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Following the first two releases on Sea~rène, GiGi FM returns with “Virgo Space Acid”, a deeply personal and sonically assertive exploration of transformation and healing.

Rooted in the energies of 2025, the Year of the Snake, this four-track EP channels the mystery and intuition of the serpent, weaving together Virgo’s archetypal forces of the healer and the alchemist.



Across driven beats, hypnotic acid sequences, and vocal-infused textures, “Virgo Space Acid” reflects a journey of renewal, self-ownership, and inner power.

From Berghain to The Bunker New York, GiGi FM has long been known for her ability to channel movement into sound. With “Virgo Space Acid”, she refines her craft even further, working with fewer elements yet pushing them to their fullest expressive potential. She explores the full range of her voice, shaping it into textures, atmospheric layers, and even percussion, while separately reworking classic 909 drum machine sounds into something entirely her own. This EP is a statement of both discipline and liberation, where minimalism meets deep transformation.



Opener “Calibration” sets the tone with its mantra-like intention: an invitation to realign and tune into one’s own energy. Built around a driving bassline, nostalgic yet forward-moving synths, and GiGi’s own spoken word, “A breath holds time, calibrates space”, the track creates a moment of clarity before the journey begins.

“Mercury” follows, embodying the trickster, the messenger, the shapeshifter. Playful and urgent, its bouncing synth sequences move like conversations in motion, with rising tones driving the track forward, pushing toward a restless ascension that mirrors Mercury’s role as a bridge between realms, both celestial and internal.

The title track, “Virgo Space Acid”, is the wormhole: the brain battle, the transformation. With a heavyweight 303 bassline, spiraling bleeps reminiscent of birds, and powerful classic 909, it is pure tension and release, an acid-drenched trip through motion and evolution.

Closing the record, “Floresta” is a sensual and grounding moment of reflection. Named after the stage at Waking Life Festival where GiGi felt a pivotal shift in her healing journey, the track mirrors the scene with dub chord sequences, emotional rising pads, and percussive vocal elements. Like the purple and pink drapes floating above the dance floor at sunset, Floresta is both a farewell and a prelude, a misty horizon where one chapter closes and another awaits.

With “Virgo Space Acid”, GiGi FM continues to expand her sonic language, deepening her connection between body, rhythm, and transformation. More assertive, more urgent, yet deeply intuitive, this is a record of movement, clarity, and self-empowerment.



"We are Sea~rène, swimming in-between supernatural tides, forever following the emotional waves of the universe." GiGi FM

'Quiet Pieces' initiates Abul Mogard’s personal imprint Soft Echoes with a definitive self-portrait of calm, contemplative, and discreet inner landscapes made audible. It is the first solo album on vinyl in four years. RIYL Alessandro Cortini, William Basinski, The Caretaker.

While sifting through archived material left idle from earlier projects, a chance encounter with a late uncle’s trove of beloved 78rpm classical and opera records prompted the reworking and completion of what would eventually become the album. Spinning dusty records at 33 and 45rpm, Abul Mogard recombined their enduring spectres with unfinished sketches from his archive. The resulting soundscape blurs distinctions between his memories and those of another, exquisitely short-circuiting the senses with its waking, dream-like lucidity.

This was a process I hadn’t explored in my earlier works. I began sampling brief moments from these records, altering them with studio effects and playing them at slower speeds. In many cases, I wasn’t entirely sure how the original music sounded. These fragments, once further processed, became a source of inspiration for my new compositions. Over time, I realised that the old pieces from the archive and the new material derived from the samples naturally complemented each other.”

The resulting pieces hover over a threshold, a liminal space that harmonises the old and older material. Voluminous waves of quiet and loud undulate between consonance and dissonance, conjuring imagery of a decaying grandeur that humanity’s decadence has surrendered to the elements. Abul Mogard’s seemingly abandoned yet vast landscapes are nevertheless intimate with timbral frissons of red-lined distortion. Elusive, yet as tangible as sea spray or smog, they affect the olfactory senses with a rarified, synesthetic quality that modestly engages one’s emotional register – a hypnotic, distinguishing feature long hailed as one of the hallmarks of his work. A fidelity to memory and dream recall is sensitively probed in the journey from the stately symphonic stasis of 'Following a dream' to the almost industrial, untethered brutality evoked by a looming silhouette that’s never fully visible in 'Constantly slipping away', culminating in the foreboding coda of 'Like a bird'. Those pieces appear to shield the album’s sentimental core, where the tempestuous play of light and shadow of 'In a studded procession' escalates to breathtaking, panoramic climax, while 'Through whispers' evokes an out-of-body-like experience encountered with visceral poignancy.

Looking back, Mogard notes an unexpected influence: “I realise being inspired by Phill Niblock, whose work I had barely known at the time but explored after his passing in 2024. His album 'Boston Tenor Index' changed the way I approached dissonance. It encouraged me to push my sound further, to the edge of a space where I began to feel uncomfortable.”

The album artwork, created by longtime collaborator Marja de Sanctis, features a photograph taken at the Temple of Jupiter Anxur, an archaeological site overlooking the Mediterranean Sea. Captured with an iPhone, the image traces the residual presence of construction techniques and architectural forms of the Romans, where material history is transcribed through contemporary tools. The convergence of ancient and modern technology aims to reverberate the site’s lasting spiritual presence – an echo persisting in what is now perceived as a quiet, emptied space. The spiral gestures towards infinity and light. Past and present dissolve into one another, reflecting 'Quiet Pieces' meditation on sound, memory, and time.

RIYL Alessandro Cortini, William Basinski, The Caretaker

In a world where physical experiences are becoming rarer, artists are looking to connect their process to something more tangible, and with A/V rinsed, scent is an obvious next sense to plunder. Florian TM Zeisig - who last appeared on Somewhere Press as Angel R, goes the extra mile, teaming up with perfumer Angel Paradise to develop a suite of music that plays like a bouquet of memory-triggering aromas, coupled with a fragrance that captures the oily essence of their bucolic alpine setting. The project came about when both artists were living in Hinang, a small farming village in the rural Bavarian alps. Paradise was studying alpine plant behaviour and using her research to inform her approach to scent creation, developing natural perfumes based on the landscape. Zeisig, meantime, composed his own response to the mountains and forests that surrounded them. He wrote ‘Spool’ as a poignant farewell (or spiritual rebirth) as they prepared to leave, considering teenage nostalgia as well as the idyllic locale, and the pastoral suite of lulled loops, field recordings and dissociated instrumental vamps plays like a contemporary Heimatfilme soundtrack, locking into the genre’s idyllic, fantastical simplicity and romance. Drunken horn loops and mushy piano chords concertina around a wobbly axis on ‘Oneandhalf’, met by dreamy guitars and whispered, lysergic vocals. The sweet-smelling notes form an enigmatic compound, prompting us to think of Codeine or Galaxie 500 without solidifying completely. It’s music that works with outlines and traces, catching us off guard with flickers of samples and veiled base notes: the Cocteau Twins-like phased piano on ‘Threeandhalf’ that’s drowned out by gunked tape fog, or the smudges of ‘Spirit of Eden’ ambience on ‘Alright’ that creep between tweezed piano phrases. There’s depth too; Zeisig doesn’t restrict himself to Romance-cum-Basinski loopmuzak, he intersperses his GASeous orchestral waves with serene, relatively demure reflections that capture the pristine beauty of a dewy alpine morning. ‘Four’ is an ASMR-rich blend of crunching leaves and mossy, decelerated pads, and ‘Plus’ burns its drones down to crackling embers, letting the faint harmonies flicker through the coal dust. Importantly, it’s emotional music, but not overly melodramatic, finding peace in nostalgia and the calm of nature.

