - a hyper-defined evocation of gravitational potential in their live sound.

Aho Ssan ist der Künstlername von Désiré Niamké, einem in Paris lebenden Komponisten und Elektronikmusiker, der sich im Laufe des letzten Jahrzehnts als zentrale Figur an der Schnittstelle zwischen experimenteller Elektronikmusik, Klangforschung und zeitgenössischer Komposition etabliert hat. Zu seiner Diskografie gehören ,Simulacrum" (Subtext, 2020), ,Limen" mit KMRU (2022) und ,Rhizomes" (Other People, 2023) mit Moor Mother, Angel Bat Dawid und clipping. Er trat bereits im Lincoln Center (NYC), im Muziekgebouw (Amsterdam), in der Krakauer Philharmonie, bei Atonal Berlin, CTM, Rewire und Sonic Acts auf - und war Support von Autechre im Le Trianon (Paris, 2024). Aho Ssans künstlerisches Schaffen lässt sich als hochpräzise Klangskulptur beschreiben, in der gewaltige Ströme digitaler Klänge in rohe Texturen zerfallen, um die Themen Identität und Chaos zu erforschen. The Sun Turned Black basiert auf field recordings, die während einer Reise nach Ghana, der angestammten Heimat von Aho Ssan, gemacht wurden. Aufgebaut um einen klanglichen Dialog mit der international gefeierten Geigerin ASIA, wobei alle perkussiven Elemente bewusst weggelassen wurden, nimmt das Album einen einzigartigen Platz zwischen Ambient, Noise und elektroakustischer Musik ein. Das Projekt wurde ursprünglich von der Maison de la Radio für das Hyperweekend-Festival in Paris in Auftrag gegeben, das Album in Coop mit Subtext Recordings aus Bristol veröffentlicht.

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

New Stand High Patrol album, featuring Joe Yorke, Nazamba, Jah Thomas - and remixes from Mad Professor, Androo & Jeanville.


Dub and House Music. Two aesthetics born in the shadows, shaped far from the mainstream music industry. Two underground cultures where independence is often a necessity and ingenuity is essential. Two scenes rooted in the margins of society, with dance, sound systems and minorities at their heart.
From the Jamaican sound system sessions of the late sixties, through the nights at Chicago's Warehouse, to the murmurings of the New York house scene in the early eighties — history shows that house, reggae and dub share far more than many people may assume. Collective action, resistance as a driving force, music moving straight from studio to turntable, shared messages: these are the threads that bind these landmark musical movements together. It is at this crossroads, driven by the spirit of experimentation that defines them, that the members of Stand High Patrol found yet another territory worth mapping.
"Skanking & Jacking", the new Musketeerz album, reveals a side of the Dubadub sound never heard on record before. Built for the dancers and for DJs, the LP brings together the pulse of house music and the vibrant groove of reggae. Uncharted territory, never interfaced like this before. The result of a meticulous blending of styles, house, reggae and dub intertwine across 12 extended tracks. The sound is carefully crafted. Built on immersive loops and interlaced with micro-variations that give it an organic texture. Born from the interaction between being and machine. This is not about simply bringing worlds closer together; it's about mobilising influences to chart a new sonic galaxy.


Beyond it's aesthetic statement, "Skanking & Jacking" also stands out for its international cast. The most extensive Stand High Patrol have ever assembled on an album. From England, Italy, Switzerland and Jamaica, the guest vocalists, producers and MCs deepen the sense of dialogue between cultures and styles. At the mic, Joe Yorke, Marina P, Nazamba and Jah Thomas join the Dubadub Musketeerz on their explorations. Each appearance subtly reshaping the contours of the project.
Never fixed, always in motion, "Skanking & Jacking" pays tribute to the traditions that shaped it and closes, as a final nod, with remixes from Jeanville, Androo and the legendary Mad Professor. The album stands as further proof of a crew that shows no signs of stopping its reinvention. Available on stream, digital and double LP on May 29th.

With Gregor Huebner (violin, electronics) and Veit Huebner (bass, electronics), a vibrant musical dialogue unfolds between two brothers. Using loop stations and live effects, the acclaimed jazz musicians create layered, almost orchestral soundscapes—both transparent and powerful, energetic yet deeply poetic. Their music thrives in the moment: lines are looped, transformed, and reshaped into virtuosic improvisations. Jazz blends with classical influences, grooves meet sonic experimentation, and delicate chamber-like passages erupt into dynamic outbursts. Original compositions, jazz standards, and newly interpreted classical works sound intimate yet powerful in the duo format. Known as two-thirds of the trio Berta Epple, the Huebner brothers now present themselves for the first time as a pure duo. The result is a distilled artistic essence of more than four decades of shared and individual stage experience, with electronics serving not as an effect but as a third musical voice.

2026 Repress

Ob Krypto-Mensch oder Krypto-Substanz, es wird auf jeden Fall eine verhängnisvolle Affäre. Molas Musik ist die ungeschönte Antithese zu einer rosaroten Welt.
Sie feiert sich kaputt, zieht dich mit in ihr inneres Chaos und verzichtet auf übliche romantisierende Verklärungen der unbarmherzigen Orientierungslosigkeit, die einen nach der letzten Kippe auf dem Nachhauseweg einholt.?Das Album erzählt düster und doch fragil von kompromisslosen Autopilot Nächten die uns vereinen und trennen. Temporär reduziert intim, um dann in ikonischem 80er "Purpel Rain" Pathos zu eskalieren, illustriert MOLA das Gefühlschaos, das der innere Dialog von linker und rechter Gehirnhälfte in ihr auslöst.
Bei MOLA werden alle Erfahrungen misstrauisch auf links gedreht, um zu sehen was sich hinter der alltagstauglichen Fassade verbirgt. Sie kehrt ihr Inneres nach außen und spricht an was sie verletzt - unverzerrt, nicht übertrieben, nahbar.?MOLA beschreibt die eigenen Tiefschläge mit trotzigem Selbstbewusstsein, ohne sentimentaler Glasur.
"Schnee im Sommer" könnte ein Album einer 80er Jahre Punkrockband mit Liebeskummer sein, aber auch einer Alternative Band aus den 90ern kurz vor ihrem Urlaub in einer Betty Ford Klinik.

