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Fracture & Neptune return to Astrophonica with their first collaborative 12” on the label since 2010.

Two epic, psychedelic, and deeply authentic tracks for both the floor and the head, carrying the unmistakable hallmarks of the duo’s classic sound — A psychedelic concoction of Jazz, Sci-Fi, Dub, and Breakbeat Choppage. Rooted in the lineage of Jungle and Drum & Bass, yet delivered in Fracture & Neptune’s unmistakably unique style.

To celebrate the release, UTILE — responsible for all Astrophonica design — have gone all out on the artwork, creating an iconic, type-based image for both tracks, presented on a full-colour, double-sided printed sleeve. Massive shout to UTILE for being as important to the label as the music.

“Erase Everything” is a journey through LA 2049 via London 1999 — as if Deckard were blasting an AWOL tape in his Spinner. Merging classic breaks and analogue saturation with soaring, cutting-edge pads and city-wide reverb, the result is both devastating and deeply thoughtful.

“Good Stuff” is inspired by a love of digging for samples across Jazz, Hip Hop, and Rock, and by a dedication to crafting kaleidoscopic soundscapes — All that good stuff, blended into one hallucinogenic trip.

Meeting at Islington Sixth Form College in 1996, Charlie (Fracture) and Nelson (Neptune) bonded over their deep love for the defining sound of London at the time — Jungle and Drum & Bass. Countless trips to Black Market Records in Soho, playing on pirate radio stations, and eventually, a makeshift bedroom studio — complete with an E-Mu ESI4000, a Mackie desk, and a few FX units — set the foundation for their journey. Their first release arrived in 2002 on Droppin’ Science, the label run by legendary Hardcore and Jungle pioneer — and fellow breakbeat manipulator — Danny Breaks. A run of mid-2000s releases on Ireland’s Bassbin, Paradox’s Outsider, and London’s Inperspective Records propelled Fracture & Neptune further into the cosmos. In 2009, they founded Astrophonica — initially as a home for their own music, but it quickly evolved into a hub for like-minded artists to experiment and explore freely. Almost 30 years on, they’re back in the studio with APHA034 — with more to come.

With this release, I think I'll be the only one to have released something from every single one of Kenny's solo jungle aliases!

A few years back, he started on an album project where he would combine the works of 2 of his aliases for his Amiga productions, DJ Mindhunter for the hardcore tracks & Retr0n One of the jungle tracks.

If I remember right, I think the plan was to originally release it on his label Green Bay Wax, but he was too preoccupied in the work being put into other projects of his at the time. The release was then going to be coming out on Parallax Recordings, a label based in Berlin, run by Vali, who I've worked with many times in the past for releases on his label but then Vali was also focused on other releases he had scheduled for his label. The tracks sat in limbo for quite a while, whilst I had been playing some of them on radio & in club sets and eventually, Kenny offered for me to release the tracks on Future Retro London.

I asked Vali if he would be OK with this, since the tracks are meant to come out on Parallax & I also wanted him to do the artwork for it (he does all the artwork for his label). He was unsure if he could do the artwork as his capacity for design was quite taken up by his own outlet, but he floated the idea of doing this release as a joint label project so that it would be a bit more able to fit in with his workload.

And like that, the project is now finally out, after some of the featured tracks having been sat around for many years! Big up to Kenny for his wicked tunes & to Vali for co-releasing this project with me, as well as handling the design.

Sermon On The Rocks is Josh Ritter's eight studio album, released in 2015. Singles from the album include "Getting Ready To Get Down" and "Homecoming." According to Ritter, the album is "messianic oracular honky-tonk." Produced by Trina Shoemaker and Josh, the 12-song album was recorded over two weeks at New Orleans’ The Parlor Recording Studio and features Matt Barrick from The Walkmen on drums, Zachariah Hickman on bass, Josh Kaufman on guitars, and Sam Kassirer on keyboards. Josh Ritter is the definition of an experienced songwriter. After graduating from Oberlin College in 1999 Ritter devoted his life to a songwriting career, releasing albums independently and garnering word-of-mouth popularity. He eventually caught the attention of Irish- songwriter Glen Hansard (writer of the song 'Falling Slowly' from the movie Once) and was invited to be the tour opener for his band The Frames. This then resulted in Josh gaining international success, with his third record 'Hello Starling', becoming a charting hit in Ireland. His songs have been featured on the TV show Parenthood, and in movies like The Other Woman and Typeface. Josh Ritter has so far released 7 studio albums, is an author, husband, father, and is considered one of the best living songwriters by Paste Magazine.