Claire Chicha aka Spill Tab is feeling more free than ever before. The LA-based, French-Korean songwriter and producer,has spent the past five years as spill tab honing a sound that is as raw-edged as it is refined, channelling low-slung guitar-strumming confessionals as well as the earworming melodic hooks of anthemic pop to produce a heady and distinctive mix.

Following the 2019 release of her intimate and infectious debut single “Decompose”, Spill Tab has evolved her spill tab project through three EPs: 2020’s synth-pop influenced Oatmilk, 2021’s playful, uptempo Bonnie, featuring Gus Dapperton and Tommy Genesis, and 2023’s co-produced, sonically-intricate Klepto, which gleefully meanders from the Hiatus Kaiyote-influenced jazz freakouts of “CRÈME BRÛLÉE!” to the guitar-chugging thump of “Splinter”. Live, meanwhile, Spill Tab has been tapped for her explosively energetic presence to open the North American leg of popstar Sabrina Carpenter’s tour, as well as touring through Australia with alt-rock trio Wallows.
With “PINK LEMONADE”, opening single from her forthcoming debut album “ANGIE” , spill tab’s freewheeling sound finds its fullest expression, harnessing this onstage experience and recorded experimentation with her bass-weight and pitched-up vocals. Here we find Chicha only ever chasing that “weird thing”, fizzing with an infectious enthusiasm and intricate musicianship. “The best songs come from writing the main idea in a day, as it’s so instinctual,” she says, such as “PINK LEMONADE” recorded “from a clip taken out of a 40-minute jam that we then chopped and spliced”.
Born to her French Algerian composer father and Korean pianist mother, Claire Chicha spent her early childhood in the mixing room of her parents’ LA post-production studio, bringing coffees to artists as they tracked scores for exciting new projects. “I hung out in that studio all the time until I was around 10 years old, absorbing jazz music my dad was into and classical music that my mom loved,” Chicha says. “My mom had a big hand in making me an adventurous kid, always trying new things from piano to harp and violin, forever soaking up new sounds.”

At 12, Chicha’s life was uprooted as she relocated to Thailand to live with her mother’s family following the collapse of her parents’ business after the 2008 recession. What followed was an unstable and formative few years of early teenagedom, navigating new cultures and life changes. In Thailand, Chicha began learning guitar to cover the Paramore and Green Day tracks she had grown to love while also becoming immersed in Thai traditional music. After a year, she moved once more to live with her aunt in Paris and there she was introduced to the classic sound of Serge Gainsbourg and Édith Piaf before ultimately returning to LA following the untimely death of her father.

“I had to become a real people person to fit in everywhere I was moving, and it immersed me into so many different styles of music,” she says. “I went from listening to the nasal singing of Thai traditional music at muay thai fights in Bangkok, to emotive classic French songs. It definitely informed the need to experiment with my sound as I became more interested in making music.”

At high school in LA, Chicha joined one of the country’s foremost show choirs and realised a natural aptitude for stagecraft and performance as she sang medleys in competitions throughout the US. Going on to study Music Business at NYU, Chicha found a love for the alternative soul and singer-songwriting of the likes of Moses Sumney and Bon Iver, as well as developing her own sound while spending summers interning as an A&R at Atlantic Records and being exposed to the gamut of New York’s live music scene.

“I was going to so many shows as an A&R intern and seeing just how much a lot of music sounded alike,” she says. “It made me realise I wanted my music to feel different, to cut through the noise but still make something that felt honest to me.”

Beginning to independently release tracks, Soill Tab gradually built a loyal fanbase with the release of wistful early numbers “Calvaire” and “Cotton Candy” and soon found herself signed to a major label. Yet, as her career progressed through the COVID pandemic the demands of a corporate major began to conflict with her own searching style. “My last two EPs were under contract and it felt like I was always chasing the carrot,” she says, “I felt a certain pressure to put out tracks quickly and find that ‘hit’. It wasn’t the right environment to truly make what I wanted.”

Ultimately parting ways with her label, Chicha began work on a new album, exploring new sounds and ideas with her LA-based community of collaborators like producer David Marinelli, Solomonophonic, Wyatt and Austin and John DeBold, without expectation. “It became this beautiful experience of only following ideas that I really believed in and exploring all the musical avenues I hadn’t before,” she says. “I’ve never been more excited about songs and I’ve never felt like a project is more mine.”

Writing and recording while touring with Sabrina Carpenter and Wallows, Chicha road-tested her new tracks to see what might land best with an audience who had likely never heard her music before. “You have to win people’s hearts as an opener and you can see what resonates and what doesn’t,” she says. “I would watch people fall in love or not and it’s usually always the song you’re having the most fun with that does the best. That’s what I put on the record.”

« Angie », Spill’s Tab debut album is relased on because Music and expected for May 16th release.

Punching our ticket for the tenth trip on the Drum Chums line, we rattle past the control centre, where Approach Release delivers another masterclass in genre-blurring brilliance.
Darting through emotional New Beat, psychedelic soul, stomping Afro-disco and coastal cosmic, AR keeps things right on track and perfectly off the rails.

'So Wrong' starts the party with a growl and a gurn, all gnarly sequences and robotic drums until that mournful vocal moves us into a land of Lynchian longing. Teardrops on the dance floor, clouds in your coffee, it's, it's, Goth Italo folks.

Shifting tone like McCrae shifted gears, Approach Release moves on from Main-Room Gloom into the smooth and sensual soul of 'LuvLuvLuv'. Low-slung, lilting, loose and lysergic, this versatile version-excursion works wonders as warm up and rub down, its brilliant bedroom vocals floating atop the synthetic and psychedelic groove.

Over on the B-side, 'E-Killa' bursts out the speakers with about 100,00 volts of Afro-disco energy, each one perfectly harnessed to whip a crowd into a grinning frenzy. Armed with an unstoppable arrangement, vital vocals and a stomping rhythm section, this delicious drink of tropical pop just keeps on fizzing.

For an encore, Approach Release drops the deeply dramatic 'Lou Cee', a full-hearted bit of Balearique-brilliance stacked with enough synth strings, faux-accordion and earnest outpourings to give Chris Rea a run in the anthem stakes.

100% Drum Fun Guaranteed. .

Only the first plate of the LP. (AB side)

New Zealand drum & bass titans The Upbeats have galvanized the global turbulence and turmoil during COVID to create their most explorative and emotionally heavy album to date "Not Forever". Featuring the likes of Fat Freddys Drop frontman Joe Dukie, Jordan Dennis, Levine Lale, Sylvee, Syrene Favero and US MC don Armanni Reign, "Not Forever" is unlike anything the duo has released before. Written in a different way, approached from another perspective, created with a newfound love for the creative process and the scene at large; It's a whole new side to the duo who have continually pushed themselves and their sound into the unknown...

POST HEAVEN is Jadu Heart's 5th studio album, but marks their first album since splitting as a couple, signalling the end of one chapter opening the door to another. The romance may be over, but the band endures.