Solid Red Vinyl Edition - 10@ Mini album. Originally release in 2025 in a painfully limited 2x7" + Book edition.

"Dream of the Egg" is the debut solo album by Tomo Katsurada, known for his work with the Japanese psychedelic band Kikagaku Moyo. This project is a unique fusion of music and visual art, inspired by the Japanese 1920s children's book “Yume No Tamago (Dream of the Egg)”. It reveals a deeply personal journey, reflecting Tomo's dreams and the numerous rebirths experienced in 2024—a year marked by profound new beginnings in every facet of his life.

This mini album was driven by a passion for raw and immediate expression. Every song was crafted and recorded with only the materials available to him at the time, embracing an organic and handmade atmosphere. By eschewing rhythm clicks and standard instrumental tunings, a spontaneous sound emerged, capturing the essence of both uncertainty and immediacy. Adding to this distinctive sonic landscape, guest musician Jonny Nash (UK) contributed ethereal guitar sounds on the first and final tracks, enriching the record's dream-like quality.

The journey begins with the opening track, "Moshimo," which means "If..." in Japanese. Here, Jonny's guitar weaves seamlessly with the vocal melody, creating a harmonious dialogue. The first half of the album concludes with "Zen Bungalow" a cover of Gabriel Yared's “Bungalow Zen” from the soundtrack of the film “Betty Blue 37°2 Le Matin”. This particular track is his partner’s favourite song to listen to every morning and left a profound impression on him. One day, he heard a song in his dream that combined both of these tracks and loved how they blended together. This experience inspired him to create a new arrangement, "Zen Bungalow," which has become a central piece of the “Dream of the Egg” album.

The third track serves as an interlude, printed on a flexi disk attached to the middle of a picture book. This interlude transitions the listener into"Inner Garden," a bittersweet folk song that explores themes of love. The EP's narrative spans 20 minutes, culminating in the final title track “Dream of the Egg”. This piece features a delicate session between Tomo & Jonny, combining cello and guitar to create a spectrum of tones that evoke the imagery of a rainbow. The focus on smooth dynamics and meticulous play reflects an intent to convey a sense of physical trembling. This track sounds like the beginning of a new dream; as if the egg of one’s dream is about to hatch, bringing a sense of anticipation and wonder to the listener. Throughout the album, a variety of instruments come into play, drifting between notes and embracing the beauty of imperfection. By incorporating free-form sounds in a highly technological age, the record aims to reconnect listeners with the tangible, human-made quality of sound.

Special Thanks
Jonny Nash – Guitar

Der sudanesisch-amerikanische Künstler Dua Saleh setzt seinen unaufhaltsamen Aufstieg mit ,Of Earth & Wires" fort, einem durchweg warmherzigen, spirituellen und mitreißenden Album, das sich mit den Themen Heimat, Menschlichkeit und Erneuerung auseinandersetzt. Mit Beiträgen von Justin Vernon (Bon Iver), aja monet, Gaidaa und anderen verwebt und dekonstruiert Saleh Indie, R&B und elektronischen Pop mit Einflüssen aus sudanesischer Volksmusik, britischer Dance-Musik und elektronischer Popmusik. ,Of Earth & Wires" ist ein Album, das sich durch seine Vielseitigkeit und seine Fähigkeit auszeichnet, die Zuhörer in seinen Bann zu ziehen. Mit Beiträgen von Justin Vernon (Bon Iver), aja monet, Gaidaa und anderen verwebt und dekonstruiert Saleh Indie, R&B und elektronischen Pop mit Einflüssen aus sudanesischer Folk-Musik, UK Dance und Reggaeton - Klänge, die untrennbar mit ihrer Geschichte verbunden sind und durch eine ambitionierte, zukunftsorientierte Produktion und klare Lyrik zusammengehalten werden. Salehs gefühlvoller, kraftvoller und wandlungsfähiger Stil hat Fans von der New York Times bis zum NME überzeugt, ebenso wie ihre Durchbruchrolle in der Netflix-Serie ,Sex Education". Salehs gefühlvoller, kraftvoller und wandlungsfähiger Stil hat Fans von der New York Times bis zum NME gefunden, ebenso wie ihre Durchbruchrolle in der Netflix-Serie Sex Education, die das Debüt von Ghostly International im Jahr 2024, I SHOULD CALL THEM, zu einem echten Erfolg machte. Das mit Spannung erwartete Album ,Of Earth & Wires" ist sowohl ein Meilenstein in ihrer Karriere als auch ein dringender Dialog mit den Herausforderungen, denen man sich auf universeller Ebene gegenübersieht. Zusätzlich zu ihren musikalischen Aktivitäten ist Dua ein aufstrebender Schauspieler, der mit einer Durchbruchrolle in der beliebten Netflix-Serie ,Sex Education" bekannt wurde, in der er drei Staffeln lang die Rolle des Cal Bowman spielte.

Swedish composer and multi-instrumentalist Gustaf Ljunggren invites listeners into the quiet, reflective world of Along the Low Road , an ambitious solo album that balances delicacy with depth. Following the success of Ljunggren s 2022 release Floreana , this new release offers a gentle, dream dream-like musical journey, shaped by two of the Nordic scene s most imaginative and intuitive musicians. Balancing sparse acoustic instrumentation with sprawling affected soundscapes, the album moves with patience and clarity. Ljunggren s compositions provide a foundation for subtle interplay, where every note and gesture is attentive to the music s unfolding. Featured guest Icelandic bassist Skúli Sverrisson s bass provides warmth and grounding, supporting Ljunggren s guitar, ukulele, and multi multi-instrumental textures. The result is a sound that is at once intimate and expansive, inviting reflection and connection. The tracks draw inspiration from nature, landscapes, and personal experience. Lille Skotland " evokes the rocky coast of Bornholm with gentle, melancholic flow, while Stevelen " captures the quiet power of cliffs and open skies. The title track, Along the Low Road," traces a contemplative path, its cyclical melodies and ambient layers offering perspective and calm. Letters Melting " twists a classical chord progression into a reflective polska, while Summer Passing Letting Go " balances warmth and transition. Brief, hymn hymn-like pieces such as Tillfrisknandet " provide moments of repose, and playful minimalism in Nine Again " captures the wonder of childhood at the cusp of youth. The album closes with Here And Not Here," a meditative reflection on perception and presence, leaving the listener in a quiet, suspended space. Ljunggren and Sverrisson have long been celebrated for their generosity, sensitivity, and courage as collaborators. Their work together on Along the Low Road continues this partnership, offering music that listens as much as it plays. Drawing from jazz, minimalism, Nordic folk, and early music, the duo s sound combines melodic clarity with a sense of freedom, revealing subtle emotional depths in each composition. In concert, Ljunggren and Sverrisson reimagine these pieces in the moment, allowing the music to unfold with a sense of shared discovery. Whether recorded or live, the album is a testament to the duo s enduring musical dialogue and the quiet, immersive beauty of their Nordic sensibility.