Dead Bird is AK-Industry's very first EP for Industrial Propaganda's sub-label: Totentanz Recordings. This new EP explores the limits of the hard techno and techno hardcore genres.

AK-Industry, the founder of Nekrolog1k Recordings, has been a driving force in the Industrial Crossbreed and Hardcore Techno scene since 2008.

His signature sound blends breakbeats with hardcore and techno, resulting in a unique and powerful style that has garnered attention from major labels such as The Third Movement (NL), Industrial Strength (USA), Dark Descent (NL) Industrial Propaganda (CH) and Ad Noiseam (DE).

Having performed at some of the biggest hardcore events in Europe, including Dominator, Q-Base, Defqon, Army of Hardcore Festivals, Club r_AW, and PRSPCT XL, AK-Industry has cemented his place as a top-tier artist in the genre.

He has also collaborated with heavyweight artists such as Mindustries, I:gor, N-Vitral, Ophidian, The Teknoist, Bryan Fury, Switch Technique, Igneon System, Delta9 and Fiend.

With brand new releases on the horizon, AK-Industry shows no signs of slowing down and continues to push the boundaries of the Industrial Crossbreed & Hardcore Techno genres.

Tina Records presents the apocalyptic visions of Nokuit. Constructing a hellish diorama across six tracks of industrial electronics, Gates of Horn and Ivory uses biblical allegory to map out our current End Times. With sleeve notes by Andy Sharp a.k.a The English Heretic.

Eurosleaze film composer by day, Nokuit has developed a distinctive cosmology over a mutating series of releases on underground labels including wannamarchi club and NKT. Alongside Cut Hands (William Bennett of Whitehouse), he remixed Roberto Musci on the inaugural Tina Records release, as well as having been remixed himself by schuttle, Kinn and Sonae. He has performed internationally, including at Cafe OTO alongside Mun Sing as part of a lineup curated by Flora Yin-Wong and has received radio support from Ad93's Nik Tasker and Ana Quiroga of Editions Mego's LCC, amongst others.

English Heretic is an autonomous creative research project helmed by writer, occultist and multimedia artist, Andy Sharp. Having released over a dozen albums and booklets since it's inception in 2003, the project culminated with the publication of The English Heretic Collection in 2020 by Repeater Books. Friend and collaborator of the late Mark Fischer, Andy has talked at academic conferences and counter-cultural events on a wide range of subjects drawn from his research.

This is the second release from Tina Records, following Cargo Cult by Roberto Musci. Featuring remixes from Cut Hands and Nokuit, that record received airplay from the likes of Surgeon and Not Waving on stations such as NTS, Noods, Resonance and Intergalactic FM. It was also named one of the best releases of 2024 by Bleep. Tina Records is based in London and Rome.

“Detraex Corp arrives on Sagome to deliver a heady journey through experimental rhythm and dub-informed weight and release with their new album Live at Pompeii. The album, much like its Carlo Gabriele Tribbioli created artwork, represents a journey, a collection of sounds and emotions, sequenced to share with us, the listener, a variety of experience, and of memory, which are at once familiar and other.
"Live at Pompeii sets things off with the tone-setting Tykes of, where frazzled, shuffling drums meet sub bass weight and ketamine oud, sounding something like Wordsound’s Scarab leaving the 90s and entering the future. Tombaroli invites the head nods, clearly communicating the album’s intentions and inviting us to that party under that out-of-town bridge with its insistent percussion and pulsing weight.
"Other tracks, such as Bullet Holes, carry us further into a psychedelic alternative, with its lysergic fever-dream soundtrack to an unnamed mediterranean plaza, and No Minus’s sounding like a nascent, primitive distant cousin to Jeru’s Premier-produced Come Clean.
"Channel 83 firmly returns us to the club, weaving mystical soundsystem magic with its stunted horns and swirl of voice, driven forward with the most chest-rattling of stomps, before the album enters its finale, where the grimey judder of Expect Excerpt slides to a bleary-eyed half-speed, evoking the club which won’t let you leave.
"Mount Point eventually provides that release, an early morning sunrise of a track, with rich, slow trudge and post-club shimmer, before Landings Dub signals the end of the journey, a metallic elegy to what has preceded, and a contemplation of your upcoming repeat listen, and re-entry, to the world of Detraex Corp.”