The album release precedes the band supporting Fontaines D.C. across the entirety of their US tour this April with Carlos from Fontaines describing the band as 'one of his favourites out there at the moment'. The picture of Jadu Heart’s evolving emotional landscape of the new record POST HEAVEN has come into sharper focus following the release of singles 'Mild To Moderate Pain', 'AUX' and 'U' which have been played across the BBC Radio network, the band also recently played a session for Radio 1 at Maida Vale Studios playing tracks from the album and covering the Portishead track 'Glorybox'.

This is your favourite band's favourite band and POST HEAVEN will solidify their underground cult band status.

Soul Clap and Haven Star join forces for vibrant collaboration ‘Gone Stumblin’ on Crosstown Rebels.

Landing on 23rd May 2025, the track brings together years of musical evolution, late-night studio magic, and the unmistakable essence of a true party anthem. Genre-blending US house visionaries Soul Clap return to Damian Lazarus’ Crosstown Rebels with a deeply groovy and emotionally charged new release, teaming up with South Florida’s rising star Haven Star for the striking ‘Gone Stumblin’ - ushering in a new chapter of collaboration and cosmic storytelling.

Rooted in a near-mythical session at Brooklyn’s legendary Marcy Hotel, ‘Gone Stumblin’ began its journey with keyboardist John Camp crafting the original chord progressions and top-line melody. After years of floating in digital limbo, the track resurfaced thanks to Soul Clap’s Charles Levine, who reimagined it with a fresh twist and brought in Haven Star—whose soulful delivery launched it into orbit.

At just 24, Haven Star brings fresh energy and vintage soul sensibility to the table—having shared the stage with legends like Patti LaBelle, Jeff Beck, and Sam Moore, while cutting her teeth across genres from orchestral pop to funk-fuelled house. The original mix merges heady keys and rich chords with a bouncing, crisp low end, while the ‘Dub’ strips it back and introduces trippy sonics and heavy low-ends for after-hours introspection. ‘Unifying Force’ leans into Soul Clap’s psychedelic ethos, before the ‘Bonus Version’ of the title cut offers yet another club-ready rework with added punch.

In 2022, Osàre! Editions founder Elena Colombi approached artists and musicians with a prompt: Every body, everyone needs love to flourish. In her book The Will to Change, the eminent author and social activist, Bell Hooks, invites men to excavate their innermost selves, challenging the way that patriarchal society limits their capacity for intimacy, tenderness, care and emotion. As hooks lays out, feminist thought and work requires the collective participation of all genders in order to realise a liberated world. How can we imagine cross-gender solidarity through music and art? And how can we tell sonic stories that facilitate our full potential as desiring beings? These are the questions that The Male Body Will Be Next starts out from.

The title of the record draws connections between hooks' writing, a film by Rebecca Salvadori and Peter de Potter's stunning photo series of the same name. In de Potter and Salvadori's depictions, men's bodies appear as vulnerable, naked and exposed.

Divided into two parts, the first instalment of The Male Body Will Be Next hinges on colliding energies – the melding of club dance floors and haunting ambient textures, agile techno and noisy experimentation.

'The sun on my skin… it’s so warm and gentle,’ speak-sings Olivia Salvadori on ‘Su Di Te M’Infrango’, visualising utopias. Laurel Halo crafts a dreamscape spun from golden threads of synth and strings. Pensive and reflective, Ben Bertrand’s bass clarinet roams searchingly, its piercing tonality full of longing. Yet, in between these lucid, cinematic passages and spoken word, The Male Body Will Be Next finds space to dance together. Moving in fervent, rhythmic patterns, Sepehr’s ‘Divooneh’ pivots between tension and release. Filmmaker unleashes a wave of energy and The Spy delivers a potent take on vintage electro, the track title hinting at the double-bind of gendered expectations. Propelled between these eclectic styles, the record encapsulates the full spectrum of sonic expression.

OONA Recordings is proud to announce the upcoming release of the soundtrack for The Girl With The Needle by Frederikke Hoffmeier. Hoffmeier, whom performs under the stage name Puce Mary, brings a raw, intense and atmospheric score to this Oscar-nominated film, which is contending for Best International Feature. Known for her bold, experimental approach to sound, Hoffmeier’s composition immerses listeners in the film’s dark, emotionally-charged world. Directed by Magnus von Horn, The Girl With The Needle premiered at the Cannes Film Festival, where it earned praise for its uncompromising vision. The film went on to receive a Golden Globe nomination for Best Non-English Language Film and won two prestigious awards at the European Film Awards, including Best Score for Hoffmeier’s hauntingly powerful work. The score to The Girl With The Needle is as dark as it is compelling, a masterclass in creating tension, unease, and raw emotional weight. Hoffmeier’s sound design is equal parts abrasive and intimate, drawing the listener into a world of fractured beauty. Her use of organic textures, electro-acoustic undertones, and dissonant, atonal melodies challenges traditional notions of film music, offering something deeply visceral and unpredictable. The Guardian described Hoffmeier’s score as "nerve-abrading," highlighting the relentless, uncomfortable energy that underpins the film. The Chicago Reader similarly calls the score haunting, noting how it amplifies the film’s stark atmosphere. Drawing comparisons to the intense works of composers like Mica Levi, Awards Radar Magazine praises Hoffmeier for pushing the film’s emotional core to its breaking point, deepening the agony of the protagonist. Throughout the film, Hoffmeier’s score becomes as much a character as the people on screen. Her collaboration with von Horn is marked by a shared vision of pushing the limits of cinema and sound. Screen Daily describes the score as "daring," with its aggressive, contemporary tones standing in stark contrast to conventional film scores. The result is a uniquely modern, avant-garde work that reflects the film's visceral and unsettling nature. Hoffmeier crafts a world of sound that lingers long after the credits roll. The soundtrack’s fusion of organic instrumentation with electro-acoustic elements and bold industrial sounds sets it apart from the ordinary. The British Film Institute notes how Hoffmeier’s "atonal score" creates an "enervating effect," pulling listeners deeper into the film’s raw emotional depths. The combination of brutal sound design and haunting melodies builds a layered, evocative listening experience, one that grows increasingly intense with every listen.

Yuno's full-length debut, Blest, out May 16 on Sub Pop, finds the enigmatic indie-pop visionary transforming the emo-tinged suburban malaise of his 2018 Moodie EP into more expansive, widescreen pop drama - suited for big moves and bigger stages. The kaleidoscopic sound he devised as a millennial hermit in his childhood bedroom in Florida has since broadened his horizons, taking him on tour with Unknown Mortal Orchestra and Superorganism, and soundtracking various series for Netflix and HBO. Imbued with elements of dream-pop, rock, trap, and psychedelia, his eclectic songs serve as bids for love and connection, which especially in the fractured era of social media, have resonated with many listeners who find solace in his vulnerability. Yuno's superpower lies in the way he mines a multitude of genres for their pop potential and surfaces with a tapestry that feels novel and fresh. Take, for instance, "Blest," the immediate, blissful, and bright title track, which is inspired by Rich Harrison-breakbeats and Neptunes-esque jangle. Or the breezy single, "True," in which Yuno moderates a lover's quarrel with slick, trap percussion. Amid the breakbeated dream-rock of "Gimme Ocean," he introduces his guitar solo with a searing emo scream, run through an EarthQuaker Devices pedal. Don't let his sanguine aura or his sherbet pink wardrobe fool you; he can shred as hard as he wants to when he wants to. All songs on Blest were written and performed by Yuno, co-produced by Yuno and Frank Corr (Morning Silk), who also contributed keyboards, drums, and guitar throughout the record, with additional production and instrumentation by Patrick Wimberly (Chairlift) at The CRC in Brooklyn, and Nick Sanborn (Sylvan Esso) at Betty's in Durham, NC. Blest was mixed by Steve Vealey and mastered by Joe La Porta.