With Flame Folclòre, Cocanha continues reclaiming Occitan folklore as a living, political and embodied space. For Lila Fraysse and Caroline Dufau, folklore is neither decoration nor nostalgia. It is a site of struggle, where narratives, identities and imaginaries are constantly renegotiated. Drawing from fragments of traditional Occitan music, the duo composes, reshapes and rewrites. Ancient melodies intertwine with original texts in a contemporary language that echoes both subversive Occitan memories and present-day struggles. The voice becomes a chronicle of now, a way of inhabiting the present. Driven by hypnotic polyphony and the deep pulse of stringed tambourines, the album embraces a minimal, physical and grounded aesthetic. Repetition acts as propulsion, dance as function. Cocanha"s practice is collective by nature: to gather, to move, to fuel a joyful struggle around reclaiming the commons. Produced by Raül Refree, Flame Folclòre intensifies the dialogue between memory and transformation. Voices strike, revolve and respond, opening a circular space where folklore is no longer frozen but alive and burning in the present.

With 'Tangkoa II', Belgian producer and multi-instrumentalist Dijf Sanders invites listeners into a vibrant and immersive sonic world shaped by travel, collaboration and instinct. Released via Unday Records, the album grew out of field recordings captured during a journey through Vietnam, later transformed into rhythmic, colourful compositions that feel both intimate and expansive.

Rather than building tracks piece by piece on a screen, Sanders approaches music as something alive and unfolding. Sounds are performed and reshaped in real time, giving the album a spontaneous energy, as if the music is discovering itself while you listen. Together with drummer and producer Simon Segers, he creates a fluid dialogue between electronic sounds and human rhythm, balancing precision with freedom.

Improvisation lies at the heart of 'Tangkoa II'. Contributions from Vitja Pauwels (guitar), Viktor Perdieus (saxophone) and Louise van den Heuvel (bass) bring a subtle jazz sensibility to the music, pushing it toward hypnotic grooves and unexpected turns.

The result is an album that feels warm, physical and constantly in motion. Electronic music that breathes, pulses and draws you fully into its atmosphere.

Primordial Mind forms the mysteries and intensity of inner life into eight mandalic instrumentals where Mas Aya and Khôra, artists who share 15 years of music making, orchestrate an inspired, prismatic palette of percussive and melodic sources. Each composition presented stages a vigorous meshwork of colours and textures, contrasting riveting polyrhythms with towering arrangements for flutes, synths, and processed acoustic instruments. Tendencies which the artists trace in their solo practices are amplified, blended, and refracted sublimely in unison, serving as energetic portals to the collective awareness.

Combining trans-ethnic scaling alongside a heady brew of rhythmic influences and advanced electronic processing, the recordings on this album operate with a tactility that vaults between free jazz, dub, raga, ambient, and ritual music. Assimilated powers of primal drum patterning and psychoactive, ceremonial melodies, invoke fourth world adjacencies with the work of Don Cherry, Jon Hassell, Popol Vuh et al. There is an alchemical, Buddhist/Taoist/Hindu inflection that guides the record’s narrative, formed through dialogue between the artists over lifelong shared interest in spiritual modalities generally and the tantric approaches of the global east in particular. The album title is derived from an unexcelled esoteric work known as the Kalachakra (Wheel of Time)Tantra and its associated commentary the Ornament of Stainless Light which detail forms of inner and outer transubstantiation within its complex cosmology and metaphysiology.

Mas Aya is the moniker of Brandon Miguel Valdivia, acclaimed Nicaraguan-Canadian composer, producer, and musician whose electronic and jazz inspired works creatively interlace Colombian, Cuban, and a wide array of traditional music. Khôra is the name of the occult entity that uses multi-instrumentalist, producer, and writer Matthew Ramolo to pronounce itself. Returning to Marionette following 2024's monumental Gestures of Perception, Primordial Mind reinforces the rigorous and magical approach to creation which defines Khôra’s two decades of sonic output. Brandon and Matthew met back in 2011 and the pair toured around eastern Europe with Toronto band Picastro in 2013, also performing as a duo with Brandon contributing drums to Khôra's opening sets. After a short spate composing and playing in the ensemble Bespoken together, they continued to discover shared inspiration in psych/art rock, jazz, experimental and electronic music, providing a fertile soil for friendship and collaboration resulting in their collaged, lo-fi album Tangled Roots in 2017. Mythic and talismanic, the duo's Marionette debut weaves a luminous tapestry of organic pulses, offering itself as a support for resonant meditation and a motor for lucid action and intuition.

Brandon Miguel Valdivia: Percussion, Flutes, Log Drum, Korg Lambda, Angklung, Tambor Alegre, Udu
Matthew Ramolo: Modular Synth, Archival Samples, Angklung, Guitar, Duduk, Bass, Percussion, Arrangements and Mix

Repress

The Collaboration - Having toured together over the years, Lattimore and Barwick now join forces to co-write and record this full-length album. Their creative synergy brings together harp, voice, and analog synths in a deeply emotional, immersive sound journey. The album was recorded at the Philharmonie de Paris with co-producer Trevor Spencer (Fleet Foxes, Beach House). This album continues a unique series of collaborations between the label and the Musée de la Musique, featuring historical instruments in contemporary composition. Since 2017, InFiné and the Philharmonie de Paris have co-developed a series of albums designed to highlight the extraordinary instrument collection of the Musée de la Musique. Following the albums InBach by Arandel (2020) and Saturn 63 by Seb Martel (2022), this third release is a meeting of two iconic contemporary ambient voices: Mary Lattimore and Julianna Barwick. The project offers the artists full access to the museum’s playable instruments for recording, sound conservation, and creative reinterpretation.