Words by Daniel Magee
Music by Detraex Corp
Mastered by Giuseppe Ielasi
Artwork and Layout by Carlo Gabriele Tribbioli

Cintura Interna is João Hã’s new release for Sucata Tapes, a work shaped by accident, drift, and unlikely connections. Its guiding notion comes from “Música Careca” (Bald Music) — a strange term apparently used by Jean Dubuffet to describe his own sound experiments. Dubuffet wasn’t a musician, but he was bald; the phrase lingers as an apt description for music that is naïve without innocence: amateur bruitism, soft sound, raw and direct, where intention is left exposed to errancy.
The piece itself came together without project or plan, eventually forming what Hã calls an “accidental Frankenstein” — or perhaps Frankenoise. Built from recordings made more than 15 years ago on cassette and obsolete equipment, mixed with more recent material, Cintura Interna bridges time and decay, refusing diaristic or documentary framing.
As an unexpected detour, the release also includes a version of the garage classic Louie Louie.

Feuerschwanz - Methämmer // 2LP Ltd. Edition - Jetzt endlich auch auf Vinyl! Für Sammler und Vinyl-Fans gibt es Methämmer jetzt als: Golden Nugget Doppel-LP 180 g schweres Vinyl Gatefold-Cover limitiert auf 2.000 Stück PO-Start: 02.10.2025 VÖ: 05.12.2025 Mit Methämmer präsentierten Feuerschwanz ihr achtes Studioalbum - und setzen damit einen wichtigen Meilenstein auf ihrem Erfolgsweg. Ursprünglich als augenzwinkernde Mittelalter-Folkband gestartet, zeigt sich hier erstmals der deutliche stilistische Wandel hin zu einem härteren, metallischeren Sound, der bis heute prägend für die Band ist. Während satirischer Humor, Gesellschaftskritik und ausgelassene Festivalstimmung weiterhin fester Bestandteil bleiben, überzeugt Methämmer auch musikalisch mit kraftvollen Riffs, eingängigen Hooks und epischen Hymnen. Einer der Höhepunkte des Albums ist der Song "Schubsetanz", der sich bis heute zum erfolgreichsten Track der Bandgeschichte entwickelt hat - mit über 10 Millionen Streams allein auf Spotify. Gemeinsam mit Titeln wie "Die Hörner hoch" oder der epischen "Krieger des Mets"-Trilogie zeigt der Song, wie gekonnt Feuerschwanz zwischen Parodie, Metal-Hymne und mitreißender Live-Energie balancieren. Methämmer markiert einen klaren Wendepunkt: Mit diesem Album legten Feuerschwanz das Fundament für ihren kometenhaften Aufstieg, der in den Folgejahren mit Chartplatzierungen an der Spitze der Offiziellen Deutschen Charts (Memento Mori, Fegefeuer) seinen bisherigen Höhepunkt fand. Die Band hat sich längst aus der Nische der Spaß-Fraktion befreit und gehört heute zu den erfolgreichsten Acts der deutschen Rock- und Metal-Szene. Jetzt erscheint Methämmer endlich auch als lang erwartete Vinyl-Ausgabe: Die auf nur 2.000 Stück limitierte und nummerierte Golden Nugget Doppel-LP kommt auf hochwertigem 180g-Vinyl im edlen Gatefold-Cover - ein Muss für Sammler, Fans und alle, die die eindrucksvolle Entwicklung dieser einzigartigen Band nachverfolgen wollen. Ein Album mit Kultfaktor - laut, lustvoll, legendär. LIVE: Lords Of Fyre Tour (Zusammen mit Lord Of The Lost) 7 Termine // 02.10. - 18.10. //Berlin - Leipzig - Offenbach am Main - Hannover - Fürth bei Nürnberg - München - Düsseldorf) Ticket: https://feuerschwanz.de/events/