Haggerston-based production wizard Jeigo kicks off the year after a standout 2024 by serving his own label Fleurella Records' first release. For the occasion, he reissues his track 'Pearl Leaf' which sits in between the worlds of Bicep, Sasha and UKG. It has floating pads and airy, organic beats that carry you away on a melancholic mood with deeply buried vocals adding a blurry, heart-tugging hook. On the flip are two new and unheard jams. 'Headpains' is full of a flurry of breaks but is also laden with introspective emotion in the vocals and chords and 'The Days You Were Here' is a more downtempo cut with shimmering pads, pitched-up vocals and languid bass.

Pelican has always been a band that's not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican's foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. "The `90s in Chicago was a free-for-all. Everyone was just coming from a place of pure creativity," says Shelley de Brauw. With Schroeder-Lebec returning to the band following Dallas Thomas' exit in 2022, this reunified version of Pelican allowed the band to tap back into those influences and build something distinctly new with Flickering Resonance. While longtime Pelican fans will find an updated version of the band's ethos_one that's been constantly evolving since their very first EP_their new partnership with Run For Cover Records emphasizes something that's always been implicit to the Pelican formula. These songs take as much inspiration from titanic `90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican's songwriters, so too did Quicksand, Christie Front Drive, and Hum. "A lot of people didn't hear it," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, I'm willing to acknowledge all the suits we're wearing." On Flickering Resonance, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes.

Grails - the experimental rock institution who have cultivated a quarter-century career out of crate-plunging cultural curiosities - returns a mere two years after the lauded Anches En Maat with their most personal and emotionally resonant album to date. While the band still revel in rearranging bizarre and obscure sources into something often revelatory and surreal, Miracle Music does so with an ascendant melodic power that feels hallowed. The Miracle Music lineup includes cofounders Emil Amos (Om, Holy Sons, Lilacs & Champagne) and Alex Hall (Lilacs & Champagne), alongside returning members, AE Paterra (Zombi, Majeure), Jesse Bates, and Ilyas Ahmed. Produced by Amos, Miracle Music reunites the group with recording engineer Jason Powers and his Type Foundry studio in Portland, Oregon, where the earliest Grails records were made more than two decades ago. Replete with acoustic and electric guitars, synths, woodwinds, brass, samples, percussion - and featuring horn arrangements by Kelly Pratt (David Byrne, M. Ward) - Miracle Music unveils an exquisite new horizon for Grails. Creatively tireless as ever, Grails balance the boundary-pushing claustrophobia of early Industrial music with the airy melodies of Classical compositions to craft the heavy mood that is Miracle Music. In a catalog defined by mercurial departures, this is Grails' most sentimental and high-minded trip yet.

Grails - the experimental rock institution who have cultivated a quarter-century career out of crate-plunging cultural curiosities - returns a mere two years after the lauded Anches En Maat with their most personal and emotionally resonant album to date. While the band still revel in rearranging bizarre and obscure sources into something often revelatory and surreal, Miracle Music does so with an ascendant melodic power that feels hallowed. The Miracle Music lineup includes cofounders Emil Amos (Om, Holy Sons, Lilacs & Champagne) and Alex Hall (Lilacs & Champagne), alongside returning members, AE Paterra (Zombi, Majeure), Jesse Bates, and Ilyas Ahmed. Produced by Amos, Miracle Music reunites the group with recording engineer Jason Powers and his Type Foundry studio in Portland, Oregon, where the earliest Grails records were made more than two decades ago. Replete with acoustic and electric guitars, synths, woodwinds, brass, samples, percussion - and featuring horn arrangements by Kelly Pratt (David Byrne, M. Ward) - Miracle Music unveils an exquisite new horizon for Grails. Creatively tireless as ever, Grails balance the boundary-pushing claustrophobia of early Industrial music with the airy melodies of Classical compositions to craft the heavy mood that is Miracle Music. In a catalog defined by mercurial departures, this is Grails' most sentimental and high-minded trip yet.

LINKIN PARK—Mike Shinoda, Brad Delson, Phoenix, Joe Hahn, alongside new members Emily Armstrong of critically acclaimed band Dead Sara as co-vocalist and Colin Brittain songwriter/producer for G Flip, Illenium, One OK Rock as drummer—share their first brand new music in seven years.

The iconic band shared a new single “The Emptiness Machine,” which is also the herald for the arrival of LINKIN PARK’s first album since 2017, FROM ZERO, on November 15.

About the new era, Shinoda stated, “Before LINKIN PARK, our first band name was Xero. This album title refers to both this humble beginning and the journey we’re currently undertaking. Sonically and emotionally, it is about past, present, and future—embracing our signature sound, but new and full of life. It was made with a deep appreciation for our new and longtime bandmates, our friends, our family, and our fans. We are proud of what LINKIN PARK has become over the years, and excited about the journey ahead.”

Right out of the gate, “The Emptiness Machine” channels the DNA of LINKIN PARK, harnessing the band’s explosive energy and retaining the hallmarks of their instantly identifiable and inimitable sound. A chameleonic and catchy anthem, Shinoda’s hypnotic melodies hand off to Armstrong’s blistering chorus, over distorted riffs and head-nodding drums.

Ultimately, with FROM ZERO, the band is looking to harness the purest energy of their past, present, and future. The new era has officially begun.

The Tower is the third studio album by Norwegian hard rock band Vulture Industries. Originally released by Season of Mist on February 24, 2017, the vinyl edition has been sold out for years and sought after by many fans. Known for their mix of progressive metal, dark rock, and theatrical elements, the album continues the band's exploration of complex and atmospheric soundscapes. It combines intricate, sometimes dissonant riffs with elements of black metal, post-punk, and art rock, often switching between atmospheric, melodic sections and more aggressive, intense passages. Lyrically, the album delves into themes of personal conflict, societal decay, and existential despair. The title track, "The Tower," captures the essence of the album with its metaphorical exploration of isolation and oppression. The lyrics are abstract and poetic, inviting listeners to reflect on the human condition and the psychological weight of modern life. The album's concept is built around these dark, thought-provoking themes, creating an immersive experience. Critically, The Tower was praised for its ambitious and multi-faceted approach, with many highlighting its blend of progressive structures and emotional depth. It marked a progression for Vulture Industries in terms of musical maturity, as they refined their sound and further distanced themselves from traditional metal tropes. The album resonated with fans of avant-garde metal, drawing attention for its blend of challenging music and poetic, introspective lyricism.

Necro State dives deep into emotional liminality — a space where anxiety, disconnection and introspection merge into a dark, immersive soundscape.

Across six tracks, NOAMM crafts a narrative that moves between restrained tension and cathartic release, drawing the listener into an inner journey that lingers long after the signal fades.