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Tragic Magic brings together Julianna Barwick and Mary Lattimore, two of contemporary ambient, experimental and electronic music’s most celebrated composers, for a unique collaboration at the Philharmonie de Paris, with extraordinary access to the Musée de la Musique’s instrument collection, in partnership with the French label InFiné. The album features seven immersive, evocative compositions guided by the human spirit – intimate, grounded in friendship, both earthly and cosmic – and part of a greater continuum, reflecting the solace and transformative power of artistry across generations.

Co-produced by Trevor Spencer (Fleet Foxes, Beach House), Tragic Magic was created in just nine days, a testament to the “musical telepathy” that has developed between Barwick and Lattimore over years of touring and friendship. Arriving in Paris from Los Angeles shortly after the 2025 wildfires, their sessions combined improvisation with the emotions and experiences they carried, in a setting both inspiring and deeply supportive. Lattimore selected harps tracing the instrument’s evolution from 1728 to 1873, while Barwick chose several iconic analog synthesizers, including the Roland JUPITER and Sequential Circuits PROPHET-5. In freeform dialogue between voice and instrument, they create a meditation on tragedy, wonder, and the restorative power of shared experience.

The duo, often joined by Spencer, also explored the city, sharing meals and visiting museums and landmarks, each encounter leaving an impression on their next session. The experience allowed them to work intimately with rare instruments, blending their personal sensibilities with centuries of history, resulting in music that honors the past while remaining a deeply authentic expression of the present.
Throughout Tragic Magic, Barwick and Lattimore find something beyond themselves: a sense that while everything may not be okay, beauty persists. Their approach – transforming life into music, observing, feeling, and creating – continues a lineage of creative expression and visionary invention, embodied in the very instruments they employed for this project.

Pete Lambrou, the visionary composer and multi-instrumentalist behind VLMV (pronounced "Alma"), is one of the most singular voices emerging from the ambient, post-rock, and experimental scenes in the UK. With a career that spans atmospheric solo work, film and television scoring, and evocative live performance, Lambrou has carved out a distinctive sonic universe he describes as "ambient-ish post-something" (Pete Lambrou) a playful yet accurate summation of a sound that is at once genre-fluid and deeply immersive. The album takes its title from Sara Teasdale's 1918 poem and Ray Bradbury's later short story, both of which imagine a world continuing quietly after humanity's disappearance. This idea became the gravitational centre around which the record formed. Written during a period of deep engagement with climate fiction and ecological thought, `There Will Come Soft Rains` reflects on humanity's legacy, its technological ambition, and its uneasy relationship with the natural world. A century on from Teasdale's poem, the balance of power feels less certain, and Lambrou's music inhabits that tension with remarkable subtlety. "The initial ideas stem mostly from chaos, randomness or sound exploration and then get shaped as I go. Typically, and certainly for this album. It's evolved since album 1, which was more song / chord based. It's a fun process of finding the sound and then working out whether it's speaking to me - or merely just a cool noise. That's fun, but it sometimes can't evolve or progress, so then begins the long journey of shaping it into some sort of song format - which doesn't have to be a-typica,l but whatever feels right to me. The subject matter and overall theme is important too - it's got to all make sense within itself. There's no point having a slowly creeping theme and then rush the music." (Pete Lambrou) VLMV embody an emotional honesty that works with patience and nuance. Whether you're encountering his music for the first time or returning to its quiet depths, VLMV offers an aural space that resonates long after the final note fades. Lambrou's singular sonic language sits at the intersection of ambient, post-rock, modern classical, and experimental electronic music, while remaining unmistakably human at its core. "Instrumentally it's far more synth based - as soon as I had the concept, I wanted to make sure technology clash and marry with traditional instruments (at different times) in a sort of slow-moving dance I suppose. One is nature, one is human development and technology. Sometimes working together and sometimes in opposition. On my previous albums I'd say that at least half of the tracks started life as songs, whereas with `There Will Come Soft Rains` I think the majority (if not all) started as experiments in sound." (Pete Lambrou) Sonically, the album is VLMV at its most cinematic and textural. Warm, intimate piano figures and elegiac string arrangements are set against unstable modular synthesis, fractured rhythms, and evolving sound design. The organic and the artificial are locked in a slow, shifting dialogue, mirroring the album's central themes. At times the music feels tender and nostalgic, at others unpredictable and mournful, yet it never tips into despair. Instead, a quiet resilience runs throughout the record. "The album is slightly unusual in that it was mixed in Dolby Atmos before being mixed down to stereo. Most, if not all, do it the other way round. That's because I got to work with a superb mix engineer who just happens to live opposite. It was extremely random and lucky, moving to a tiny hamlet in the South of England and there being a Dolby Atmos studio opposite with a genius of an engineer. We had in mind that we would do it this way round and enjoy the mix process and give everything its own space - it still had issues when folding down to stereo, but overall a more pleasurable mix!" (Pete Lambrou) There Will Come Soft Rains has a geological sense of time: themes creep, expand, erode, and reform, resisting conventional structures in favour of something more patient and immersive. Each sound exists because it needs to; they move, recede, and emerge with a three-dimensional clarity that enhances the music's cinematic quality, giving each element room to breathe while maintaining an enveloping sense of cohesion. Lambrou's unique voice is Intimate and fragile, his vocals hover above the instrumentation, a guiding thread through the expansive soundscapes, drawing listeners closer into the emotional core of each piece. "Long time vocal collaborator Anja Madhvani did lots of harmonies on the album - I wanted to include her voice as much as possible on this album. In terms of string players - 3/4 have been long term collaborators with me. Marie Schreer actually recorded all strings on my first album ALMA, and Fraser & Clodagh have worked on every album (and occasional live shows) since Stranded Not Lost. In terms of art - Joel Cammarata designed the cover, and accompanying art - he designed Sing With Abandon and I absolutely adore his work, but also - he's so great at understanding and developing and capturing the concept." (Pete Lambrou) Layered harmonies drift through the music like distant signals or half-remembered voices. Madhvani's presence adds a human fragility to the album's vast soundscapes, reinforcing the sense of memory and longing that runs beneath the surface. The strings, performed by a close circle of trusted collaborators, further ground the record in warmth and physicality, acting as a counterweight to the synthetic elements that threaten to unravel it. "Despite the heavy subject matter, I wanted to create an album that imparts hope and optimism, marrying traditional instrumentation as nostalgia, with technological innovation through the randomness of modular synths." (Pete Lambrou) The partnership with Pelagic Records feels both organic and significant. Known for championing artists who value emotional weight, sonic ambition, and artistic integrity, the label provides a natural home for VLMV's work. Lambrou's music shares Pelagic's ethos: immersive, patient, and unafraid of scale whether intimate or vast. With There Will Come Soft Rains, Pete Lambrou has crafted a work that feels timely without being didactic, expansive without being overwhelming. It stands as a quiet, but powerful statement that lingers long after the final notes fade. FOR FANS OF Sigur Ros * Olafur Arnalds * Radiohead * Keaton Henson * This Will Destroy You