Zur Feier ihres Debütalbums „Identity Crisis“ aus dem Jahr 2000 veröffentlicht Thrice das Album erstmals
seit über einem Jahrzehnt wieder auf Vinyl. Diese einzigartige Pressung enthält ein spezielles Album mit
exklusiven Fotos aus dem ursprünglichen Albumzyklus, die die Band aus ihren Archiven ausgegraben hat.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vols.
1 & 2: Fire & Water“. Diese einzigartige Pressung enthält den „Fire“-Teil des Albums auf transparentem
12-Zoll-Vinyl in Orange Crush und den „Water“-Teil auf transparentem Sea Blue-Vinyl.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vol. 3 &
4: Air & Earth“. Diese einzigartige Pressung enthält den Air-Teil des Albums auf transparentem, milchigklarem 12-Zoll-Vinyl und den Earth-Teil auf transparentem, hellbraunem Vinyl.
Diese Veröffentlichung ist Teil des ersten Band-Events mit speziellen Katalogveröffentlichungen, genannt
„Thrice-giving“, in der Weihnachtszeit.

Zur Feier ihres Debütalbums „Identity Crisis“ aus dem Jahr 2000 veröffentlicht Thrice das Album erstmals
seit über einem Jahrzehnt wieder auf Vinyl. Diese einzigartige Pressung enthält ein spezielles Album mit
exklusiven Fotos aus dem ursprünglichen Albumzyklus, die die Band aus ihren Archiven ausgegraben hat.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vols.
1 & 2: Fire & Water“. Diese einzigartige Pressung enthält den „Fire“-Teil des Albums auf transparentem
12-Zoll-Vinyl in Orange Crush und den „Water“-Teil auf transparentem Sea Blue-Vinyl.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vol. 3 &
4: Air & Earth“. Diese einzigartige Pressung enthält den Air-Teil des Albums auf transparentem, milchigklarem 12-Zoll-Vinyl und den Earth-Teil auf transparentem, hellbraunem Vinyl.
Diese Veröffentlichung ist Teil des ersten Band-Events mit speziellen Katalogveröffentlichungen, genannt
„Thrice-giving“, in der Weihnachtszeit.

Zur Feier ihres Debütalbums „Identity Crisis“ aus dem Jahr 2000 veröffentlicht Thrice das Album erstmals
seit über einem Jahrzehnt wieder auf Vinyl. Diese einzigartige Pressung enthält ein spezielles Album mit
exklusiven Fotos aus dem ursprünglichen Albumzyklus, die die Band aus ihren Archiven ausgegraben hat.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vols.
1 & 2: Fire & Water“. Diese einzigartige Pressung enthält den „Fire“-Teil des Albums auf transparentem
12-Zoll-Vinyl in Orange Crush und den „Water“-Teil auf transparentem Sea Blue-Vinyl.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vol. 3 &
4: Air & Earth“. Diese einzigartige Pressung enthält den Air-Teil des Albums auf transparentem, milchigklarem 12-Zoll-Vinyl und den Earth-Teil auf transparentem, hellbraunem Vinyl.
Diese Veröffentlichung ist Teil des ersten Band-Events mit speziellen Katalogveröffentlichungen, genannt
„Thrice-giving“, in der Weihnachtszeit.

Dharmacide is a Spanish band known for their eclectic fusion of genres, blending elements of shoegaze and dreampop music. Their sound is marked by intricate guitar riffs, powerful drumming, and deep, emotive vocals that create a unique atmosphere. The band, with members of Alcalá Norte and Depresión Sonora, has made a huge impact on various stages, performing at renowned venues and festivals, including iconic spots in their home country as well as internationally, earning praise for their high-energy performances and thoughtful compositions. Their latest singles have been produced, mixed and mastered by Mark Gardener from Ride. "Tougher Than the Rest" is their awaited second album. They take a step forward with a darker sound with gloomy riffs and ethereal voices in which they describe perfectly how the sound of a night full of random events -that surely, we all have experienced- would be like. Their sound is influenced by today's bands like Diiv, Warpaint or Beach House but also by classic artists like Cocteau Twins, Nick Cave and the Bad Seeds or Tom Waits. 'The Cigs, The Light, The Coffee and Crying' is the first single in which we find a powerful reverb-laden riff with a solo vocal melody in the middle of the chaos until breaking into a powerful chorus. Their debut LP "Cult Band Member" (2021) is sold out and the growing interest in the band anticipates that copies of this new album will not last long.