Mastering: Boris Divider

"Music was his passion. His life, his love_ his all." Book-ended by the two parts that make up the album's centrepiece, "Opus Imperfectus", Maestro is Magic Pie's long-awaited 6th studio album, years in the making... "Maestro! Where did you go? People ask and I need to know." Does life imitate art, or is it the other way around? Magic Pie is a Norwegian progressive rock band formed in 2001, known for their intricate compositions, symphonic arrangements, and blend of vintage and modern influences. Highly regarded in the international prog community, Magic Pie's music explores themes of introspection, existentialism, and human emotion. Drawing inspiration from bands like Dream Theater, Genesis, Pink Floyd, Kansas, Deep Purple, Yes and many more - their music incorporates complex time signatures, lush keyboards, and dynamic guitar work, mixing elements of symphonic rock, jazz, and even folk. Fronted by the charismatic Icelandic singer and lyricist Eirikur Hauksson and "maestro-mind" & composer Kim Stenberg, Magic Pie continues to strive for higher & bigger musical conquests. "Follow your vision, fulfill your dream".

For its latest release, Last Year in Marienbad welcomes back French producer Moonee, who delivers an EP brimming with his signature blend of euphoric and emotive grooves.

One of François Lefevre’s main aliases, Moonee explores the airier side of dance music, crafting deeply immersive sonic experiences that evoke introspection and escapism. While initially focused on deep house, his sound has evolved across recent releases, particularly on his Sandquest LP for OATH. His finely curated approach highlights fluid, intuitive soundscapes that invite repeat listens.

His new EP, Brotherhood, is perhaps his most refined and carefully poised work to date. The title track’s Glitched version opens with a sense of urgency, combining a stepping garage beat, lo-fi vocal snippets, and deep basslines. Existenzfollows, elevating four-on- the-floor energy with intricate rhythmic textures and a rich, orchestral-like melodic palette. Panorama rounds off the EP’s initial arc with playful vocal samples and an uplifting bassline—perfect for late-night city wanderings.

Closing out the release, Oath affiliate Moomin reinterprets the title track with an electro-infused remix. More understated than the original, his version builds gradually, offering a masterclass in energy control.For those seeking enriching grooves, entrancing melodies, and warmth, Brotherhood delivers. It’s a journey through electronic currents, shifting effortlessly between moments of calm and surging energy—press play and dive in.

NEKRODEUS wurde 2013 gegründet und begann mit einem Demo irgendwo zwischen Death Metal und Sludgecore. Die Band und ihre Musik haben sich über die Jahre ihrer Bandgeschichte immer weiter entwickelt. Die äußerst kreative Band befindet sich nun auf ihrem aktuellen künstlerischen Höhepunkt und verbindet gekonnt Musikgenres wie Black Metal, HC Punk, Death Metal und Grindcore. Sie blicken auf zwei Alben (,Moloch", ,Asbest"), eine EP (,Putrid Scent of Grave Perversion") und das Demo zurück, mit dem sie gestartet sind. In ihren gesellschaftskritischen Texten wird schnell klar, dass die vierköpfige Band etwas zu sagen hat. Die Band, bestehend aus Sebastian Lackner (Gitarre - auch Live-Mitglied von ELLENDE), Stefan Rindler (Gesang), Paul Färber (Schlagzeug - auch KARG & Live-Mitglied von ELLENDE und HARAKIRI FOR THE SKY) und Lukas Benedicic am Bass kann es kaum erwarten, euch musikalisch den Tag zu versüßen. ,Ruaß" ist ein sich wandelndes Fest des knusprigen Black Metal Punk, eine Kost aus roher Gewalt und stimmungsvoller Atmosphäre, die den Nerv zwischen deinem Reptilienhirn und deiner emotionalen Intelligenz kratzt, während sie mit ihren eigenen grobkantigen Zähnen zurückbeißt.

"Ars Moriendi" is the natural continuation of SlugoS' sound and his most ambitious work to date, taken to a new level of sophistication and sensitivity. This album not only stands out for its musical innovation but also as a conceptual piece that allows the listener to get closer to the artist's inner world.

Inspired by global funeral rites and shaped by industrial, dissonant, and distorted techno, Ars Moriendi unfolds as a spiritual and emotional descent, both brutal and transcendent. Aggressive yet elegant, this album flawlessly fuses elements: from apocalyptic dancefloor destroyers to introspective, IDM-tinged moments, the album offers more than just techno for the body; it is a ceremonial passage for the soul.

Composed of 12 original tracks, each gains new meaning as part of a whole, allowing for a listening experience that flows both from beginning to end and in reverse order. With a refined and detailed sonic palette, the album reaches an audience less attuned to the usual rawness of the artist's work.

In a musical landscape where intensity is often associated with a lack of sensitivity, Ars Moriendi comes as a breath of fresh air, proving that hardness does not have to be at odds with subtlety. With this release, Caedite Eos reaffirms its place at the forefront of uncompromising hard techno.

Waltari war noch nie eine Band, die sich an Regeln gehalten hat. Mit »Nations' Neurosis« beweisen sie einmal mehr, dass ihre charakteristische Mischung aus musikalischer Freiheit, mutigen Experimenten und ungefiltertem Ausdruck aktueller denn je ist.

Das Herzstück der klanglichen Reise von Waltari ist Kärtsy Hatakka, Mastermind und treibende Kraft der Band. Hatakka, der für Lead- und Backing-Gesang, Bass, Programmierung, Keyboards und Perkussion zuständig ist, hatte während der Entstehung dieses Albums mit einem persönlichen Sturm zu kämpfen - dem Verlust seiner Mutter, einer schmerzhaften Trennung und der Tatsache, dass er mit ansehen musste, wie die Welt immer tiefer in Chaos und Spaltung versank. Die Frustration und der emotionale Aufruhr dieser Zeit sickern in jede Note von »Nations' Neurosis« ein und machen es zu einem von Waltaris bisher aufgeladensten und zum Nachdenken anregenden Werken.

Bob The Egoist presents his first solo EP released via Wide Awake; Felipe Gordon's own record label. This three-song EP features a broad pallet of Bob's musical abilities, beginning with A1 "Fever", co-written with his close Berklee friend and collaborator Bedo. This track kicks-off the EP with chord-heavy grooves and simple, yet effective vocals. It follows up with "New Beginnings", an emotive tune which showcases the intricacies of the songwriter approach to house music: meaningful lyrics and heavy grooves.The EP ends with "Ride Club" a jazzy dance floor tune which features heavy use of cymbals and scat vocals, this is a must-have release for every deep jazz head out there!

Harry Potter and the Goblet of Fire soundtrack, composed by Patrick Doyle, introduces a darker tone to the franchise. Key tracks like "Hedwig's Theme" and "The Quidditch World Cup" capture the excitement of the Triwizard Tournament. Nominated for a Grammy, the score blends new themes with familiar motifs, enhancing the film's emotional depth

Coming from Northern Ireland, Domhain is a new band brought by four
experienced musicians from the Irish metal scene
With their emotional mix of post black, blackgaze and atmospheric black metal,
featuring omnipresent vocal harmonies and cello (featuring guest Jo Quail),
Domhain's debut EP "Nimue" is a work of mythical and ethereal beauty.