Pete Lambrou, the visionary composer and multi-instrumentalist behind VLMV (pronounced "Alma"), is one of the most singular voices emerging from the ambient, post-rock, and experimental scenes in the UK. With a career that spans atmospheric solo work, film and television scoring, and evocative live performance, Lambrou has carved out a distinctive sonic universe he describes as "ambient-ish post-something" (Pete Lambrou) a playful yet accurate summation of a sound that is at once genre-fluid and deeply immersive. The album takes its title from Sara Teasdale's 1918 poem and Ray Bradbury's later short story, both of which imagine a world continuing quietly after humanity's disappearance. This idea became the gravitational centre around which the record formed. Written during a period of deep engagement with climate fiction and ecological thought, `There Will Come Soft Rains` reflects on humanity's legacy, its technological ambition, and its uneasy relationship with the natural world. A century on from Teasdale's poem, the balance of power feels less certain, and Lambrou's music inhabits that tension with remarkable subtlety. "The initial ideas stem mostly from chaos, randomness or sound exploration and then get shaped as I go. Typically, and certainly for this album. It's evolved since album 1, which was more song / chord based. It's a fun process of finding the sound and then working out whether it's speaking to me - or merely just a cool noise. That's fun, but it sometimes can't evolve or progress, so then begins the long journey of shaping it into some sort of song format - which doesn't have to be a-typica,l but whatever feels right to me. The subject matter and overall theme is important too - it's got to all make sense within itself. There's no point having a slowly creeping theme and then rush the music." (Pete Lambrou) VLMV embody an emotional honesty that works with patience and nuance. Whether you're encountering his music for the first time or returning to its quiet depths, VLMV offers an aural space that resonates long after the final note fades. Lambrou's singular sonic language sits at the intersection of ambient, post-rock, modern classical, and experimental electronic music, while remaining unmistakably human at its core. "Instrumentally it's far more synth based - as soon as I had the concept, I wanted to make sure technology clash and marry with traditional instruments (at different times) in a sort of slow-moving dance I suppose. One is nature, one is human development and technology. Sometimes working together and sometimes in opposition. On my previous albums I'd say that at least half of the tracks started life as songs, whereas with `There Will Come Soft Rains` I think the majority (if not all) started as experiments in sound." (Pete Lambrou) Sonically, the album is VLMV at its most cinematic and textural. Warm, intimate piano figures and elegiac string arrangements are set against unstable modular synthesis, fractured rhythms, and evolving sound design. The organic and the artificial are locked in a slow, shifting dialogue, mirroring the album's central themes. At times the music feels tender and nostalgic, at others unpredictable and mournful, yet it never tips into despair. Instead, a quiet resilience runs throughout the record. "The album is slightly unusual in that it was mixed in Dolby Atmos before being mixed down to stereo. Most, if not all, do it the other way round. That's because I got to work with a superb mix engineer who just happens to live opposite. It was extremely random and lucky, moving to a tiny hamlet in the South of England and there being a Dolby Atmos studio opposite with a genius of an engineer. We had in mind that we would do it this way round and enjoy the mix process and give everything its own space - it still had issues when folding down to stereo, but overall a more pleasurable mix!" (Pete Lambrou) There Will Come Soft Rains has a geological sense of time: themes creep, expand, erode, and reform, resisting conventional structures in favour of something more patient and immersive. Each sound exists because it needs to; they move, recede, and emerge with a three-dimensional clarity that enhances the music's cinematic quality, giving each element room to breathe while maintaining an enveloping sense of cohesion. Lambrou's unique voice is Intimate and fragile, his vocals hover above the instrumentation, a guiding thread through the expansive soundscapes, drawing listeners closer into the emotional core of each piece. "Long time vocal collaborator Anja Madhvani did lots of harmonies on the album - I wanted to include her voice as much as possible on this album. In terms of string players - 3/4 have been long term collaborators with me. Marie Schreer actually recorded all strings on my first album ALMA, and Fraser & Clodagh have worked on every album (and occasional live shows) since Stranded Not Lost. In terms of art - Joel Cammarata designed the cover, and accompanying art - he designed Sing With Abandon and I absolutely adore his work, but also - he's so great at understanding and developing and capturing the concept." (Pete Lambrou) Layered harmonies drift through the music like distant signals or half-remembered voices. Madhvani's presence adds a human fragility to the album's vast soundscapes, reinforcing the sense of memory and longing that runs beneath the surface. The strings, performed by a close circle of trusted collaborators, further ground the record in warmth and physicality, acting as a counterweight to the synthetic elements that threaten to unravel it. "Despite the heavy subject matter, I wanted to create an album that imparts hope and optimism, marrying traditional instrumentation as nostalgia, with technological innovation through the randomness of modular synths." (Pete Lambrou) The partnership with Pelagic Records feels both organic and significant. Known for championing artists who value emotional weight, sonic ambition, and artistic integrity, the label provides a natural home for VLMV's work. Lambrou's music shares Pelagic's ethos: immersive, patient, and unafraid of scale whether intimate or vast. With There Will Come Soft Rains, Pete Lambrou has crafted a work that feels timely without being didactic, expansive without being overwhelming. It stands as a quiet, but powerful statement that lingers long after the final notes fade. FOR FANS OF Sigur Ros * Olafur Arnalds * Radiohead * Keaton Henson * This Will Destroy You

The new label R.I.T.M.O. launches its journey with a clear statement of intent: VOID RIFT QUANTUM, a six-episode cosmic voyage by WHITE SOLAR DOG, complemented by two premium remixes from UNIVAC and PROMISING YOUNGSTER. The EP opens with “VOID RIFT QUANTUM” a dark, expansive electro exercise where crushing basslines, syncopated rhythms, and a dialogue between vocoders and acid lines evoke an interplanetary landscape. On “I.N.S.I.D.E.” the intensity ramps up through driving percussion, tribal voices, razor-sharp breaks, and an almost ritual force that propels the body into physical and mental trance.