French musician, producer, and live artist Contre Soirée aka Olivier Decodts makes a significant return to Veyl with 'Psychiatry', a four-track EP shaped by deeply personal experience and emotional intensity. Rooted in post-punk, the release blends electronics with guitar parts, everything performed by Olivier himself.
What may have initially sounded like a PR stunt quickly revealed itself as anything but: ’Psychiatry' was conceived, completed, and sent to the label during Olivier’s stay in a psychiatric hospital. The first three tracks form a raw and honest narrative, tracing the events and emotional journey leading up to his hospitalization and explore the boundaries between vulnerability and resilience.
Closing the release is a cover of the Pixies' 'Gauge Away', a long-time favorite of Olivier’s. His rendition pays tribute to the original while placing it firmly within the emotional and sonic context of the EP, a final note of reverence and catharsis.
'Psychiatry' is a fearless expression of personal truth, pushing beyond the dancefloor to uncover something more intimate and affecting.

New York-based producer Kurilo opens Tripsitter Records’ debut vinyl with "Take the Excitement", a hypnotic blend of rumbling bass and spacey synths. It's an immersive soundscape, perfect for both psychedelic journeys and late-night afterhours.

Next up, KVRK delivers a mind-bending techno cut—an intense, pulsating ride that feels like crossing an event horizon. Relentless and otherworldly, it transports listeners into uncharted sonic territory.

On the flip, Spain’s T.S.O channels '90s tech house with a bass-heavy roller full of nostalgic flair and modern groove. It's a confident dancefloor weapon, bridging classic vibes with a contemporary edge.

Closing the release, Jubley shifts into darker territory. With punchy percussion and eerie textures, his track oozes tension and atmosphere. A bold departure from his usual style, it’s a gripping end to a standout first release.

Acclaimed Scottish composer Craig Armstrong releases his new work Pacific via his own label CMA Records. Written for piano, cello, and electronics, the three-movement piece was originally commissioned in December 2024 by Christian Kellersman, a pioneering figure in contemporary classical and jazz music, for his new live event series Berlin Confidential, co-curated with Alexander Szlovák. The series aims to promote innovative new music projects, with a particular focus on emerging musicians and composers.

Armstrong was among the first artists invited to perform as part of Berlin Confidential, premiering Pacific at Berlin’s historic Meistersaal concert hall in March 2025. The concert featured Armstrong on piano alongside cellist Lena Angelina von Almen and producer and musician Guy Sternberg, combining acoustic instruments with live electro-acoustic treatments to create a rich and atmospheric sound world.

Recorded in May 2025 at Lowswing Studios in Kreuzberg, Pacific continues Armstrong’s ongoing exploration of blending acoustic and electronic sound in a natural, seamless way. Over several days in the studio, Armstrong, von Almen and Sternberg developed the work’s intricate textures and dynamic interplay, resulting in a recording that captures both the intimacy and expansiveness of the original live performance.

Speaking about the inspiration behind the piece, Armstrong says: “I wrote this work during a time of great instability in the world, I wrote “Pacific” as an Elegy dedicated to the many suffering in today’s conflicts and in the hope that peace will prevail.”

Across its three movements, Pacific 1 is elegiac in nature, with the main themes stated and developed throughout the piece, punctuated by recurring piano motifs. The movement is reflective and atmospheric, with subtle electronic interventions. The second movement is arrhythmic in nature, following shifting time signatures that reflect a sense of uncertainty - the music is searching and static, ending without resolution but leaving hope for one to come. Pacific 3 moves towards peace and resolution, bringing the work to a close with quiet strength and emotional release.

When speaking about the creative process and his collaborators, Armstrong said: “Lena’s beautiful playing , tone and expression worked so beautifully on Pacific, Lena was also a great collaborator and was always willing to experiment and try new musical approaches. Lena is such a natural musician and she brought so much emotion and beauty to the piece. I wish her all the best in her future musical journey.”

He continues: Guy is a unique combination of being a brilliant engineer and mixer and a prolific very talented musician/composer. I was very fortunate to spend time with Guy in his studio in Berlin. His sensitivity to the project and his electronic programming made a wonderful contribution to the composition. His collaboration and friendship made the days working in Berlin such a great experience I would like to thank Emma Ford for her dedication, enthusiasm and guidance on Pacific”

For both von Almen and Sternberg, the collaboration was equally meaningful. Von Almen reflects on the experience of recording the piece, saying: “As a musician, it is always a great privilege to work on a piece together with the composer, and of course I felt even luckier to go through the process of creating something new with an artist like Craig Armstrong. Figuratively speaking, it felt like knitting a silk scarf: using the finest materials and taking the utmost care during the recording, we have realised another beautiful and touching work by Craig, which will bring us and certainly many others great joy. I feel very honoured to have been part of this and to have experienced this warm encounter.”