DJ Support: Kerri Chandler, Mr.V, Lars Behenroth, Enoo Napa, Adriatique, Harri, Ilario, Alicante, Dennis Quin, Jimpster, Severino, Junior Sanchez

Kerri Chandler and Nae (SA) Unite for New Single ‘Caged Bird’ – Limited Edition Splatter Vinyl Release

Kerri Chandler teams up with South Africa’s Nae for their latest single ‘Caged Bird,’ featuring four exclusive mixes on a limited-edition vinyl release — only 300 copies available in this special colourway.

The A-side opens with the ‘Full Vocal Mix,’ where Chandler crafts emotive piano melodies, organic drums, and atmospheric strings, perfectly complementing Nae’s soulful vocals.

On the flip side, Chandler delivers a fresh remix of ‘Caged Bird,’ transforming the soulful essence of the original into a deep, slow-burning groove that unfolds over eight minutes.

The package also includes a ‘Kerri Chandler Instrumental Remix,’ stripping away the vocals to let the intricate production shine through.

DJ Support: Tim Sweeney, Idjut Boys, Unabombers, PBR Streetgang, Hot Toddy, DJ Dribbler, Leo Zero, Roller Boys, Craig Smith

Rayko is back with this third volume of the highly acclaimed 'Vadillo Vice' series on his long standing and well regarded label Rare Wiri.

Again its a quality collection of timeless discofied productions with the dancefloor in mind but with a firm nod to the leftfield corner of the room, with all three tracks quite frankly having some real 'WTF?' moments in there..

'More I Like It' is a killer euphoric groover with epic Italo/Cosmic touches that build and build.

'Napole' provides the end of night moment, carrying emotional and heartfelt vocals with a sexy Italian twist.

‘Towers’ and ‘Cosmic Boy’ are just two outstanding examples demonstrating the deep love he feels for the underground dance culture of the late 70s and early 80s, from Rock and Sci Fi Electronics to Funk and New Wave, Cosmic Italo and obscure NY Disco…

Hyldon, Brazil’s highly revered vocalist, musician and producer, has partnered with Adrian Younge to create a new psychedelic soul album, HYLDON JID023. The duo, highly inspired by Hyldon’s seminal work in the ‘60s and ‘70s, revisits’ the spirit of this epoch while creating a modern-day classic. Hyldon’s unique voice and lyrical depth, combined with Younge’s innovative analogue production, ensures this album will not be forgotten. JID023 is one of the last recordings featuring Hyldon’s long-time collaborator and friend, the late drummer Ivan “Mamao” Conti of Azymuth.

Hyldon, a musical pioneer and early contributor to the “Black Rio” movement is a genius in synthesizing the sounds of MPB, Tropicália and Black American R&B. His unique voice, coupled with his rich arrangements and laid-back grooves set him apart from the contemporaries of the time. In ’75, his remarkable debut album, Na Rua, Na Chuva, Na Fazenda changed the sound of Brazil forever. Hyldon’s earnest and experimental approach in creating that album served as the inspiration for Younge’s production on the new JID023.

Months before Mamão's untimely passing, Adrian Younge and Hyldon invited the legendary drummer to join them at Younge’s Linear Labs studio in Los Angeles. Mamão and Hyldon shared a rich musical history — Azymuth, Mamão’s group, served as the rhythm section for much of Hyldon’s work, including his iconic 1975 LP, Na Rua, Na Chuva, Na Fazenda. Their goal was ambitious: to craft an album that would stand alongside Hyldon’s finest achievements, one that would captivate fans who love his unique blend of psychedelic and soulful “Música Brasileira.” The result is nothing short of remarkable.

“Producing a Hyldon album was a dream come true. I’ve studied his catalogue for so many years and highly respect the way he mixed the sound of The Beatles, with that of Marvin Gaye and Tim Maia. I’m still enamored by the fact that he is even a better singer now than he was, in what many deem, his prime. Also, we greatly miss our dear friend and contributor Mamão, the late drummer of Azymuth. We dedicated this album to his memory, and we wish he could have had the chance to hear the finished album.” – Adrian Younge

Songs such as “Olhos Castanhos” evoke the ethereal nature of The Beatles “Strawberry Fields” as the mellotron flutes and Hyldon’s vulnerable performance captivates our hearts. Mamão’s gritty and funky drumming on “Nhanderuvucu (The Creator of God)” showcase what made him a leading pioneer in Brazil’s samba funk scene. Apart from the remarkable drumming, multi-instrumentalist Younge accomplishes the unthinkable by playing every other instrument on JID023. The experimental fusion of horns, analog synthesizers and acoustic instrumentation on songs like “Viajante de Planeta Azul” take listeners on a funky journey to the blue planet; a fictional space that Hyldon lyrically describes with passion and conviction.

Hyldon JID023 is an unexpected, yet remarkable addition to the canon of Brazilian Music. Hyldon’s emotional resonance, coupled with Younge’s sophisticated production and Mamao’s outstanding drumming make this a standout album within the deep catalogue of Jazz Is Dead.

Chilean-born, Bristol-based DJ, producer, and vocalist Shanti Celeste is back with her highly anticipated second album, Romance, set for release on May 16 via the label head’s own Peach Discs, in collaboration with Method 808. Marking her debut LP on the cult London-based label, Romance sees Celeste fully embracing her artistic evolution, delivering a lush and deeply personal exploration of love, longing and self-discovery across its nine tracks. The album’s bubbling lead single, ‘Thinking About You’, is out now - an emotional and dancefloor-facing glimpse into Celeste’s new era with her voice at the fore.

Shanti Celeste has long been revered for her radiant and infectious sound in a vibrant blend of house and techno. Romance takes this signature style to new heights, exploring the depth of romantic and platonic relationships that permeates the record with a pop-infused sheen. With her vocals placed front and center for the first time, Celeste weaves a sonic tapestry that is as introspective as it is euphoric; it’s a love letter to romance, but also an ode to the transformative power of opening your heart.

For all of Romance's soft focus, it still functions for the dance floor - lead single ‘Thinking About You’ is poignant and heartfelt, driven by a shimmering groove and Celeste’s ethereal falsetto. Inspired by memories of a late friend, the song is a tribute to the enduring nature of love and loss. “He was my first boyfriend but also a really good friend,” Celeste shares. “He was a really important person in my life.” —a beautiful, danceable meditation on the power of remembrance.

The majority of Romance was crafted between Celeste’s home of Bristol and London, featuring collaborations with longtime friend and esteemed producer Batu on ‘Note to Self’, ‘Light as a Feather’ and ‘Softie’. The album also sees Celeste teaming up with Austrian-Ethiopian harpist Miriam Adefris, whose delicate instrumentation adds a celestial edge to tracks like ‘Butterflies’ and ‘Medicine’. It follows her previous smash hit ‘Ice Cream Dream Boy’ last summer, which was named a track of the year by both Mixmag and DJ Mag. Earlier this month, Shanti celebrated the release of the vinyl version with a packed-out in-store set at Phonica Records in Soho.

Shanti will be taking her Club Celeste event series to The Cause for the third year running on May 17, in celebration of the album release. The day & night party will feature sets from Shanti as well as Daisy Moon, Gabrielle Kwarteng, Lishy, Peach and Ryan Elliot b2b Ogazón. Tickets are available here: https://ra.co/events/2062135

With Romance, Celeste steps into her full potential, creating an album that is as deeply personal as it is universally resonant. The album arrives this summer via Method 808. Stream ‘Thinking About You’ now.