UNIVAC’s reinterpretation of the title track unleashes his full arsenal: a steely remix of relentless energy that pushes the original into a hard-edged industrial realm, stamped with the unmistakable signature of the Catalan producer. “MOVE YOUR BODY” showcases WHITE SOLAR DOG’s most direct side: classic electro with heavy bass, pads, and bright melodies, where the machine calls the dancefloor to action without compromise. The journey reaches its most ethereal point with “SING TO ME” where a female vocal intertwines with broken rhythms, crystalline atmospheres, and fresh acid incursions—cementing WSD’s personal hallmark: equal parts intensity and spirituality. The release closes with Promising Youngster’s remix, which takes the vocal elements of “SING TO ME” and guides them into a hypnotic state, suspended between the dreamlike and the club. With VOID RIFT QUANTUM, R.I.T.M.O. presents its inaugural catalog, distilling the power of contemporary electro and the otherworldly vision of WHITE SOLAR DOG. A debut that clearly establishes its coordinates: impact, exploration, and progressiveness, introduces itself to the world through an inaugural catalogue that distills the present and future of electro: mysticism, power, and precision.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

Towards an Expanse Follows the acclaimed 2020 collaborative album “Buffering Juju” with Kechou, a fellow South African musician and artist, lauded as Global album of the month and “a wonderfully inventive debut” in The Guardian.

Sometimes gospel, sometimes electro-psychedelic space travel, the project starts with a languid lament that whispers a close-to-the-ear invitation up and between the folds of what unfurls into an ever-expanding sonic universe.

Towards an Expanse began in 2019 at Figure 8 Studios (Brooklyn, NYC) under the generous guidance of Shahzad Ismaily. It was written in Port Alfred and Cape Town and matured in Berlin and has evolved into a companion, a pulsating vessel of grief, vitality, and reclamation. The album meditates on learning to live with damage while regaining autonomy over how Black life is archived: a dialogue between the artist, her ancestors,
voices like Miriam Makeba, Busi Mhlongo, Princess Magogo, Madosini, and the psychoacoustics of South Africa’s lore as a timeless technology. It brings these elders into a conversation with Dumama’s global orientation
and experimental sensibilities.

We are welcoming a fresh blood from the south of Italy: Delikwe

Words Create Vibrations is a solo EP recorded between 2023 and 2025, where techno and dub foundations merge seamlessly with ambient textures and breaky-step rhythms. Across five tracks, the record unfolds as a deeply atmospheric journey — hypnotic, spacious, and rhythmically dynamic. Sub-heavy frequencies meet shifting percussive structures, while layers of delay and texture generate a sense of depth that feels both physical and introspective. Each composition evolves patiently, acting as a meditation on resonance, movement, and the unseen architecture of vibration.

The A-side presents Delikwe’s original works in their purest form: immersive, restrained, and subtly transformative. Rooted in sound system culture yet open in structure, the tracks balance meditative stillness with rhythmic propulsion.

On the B-side, Australian producer Pugilist delivers a powerful reinterpretation. Known for his refined low-end pressure and deeply immersive productions, he reshapes the source material into a weightier, system-focused experience. His remix amplifies the sub frequencies and spatial depth while preserving the meditative core of the originals, creating a compelling dialogue between exploratory dub atmospheres and grounded sonic precision.

Words Create Vibrations stands as a sonic exploration where rhythm, space, and texture converge into a fully immersive listening experience — crafted for powerful sound systems, late-night sessions, and attentive minds alike.



c a3. Agna Street [Words Create Vibrations]
[d] b1. 6am [Ice Mix]
[e] b2. 6am [Pugilist Remix]

Rhythmus ist die erste Sprache. Ein Puls, der irgendwo beginnt - in einer Maschine, in Händen, als Gedanke. MINCKA existiert in dem kreativen Prozess, der sich daraus entwickelt: ein Dialog zwischen Struktur und Chaos. Entstanden als Idee zwischen einem Schlagzeuger und einem Produzenten, lädt MINCKA heute Produzentinnen, Musikerinnen und Kreative gleichermaßen dazu ein, dem Projekt immer neue Formen zu geben - als etwas, das sich stetig weiterentwickelt.Alles beginnt als Skizze: ein Fragment oder eine Kadenz, die scheinbar ins Leere führt - bis das Live-Schlagzeug übernimmt und der Groove die Richtung vorgibt. Mal festgezurrt in unerbittlichen Beats, mal verträumt und schwer greifbar. Wie der Soundtrack zu einem Fiebertraum, mit Echos von Mo' Wax ebenso wie von International Anthem.Von dort aus öffnet sich ein Raum, in dem Musiker frei auf das reagieren, was bereits existiert. Klänge werden zerschnitten und neu zusammengesetzt, wie Filmszenen, die ihre Bedeutung erst im Schnitt erhalten. Eine passende Analogie für den Hintergrund des bosnisch-niederländischen Schlagzeugers Sergej Kreso, der zugleich ein vielfach ausgezeichneter Dokumentarfilmer ist. Gemeinsam mit dem niederländischen Produzenten Subp Yao initiierte er MINCKA. Doch eines wird durch diesen Ansatz schnell klar: MINCKA ist kein Duo.Statt einer einzelnen Vision wurden unterschiedliche Musikerinnen und Kollaborateurinnen (aus Seattle, Peking, Maastricht, Essex, Amsterdam, Heerlen und Uden) eingeladen, mit der Musik in einen Dialog zu treten. Ihre Antworten und klanglichen Abzweigungen prägten den Sound von Beginn an. Kollaboration ist das Wesen von MINCKA. Und ebenso der Kontrast: Mensch und Maschine. Organisch und elektronisch. Freie Improvisation und meticulousche Präzision. Wertschätzung für Low-End-Theorien.Es ist ein Sound im permanenten Wandel, der sich weigert, in eine Schublade gesteckt zu werden. Stattdessen tritt er die Schublade ein, zerreißt die Überreste und baut aus dem, was bleibt, eine vollkommen neue Collage.Selbst jetzt, da die Musik veröffentlicht wird, ist MINCKA nicht abgeschlossen. Der Dialog geht weiter und lädt jeden ein, MINCKA mitzugestalten, indem über Stems der eigenen Musik Produzentinnen und Musiker*innen zur Verfügung gestellt werden. Was du hörst, war es nicht. Was es werden wird, ist noch offen. Diese Veröffentlichung ist erst der Anfang._ MINCKA