Sternberg adds: “Diving into Armstrong’s music while working on this record felt like examining a diamond under a microscope, discovering endless beauty within simplicity. Perfection and complexity emerging from simplicity, where every note, tone, noise, and gesture has meaning. I’m deeply grateful to have been part of this process, and for the freedom Craig gave me to express myself through his music, to let our sonic visions merge into one. It’s been both a lesson in music-making and in setting the ego aside, if only for a moment.”

Reflecting Armstrong’s belief in the role of music as a force for empathy and reflection, proceeds from Pacific will be donated to charities working towards peace: Médecins Sans Frontières and the Red Cross.

The limited-edition vinyl release has been pressed on Eco Vinyl at SeaBass Vinyl, a sustainable plant near Edinburgh. The record features striking cover art by Dirk Rudolph, who has designed several of Armstrong’s previous releases.

Berlin-based Amy Dabbs makes a long-awaited return to Shall Not Fade with Green Room EP - four uptempo club heaters spanning UKG, high-energy house, and breaks.

The EP’s title pays homage to Renate’s Green Room, the floor within the renowned Berlin club where Dabbs has held her residency since early 2023. Each track was both written for and road-tested at her monthly Dabbs Traxx events in this space, where she’s cultivated a tight-knit community of UKG lovers in the heart of Berlin.

“When I started writing this EP, my goal was to create music that would fit perfectly into my nights in the Green Room, bringing in the London sounds I grew up on, across all the genres I usually play at Renate. This EP is a tribute to everything Renate has given me: opportunity, community, and a platform for my authentic UK sound.”

Opening track Take Me High launches straight into peak-time territory, with old-school-inspired rave stabs, staccato vocal flicks, and deep, subby basslines. Over You turns the heat up even further - a track built from choppy vocals and UKG basslines before melting into a warm chord progression; a perfect example of Dabbs’ ability to fuse high-energy rhythms with spine-tingling emotion.

On the flip side, Style & Pattern, featuring the signature tones of London’s Alfie Fraser, is a pure UKG cut - underpinned by lush pads and arpeggiators, topped with Alfie’s unmistakable live vocals to create an uplifting dancefloor heater dripping with London swagger. Closing the EP, The Way delivers a tear-jerking breakbeat finale, layering syncopated percussion, emotive vocals, and an old-school piano breakdown; it’s a sublime end-of-the-night moment and a fitting closing track for an EP which honours one of Berlin’s most beloved clubs.

Back again with another release for the Meeting Of The Minds series, this time with lucky number 13!

First track on this is by me & Fez The Kid, who has been regularly sending me music for years, most of which I admit to sleeping on due to the sheer volume of demos submitted to the label. But when I was able to actually check some music that he sent me, there was one tune (at the time called All Round Juggling) of his that I gave me a few ideas on how it could sound. He was thankfully up for me working on it with him & the end result is "Skin Out Crew (Magnificent Mix)", which I've been playing a lot in sets this year.

"BDC" is a track done by me & The Last Ronin (aka Stretch & Enjoy) which they had started and I was really into it because it reminded me of some of the "ruff with the smooth" ragga jungle style tracks I'd hear on labels like Slam!, Tom & Jerry, Kemet & so on. It was really fun to work on this with them & we were also able to do a 2nd collaboration, which will be coming out on the next Defender compilation on Stretch's label AKO Beatz.

Settle Down is someone that was on my list of potential collaborators for a long long time but I just kept neglecting to reach out to him about actually doing something together. I eventually got round to getting in touch with him last year for collaborating on a track for Meeting Of The Minds, so he sent me something he had started, which I added some more to & sent back to him, so that he could add the finishing touches. The end result is "Shell Of A Man", which I like because it's quite sparse & ominous, dark but not in the typical "darkside hardcore" way.