As one of the most prolific and influential producers of the last thirty years, The Hacker’s imprint on electronic music already spans genres, eras and scene revolutions. And still, there’s more. In spirited collaboration with friend and fellow French journeyman Endrik Schroeder, the first release from The Hacker & Endrik Schroeder Project eschews EBM excess or gritty electro. Instead, two introductory tracks slip into the continuum of evergreen underground techno, influenced in equal part by the digital soul of Detroit, and the futurist experimentations of Sheffield.

Quickly escalating from a classic beat to a hoover-rave ascent determined to fill the vacuum of any warehouse, ‘Puissance’ is an unapologetic anthem that doubles as an elegant and impactful introduction to the Hacker & Schroeder partnership. Hypnotising dancers with ever-more forceful acid oscillations, the pair masterfully stave off the pressure with a wide-eyed organ riff, played live and direct from rave heaven.

‘The Voyagers’ contrasts with a cosmic groove, certain to satisfy heads-down bleep purists, while dedicating time and space for the charisma and quirks of this machine-led dance to shine through, including emotional pads and whispering voices, par excellence.

Teal’s debut LP, Original Watercolour, is an album that feels like a canvas come to life. A sonic blend of street-soul, digi-dub, and downtempo. Original Watercolour explores the complexities of love, oneness, and intuition — themes that resonate deeply within the context of the history women have shared with what was once known as the “ladies’ medium.”

The bi-coastal family trio—Ashleigh and Melissa Ball, better known as the Ball Sisters, alongside producer N1_SOUND—bring a fresh, genre-defying sound to the table with their latest 6-track album. Running just under 30 minutes, this immersive collection weaves together skipping beats, addictive bass lines, three-dimensional flute textures & emotional vocal melodies. This musical portrait is as ethereal as it is powerful, inviting the listener to get lost in its depths while celebrating the beauty of self-expression.

The opening track, “Original Watercolour,” takes you on a psychedelic trip-hop journey. From the first reverberous snare hit, you’re whisked away to a sonic wetland — lush and euphoric. The soft yet poignant soundscapes set the tone for the album, inviting us into a world where the boundaries between earth and music, reality and imagination, automatically seem to blur.

“Locked In 2 Love” offers a boogie-fueled bassline that pushes Teal into dance-floor territory with soaring flutes and rhythmic intricacies that make it impossible not to move — it’s a track that exemplifies the magic of Teal’s ability to craft both intimate and expansive musical landscapes. And then, there’s the hypnotic flow of “One In The Same,” where stacked vocal harmonies and mantra-esque lyrics transport you to a place that could easily be mistaken for a lost Soulquarians demo. It’s gentle yet unrelenting in its depth.

The second side of the album opens with “Sleep on It,” a track that immediately grabs attention with its dancehall-driven rhythm. Ashleigh Ball's vocals set the stage for a song that’s both introspective and emotionally charged, yet unmistakably rooted in groove. The phased-out bassline creates an almost hypnotic atmosphere. Pulling the listener into a mood of contemplation—matching the restless, sleepless night that Ball describes. As the song progresses, this groove builds in intensity, culminating in an explosive ending that mirrors the emotional release of a long-held frustration.

Original Watercolour is more than just an album — it’s a meditation on the interconnectedness of life and art. “Frog Kingdom,” the longest and only instrumental track creates a contemplative space that builds upon the themes introduced earlier. It feels like a sequel to their earlier work, Frog Legacy from their debut Bluish Green 2024 12”, expanding on the familiar sound with even more complex layers.

Yet the real emotional power of the record lies in its closing track, “Can’t Shake the Feeling.” Simple in structure but profound in impact, this song captures a deep yearning and understanding — that everything, from the ecosystems we inhabit to the relationships we nurture and the art we create, is fundamentally interconnected. As the track crescendos in a falsetto peak, it becomes clear that the album is a reflection of both the world around us and the personal journey each member of the band has embarked upon to get to this point.

Just as the medium of watercolor has been traditionally linked to women artists, Teal carries this legacy into the modern musical landscape, blending the richness of history with a unique forward-thinking perspective. The album feels like both a celebration of the past and a bold declaration of a path forward — one that welcomes anyone ready to join in and shape the future of the art form.

The beauty of Teal’s work is that it feels familiar, while simultaneously offering something new and refreshing. Original Watercolour doesn’t just push musical boundaries; it redefines them, offering a lush and textured soundtrack for those willing to listen closely.

In a world that often feels over-saturated, Original Watercolour stands as a reminder of the power of simplicity, intuition, and connection. Teal’s debut album invites you to experience something both deeply personal and universally understood. The landscapes they create are vivid, yet soft, grounding yet expansive. With each track, Teal’s music reflects the interconnectedness of all things — a truly unique piece of work in the world of experimental soul and dub adjacent electronic music.

Rising and falling. We all live in the same pond. Peace to all.

As the nights get colder and longer, we often lose touch with those around us. Nights when loneliness takes hold of us as our only dependable friend, and our imagination becomes the universe; forever questioning the existence of our own reality, while perpetually stuck in an emotional limbo.. Delve into your thoughts with ‘Lonely Days’, the latest Lofi Girl compilation featuring 31 artists worldwide. Soft beats, melancholic pianos, lulling guitars and a range of other instruments are knitted together like a warm blanket to bring ease and comfort for as long as you need. Focus on the ingressing dawn light, close your eyes, and breathe in - this feeling is only temporary, and better days are on their way.

On their debut album Seven Dances to Embrace the Hollow, Zurich-based artists Magda Drozd and Nicola Genovese, as Sopraterra, offer exactly what’s announced: seven compositions which, as they unhurriedly flow into each other, mark potential entry points to discover what might be lying underneath. By choosing Sopraterra, which translates to “above the earth” in Italian, as their shared project’s name, Drozd and Genovese indicate their own position in this archeological-looking endeavor, hinting at the potential for sonic explorations to produce deeply submerged discoveries.
Sopraterra’s object of inquiry isn’t easily grasped, traversing histories and blending influences alike. In a time-line-bending manner, musical signifiers from the past, along with specific tonal scales lifted from baroque and medieval music, get digitally synthesized. As sonic matter, the result is distinctly of today: a collection of electro-acoustic compositions that remain experimental at their core, referencing genres like post-rock, shoegaze, or psychedelic, while evoking aural memories of ancient times. Seven Dances to Embrace the Hollow pulls backward and pushes forward alike. Without ever forcing a didactic listening experience, musical motifs and archetypes are thoroughly investigated. But there is no scientific ambition at play here. Rather, the harmonies of late medieval Ars Nova or the transcendent elegance of Baroque chamber music lend their emotional qualities to perceived ideas of old times.
Oscillating between ambient and drone, the album’s seven brooding compositions bring primal connections to a universally shared past to the surface. In its multi-directional positioning, Seven Dances to Embrace the Hollow makes the case for embracing the confusion of warped time and paying attention to all that’s rather felt than seen.

Heavily supported by Flight for years, we’re extremely excited to at last welcome the inimitable Quartz to p:m, who serves up a sublime 4-tracker for our 10th single. Deeper and more emotionally reflective than previous Quartz releases, this is transcendental music that takes you to outer space and beyond…

Tracklist:
A1. W.Y.N: cosmic pads, jungle-y breaks, and a colossal bassline evoke images of Jupiter and molten lava, while a seductive vocal riff you’ll hum for days weaves in and out. A dance floor favourite.