Auf insgesamt 100 Stück limitiert. Rhythmus ist die erste Sprache. Ein Puls, der irgendwo beginnt - in einer Maschine, in Händen, als Gedanke. MINCKA existiert in dem kreativen Prozess, der sich daraus entwickelt: ein Dialog zwischen Struktur und Chaos. Entstanden als Idee zwischen einem Schlagzeuger und einem Produzenten, lädt MINCKA heute Produzentinnen, Musikerinnen und Kreative gleichermaßen dazu ein, dem Projekt immer neue Formen zu geben - als etwas, das sich stetig weiterentwickelt.Alles beginnt als Skizze: ein Fragment oder eine Kadenz, die scheinbar ins Leere führt - bis das Live-Schlagzeug übernimmt und der Groove die Richtung vorgibt. Mal festgezurrt in unerbittlichen Beats, mal verträumt und schwer greifbar. Wie der Soundtrack zu einem Fiebertraum, mit Echos von Mo' Wax ebenso wie von International Anthem.Von dort aus öffnet sich ein Raum, in dem Musiker frei auf das reagieren, was bereits existiert. Klänge werden zerschnitten und neu zusammengesetzt, wie Filmszenen, die ihre Bedeutung erst im Schnitt erhalten. Eine passende Analogie für den Hintergrund des bosnisch-niederländischen Schlagzeugers Sergej Kreso, der zugleich ein vielfach ausgezeichneter Dokumentarfilmer ist. Gemeinsam mit dem niederländischen Produzenten Subp Yao initiierte er MINCKA. Doch eines wird durch diesen Ansatz schnell klar: MINCKA ist kein Duo.Statt einer einzelnen Vision wurden unterschiedliche Musikerinnen und Kollaborateurinnen (aus Seattle, Peking, Maastricht, Essex, Amsterdam, Heerlen und Uden) eingeladen, mit der Musik in einen Dialog zu treten. Ihre Antworten und klanglichen Abzweigungen prägten den Sound von Beginn an. Kollaboration ist das Wesen von MINCKA. Und ebenso der Kontrast: Mensch und Maschine. Organisch und elektronisch. Freie Improvisation und meticulousche Präzision. Wertschätzung für Low-End-Theorien.Es ist ein Sound im permanenten Wandel, der sich weigert, in eine Schublade gesteckt zu werden. Stattdessen tritt er die Schublade ein, zerreißt die Überreste und baut aus dem, was bleibt, eine vollkommen neue Collage.Selbst jetzt, da die Musik veröffentlicht wird, ist MINCKA nicht abgeschlossen. Der Dialog geht weiter und lädt jeden ein, MINCKA mitzugestalten, indem über der eigenen Musik Produzentinnen und Musiker*innen zur Verfügung gestellt werden. Was du hörst, war es nicht. Was es werden wird, ist noch offen. Diese Veröffentlichung ist erst der Anfang._ MINCKA

Saxophonist, producer and composer Brian Allen Simon explores darker hues, transposing waking and altered states under his studio veil Anenon. On the deeply evocative new album 'Dream Temperature', he shifts electronic processing to the foreground, introducing digitized wind instruments and unworldly atmospherics, not heard since his innovating mid-late 2010s output.

A longtime Los Angeles resident, born and raised, Brian Allen Simon has expressively operated under the moniker Anenon, releasing the highly revered 'Petrol' (2016), 'Tongue' (2018) and the viscerally beautiful 'Moons Melt Milk Light' (2023), in a line of unwavering musical dialogues. While the penultimate album was a deliberate, reductive, entirely acoustic detour that was born out of a want to unplug, 'Dream Temperature' sees Brian primed with a newly discovered wind synthesizer as his central compositional tool, alongside acoustic piano and tenor saxophone. The entirety of the album's electronics are triggered by Brian's lungs, generating otherworldly synths modulated by expressive breath control, channelled through the laptop as the core processing chamber for added textural components and field recordings.

A free floating and heavy emotional resonance marks 'Dream Temperature' from beginning to end, invoking the feeling of waking up, still heavy from a night of half-remembered dreams, and continuing one's day in this state. Simon maps out the album's spatial voice early on the statement title track, a deep, yet compact cut, generated from digital saxophone rasps that whistle by in close proximity, along with haze filled textures and sub bass. There is a sonic oscillation of urban grit and pastoral drift throughout as tracks pass by like introspective thoughts, fueling both a tense and ethereal quality that underpins the album. Interluding solo and part-solo piano improvisations 'Last Sun 1' and '2' are positioned adjacent to the buffering digital soundscapes. Their softer, still processed timbres pierce the melancholic exterior, offering a contrasting tenderness that could echo the grace of Ry?ichi Sakamoto, the spiritualist rigor of ECM's Keith Jarrett and a touch akin to Aphex Twin's piano miniatures. 'Nulle Part 1+2' signals the first appearance of an acoustic wind instrument, as tenor saxophone flourishes are juxtaposed against noisy drones, all shouting at the void, with notes resurfacing like lost digital data.

The album was recorded at home during either sunset or nocturnal hours between September of 2024 and October of 2025, a period in which Brian found himself craving more lengthy and intimate studio time as he searched for more pronounced textural qualities amidst his new sonic ambitions. 'When The Light Appears, Boy' shows further evidence of this deeper universe, revealing a grittier edge as the album's essential blueprint is sonically inked. A sprawling expanse of wind synths rhythmically encircle the listener before a dreamy, ghostly ambience blankets 'Toyama'. The sound is evocative of the productions of post dubstep era luminaries such as Burial or the productions of HTRK's Nigel Yang. More isolating and enveloping than the previous all acoustic record, this is music both disorienting and yet warmly inviting all at once. A sonic diarist at heart, personal field recordings were also taken from Sardinia, Japan, Big Sur and LA which intersect at unexpected moments throughout the album's 31-minute play time.

'Dream Temperature' is a vital coalescence of both Simon's electronic and acoustic practices with repositioned electronics akin to earlier works, both haunting and elegant, yet still profoundly personal. Simon continuously resonates as an experimental outlier treading an enthralling, non-linear musical path. This music resolutely glows with an unknowing aura, like an untapped energy source waiting to be discharged.

Dancing Waters is a musical fusion where the Mediterranean soul meets the deep-rooted mysticism of Cental Asia. Inspired by the surprising resonance between the work melodies of Balearic Islands and Pitiüses Islands and the haunting beauty of Persian and Byzantine melodies. QANAT weaves together the rich traditions of the Mediterranean, Mesopotamia, and Persia. The project blends old Balearic work songs with the modal textures of Middle Eastern and Central Asian music -including influences from Iran, Turkey, Tajikistan, and the ancient region of Khorasan. At the heart of the project is the remarkable melodic kinship between Balearic field songs-once sung during rural labor-and the ancient echoes of Byzantine chant. QANAT bridges these traditions, crafting new musical landscapes through original compositions, instrumental dialogues, and vocal ornamentations that celebrate the shared soul of these distant-yet-connected cultures.

Niagara return to Discrepant with Buxtehude, a new work bending the legacy of Dietrich Buxtehude into their own fractured, electro-organic language.

Rather than a tribute, Buxtehude feels like an abstract dialogue with the Baroque composer’s sense of structure and flow—reimagined through Niagara’s raw synth work, off-grid rhythms and subtly warped melodic cycles. The trio let the music grow from the inside out: patterns expand and contract, harmonies tilt slightly off their axis, and small details accumulate until each piece reveals its own internal gravity.

There’s a clarity to Buxtehude that feels carved rather than composed. Tracks move with a quiet insistence, like mechanical organisms finding coherence through repetition and drift. Melodic fragments surface briefly, disappear, then return transformed, lending the album a strange balance between austerity and warmth.

With Buxtehude, Niagara continue to refine their unmistakable approach—playful yet rigorous, minimal yet full of life— remaining entirely their own.

Niels Orens is an electronic producer and live performer working at the intersection of acoustic instrumentation and immersive electronic sound design, creating deeply textural compositions that prioritize atmosphere, space, and emotional weight overtraditional song structures. "Never Again EP" expands on the introspective tone of slow night/s, pushing further into rhythm and sonic detail while exploring themes of alienation, loneliness, and quiet internal violence.



After successful collaborations with Max Cooper, the new EP marks a pivotal moment in Orens' evolution. "Never Again EP" forms the foundation of a new live chapter currently unfolding across Europe, while signaling a deeper dive into experimentation, texture, and the evolving dialogue between acoustic sound and electronic manipulation.

April Records proudly presents the new album from Danish trombonist and composer Lis Wessberg. Her most personal album to date, In The Wake of Blue is a song-driven work exploring transience, love, and transformation. Expanding her writing while remaining rooted in her distinctive instrumental voice, Wessberg creates an intimate musical landscape where lyric, melody, and texture carry equal weight. Wessberg has established herself as a leading voice on the European jazz scene through her band Yellow Map and a series of acclaimed releases on April Records. Her previous album, Twain Walking (2024), marked her first step into English-language songwriting and earned a Danish Music Award nomination in 2025 for the track Behind the Walls. In The Wake of Blue develops this direction further. The album draws on images from nature - sea, tides, clouds, mist, and birds - used as emotional anchors rather than abstractions. These elements frame songs that move from uncertainty and loss toward openness, connection, and renewal. The title reflects this arc: "blue" as melancholy, depth, and memory, and what emerges in its wake. Vocalist Veronika Rud is central to the album"s sound, bringing vulnerability and clarity to the songs. Rather than a traditional singer-led project, the music unfolds as a dialogue between voice and trombone, with Wessberg"s warm, airy tone mirroring and extending each song"s emotional core. At times the two move in close unison; elsewhere, they diverge and reconnect. The core ensemble - Steen Rasmussen (piano and keys), Lennart Ginman (bass), and Jeppe Gram (drums) - provides a responsive, understated foundation, while string quartet Live Strings appear on two tracks, expanding the ensemble"s depth and resonce. In The Wake of Blue offers a quietly assured statement from an artist continuing to refine a voice that speaks as clearly through brass as it does through words.

»Vents d’aether« is the first collaborative album by sound artist Jérôme Bouve and composer-performer Delphine Dora. The six pieces are based on live improvisations on organ and harmonium. They were recorded in different churches on the Cotentin peninsula in France’s Normandy region and later enriched with additional field recordings by SA~RA. This adds an extra layer to compositions which were created both in and out of the moment and which quite literally resonate with the histories of the instruments and the buildings that were so integral to their emergence. »Vents d’aether« is to be understood as a dialogue between sound and space that takes place across time and place.

Bouve carried the idea of working with the organs and harmoniums that can be found in the churches and chapels in the Val de Saire in the Northeast of Cotentin around with him for years. When he got to know Dora, he found the perfect musical partner with whom to finally make a record »about the wind, the wood, the stones of the Val de Saire.« In September 2024, the duo embarked on a short but fruitful journey during which they stopped by at several different churches. They recorded hours-long improvised sessions dedicated to »capturing the moment, letting space and time shape gestures and sound, seizing fleeting epiphanies in their greatest simplicity,« as Dora notes in the album’s linernotes.

She took the lead behind the instruments, however Bouve assisted her on drawbars for the last two pieces on »Vents d’aether,« thus adding an even more unusual touch to the recordings. They formed the basis for an album that Dora calls »the testimony of a sensory quest, a collection of memories suspended in time.« Indeed, starting with the epic 20-minute-long titular piece up until the ringing of church bells near the end of the closing piece »Montfarville V,« this overwhelming yet intimate record blurs the boundaries between different times and spaces altogether.