A2. Taking Me Down: tight rolling beats, sparkly vox, filtered fx, and bass snarls sound like a tug of war between Venus and Mars. Straight up D&B produced alongside Quartz’s childhood friend, Pennygiles.

B1. Trauma Response: diving further into Techno- and Autonomic-inspired territory, this title track is best described by Paul Woolford aka Special Request “Man this tune is f***ing nuts. Reminds me of Black Dog and half of Detroit but through our UK lens, but totally NOW.”

B2. What Is Real Love: an orchestral intro replete with timpani and violins gives way to the big question - what is real love? - almighty bass weight, and a healing, warm golden sun feel. Simply majestic.

Doris Brendel & Lee Dunham take an unexpected yet electrifying turn into the world of Blues with their latest album, Big Blue Sky. Known for her powerhouse vocals and genre-defying style, Brendel—who recently won the HRH Prog Angel Award 2024—delivers 13 beautifully crafted Blues tracks that blend raw emotion, soulful melodies, and top-tier musicianship. Featuring a stellar lineup, including Sam Brown (Hammond), Sam Blue (vocals), and Sam White (drums), Big Blue Sky is a masterclass in Blues with a contemporary twist. From classic blues ballads (‘Under the Covers’, ‘Red Letter Blues’) to the humour-infused ‘Slow Wi-Fi Weekend’ and soul-stirring duets (‘Is This the Last Time’), the album is a fresh and dynamic take on the genre. Produced by Lee Dunham, Big Blue Sky is available digitally, on CD, and on vinyl (featuring a special 9-track selection). Doris Brendel has performed with some of rock’s greats, including Fish (Marillion), Wishbone Ash, and Nils Lofgren, and was even invited to tour with Pink Floyd. With Big Blue Sky, she proves once again that she refuses to be boxed into a single genre, bringing her signature husky, bluesy vocals to a project that is both timeless and innovative.

Lisa Wilhelms neues Album SO CLOSE erscheint am 9. Mai 2025 bei BERTHOLD records und bringt eine spannende Weiterentwicklung ihrer Musik. In Zusammenarbeit mit Lukas Wögler (Saxophon), Moritz Langmaier (Klavier), Franz Blumenthal (Bass) und Lisa Wilhelm (Komposition und Schlagzeug) kombiniert sie lyrischen Jazz mit verträumten Pop-Klängen. Das Album erweitert das ursprüngliche Jazz-Quartett um Gesangseinlagen von Mareike Riegert, Nate Dailey und Nico-Alexander Wilhelm sowie ein Streichquartett. Wilhelms Kompositionen sind tief von persönlichen Erlebnissen und literarischen Entdeckungen inspiriert. Die Reise von SO CLOSE führt die Hörer durch intime Erinnerungen und emotionale Momente, die in Klänge übersetzt werden. Lieder wie "Change the Game", geschrieben für ihren Bruder, sprechen von den Herausforderungen von Druck und Erfolg, während "Four Voices" die inneren Kämpfe junger Frauen thematisiert. Mit SO CLOSE setzt Wilhelm mehr auf arrangierte Kompositionen, während sie ihre jazzigen Wurzeln und improvisierten Elemente beibehält. Die Klanglandschaften des Albums, inspiriert von unerwarteten Begegnungen und Geschichten, bieten eine tiefgründige emotionale Reise, die Pop, Folk und Jazz vereint. SO CLOSE stellt Lisa Wilhelm als Komponistin und Schlagzeugerin auf ein neues kreatives Niveau und verspricht ein berührendes und vielschichtiges Hörerlebnis.

In nearly a decade, songwriter Sonia Weber’s ability to pen precise lyrics and memorable riffs has become laser-focused. As a result, the songs feel like they’ve been assembled with all the intention and care of a mixtape to a high-stakes crush. Caleb Misclevitz, A.P. Fiedler, and Derek McNeil round out the band, bringing the giant loud guitar rock feeling these songs require. The Portland outfit crafts songs big enough to fill an arena while simultaneously conjuring the emotional intimacy of making out in the bathroom of your favorite karaoke bar. Alien Boy does this by harnessing the raw power of PDX’s Wipers’ but not being afraid to embrace the pop catchiness of rock titans like Oasis or Third Eye Blind, all while crafting a tone and power distinctly their own. Whether listened to in your headphones in bed or witnessed live in person, Alien Boy leaves an emotional crater that’ll keep you coming back for more (Gem Fair)

Das Debütalbum des britischen DJs, Produzenten und Multiinstrumentalisten Lawrence Hart.

Harts Stil verbindet seine technisch versierten Fähigkeiten mit emotionalen Vibes und Dancefloor-Treibstoff und schafft so einen Sound, der sowohl für den Club als auch für das Eintauchen in die eigenen vier Wände geeignet ist. Das 12-Track-Album ist emotional ein Garagenalbum, euphorisch und therapeutisch. Es ist eine Reise durch cineastische Melancholie, schwebende Synthies und Momente der Zerbrechlichkeit, gespickt mit Sprachsamples. Tech-Wizard Lawrence Hart, der allein schon durch seinen Großvater, den berühmten Computerpionier Geoff Tootill, eine wissenschaftliche DNA hat, wurde schon als Kind zum klassischen Musiker ausgebildet. Bereits mit 15 Jahren sprach er an einigen der renommiertesten Musikschulen New Yorks vor und studierte dann Jazztrompete am SUNY Purchase College bei berühmten VertreterInnen des Fachs. Er spielte an der Seite von Größen wie Bob Mover (einem ehemaligen Kollegen von Charlie Mingus und Chet Baker) auf den Bühnen der Jazzclubs New Yorks. Bald entdeckte Hart die elektronische Musik und das Clubbing für sich.Seine Fähigkeiten als Produzent entwickelte er während der Zusammenarbeit mit dem Double Six/Domino-Künstler George FitzGerald, mit dem ihn eine langjährige musikalische Beziehung verbindet. Bis heute hat Hart Solo-Singles, EPs und Remixe auf Hotflush, Attack Decay Sweet Release, LG105 und seinem eigenen Label SSEM veröffentlicht.

Mit 'Never/Know' melden sich The Kooks eindrucksvoll zurück - authentischer, energiegeladener und eingängiger denn je. Nach 18 Jahren Bandgeschichte und einem radikalen kreativen Neuanfang besinnt sich die britische Erfolgsband auf das, was sie am besten kann: großartige Songs mit Hymnenpotenzial, zwischen Indie-Nostalgie und neu entfachtem Selbstbewusstsein.

Das siebte Studioalbum überzeugt mit einer Mischung aus Spontaneität, Gefühl und klassischem Pop-Appeal - getragen von der Vision, „Liebe und Freude durch gut gespielte, gut geschriebene Musik“ zu transportieren. 'Never/Know' ist ein moderner Klassiker in bester The-Kooks-Manier - ein Muss für Fans und Neuentdecker gleichermaßen.

Aufgenommen in einem kreativen Ausnahmezustand voller Leichtigkeit, Experimentierfreude und kindlicher Spiellust, fangen The Kooks auf 'Never/Know' das ein, was sie einst so besonders machte - und gehen dabei gleichzeitig den nächsten Schritt. Kein glattpolierter Pop, sondern echte Emotion, verpackt in Songs, die sofort ins Ohr gehen.