"Altitude" by me & Flex Luthor has been through quite a lot haha. He initially reached out about working on a tune together in 2021 & at the time, I was keen but already quite occupied with other artists I was collaborating with for the series, as well as contemplating ending the series on Vol. 10, due to the amount of work it takes to compile each one (which also explains why Vol. 14 is not currently ready for release yet). But around the end of 2022, he sent me a track he had done where he said that he was struggling to get any kind of bassline that he was happy with. I liked what he sent so I asked him to send the track over for me to work on, but I then sat on the track for a whole year due to other commitments before finally working on it in 2024, during a long plane ride where I had time to actually focus on it. I was able to get the track to a place we were both happy with, until it became one of the tracks of mine that got lost when my backpack was stolen a few weeks later, with my computer inside. I didn't have the backup of the project, so unfortunately, we had to master this track for release from the mp3 file of the first & only version we had of it. I think it still sounds fine though, especially as this is not the first (or only) time I've had to send mp3 files off for mastering, but yeah, what a journey this tune has had!

End of 2023, changes surfaced in and around me. In the middle of it, I decided to pack a bag, turn off my phone and leave for Los Angeles. I found this tiny house on Airbnb that had a studio in the back. I spent 95% of my time there, figuring out what was happening inside of me while writing demo after demo. When I came back to France a couple of months later, everything had changed, my old life was gone.



The year that followed was full of new experiences, feelings, habits and occasional songs. I went back to my parents’, rented a 22m2 apartment in Paris for 6 months, travelled to the other side of the world, ran a lot, started therapy, had sex, missed, chased and eventually held.


One thing that never left was the music. I’m so grateful for what it has brought and keeps bringing into my life every day.



Archwood is the playlist of these past 2 years of my life. It’s the name of the street where I stayed in LA. Archwood is a chapter I’m finally able to share and it feels very, very good.

ROTTEN, FOUL, DERANGED!

Around the end of the 1980s and the first years of the 1990s bands like PUNGENT STENCH, DISHARMONIC ORCHESTRA, DISASTROUS MURMUR or MIASMA made a name for themselves by putting out some classic albums. "Been Caught Buttering", "Changes" or "Expositionsprophylaxe" were records spawned by Austrian hordes which were globally hailed by devotees of Death Metal. As fertile a soil Austria once seemed to be, throughout the last 30 years not one single Death Metal album was put out that would match the quality of the pioneers.

Apparently, it took Brenton, an Australian settling in Vienna, to eventually put Austria on the map again. After having founded FESSUS with 3 other members in 2023, the quartet put out their first demo "Pilgrims of Morbidity" in the same year.

Now, two years after the very promising demo, FESSUS return with their first full-length. Cryptically entitled "Subcutaneous Tomb" the album's six lengthy songs stylistically continue where the demo left off. Whereas other bands focus on hyper-speed, over-technicality and brutality, FESSUS' brand of Death Metal is mostly played in moderate tempi with outbursts of speed and aggression scattered throughout the album. The songs are foremost characterized by memorable compositions and groove. Every song literally oozes with morbidity and conjures a dense macabre atmosphere. Brenton's vocals which are partly reminiscent of NECROPHAGIA's Killjoy are one of the highlights of the album. With his performance being equal parts versatile and deranged, Brenton spews vile bile and brimstone like not many lunatics before him. Although there are hints of other bands like AUTOPSY or PURTENANCE found on the album, FESSUS actually managed to come up with a sound that’s distinctly their own.

"Subcutaneous Tomb" is a perfectly produced album that those worshipping at the altar of morbid, rotten Death Metal can't afford to miss out on.

Recording, mixing, mastering: Thomas Taube (Five Lakes Studio)

Dieses spezielle Vinyl-Boxset enthält den kompletten Original-Soundtrack des Spiels sowie die DLC-Musik für Stir of Dawn und Wounds of Eventide. Der 4LP-Schuber in limitierter Auflage ist mit einem maßgeschneiderten Coverartwork von Diego Minguez sowie bedruckten Innenhüllen mit Artwork von Jesús Campos „Nerkin“ verziert.

Blasphemous präsentiert eine alptraumhafte Variante des mystischen Katholizismus und der gotischen Architektur der Heimatstadt von The Game Kitchen, Sevilla. Das angesehene Metroidvania-Spiel ist voll von verdrehter religiöser Ikonografie und esoterischer Symbolik. Die eindringliche Musik des Komponisten Carlos Viola ist untrennbar mit der einzigartigen Atmosphäre des Spiels verbunden. Er übersetzt Themen wie Leid, Schuld und Einsamkeit in eine tief emotionale Musik, die von der Tragödie zur Transzendenz drängt.

Der Soundtrack beschwört ein spezifisches Gefühl von Ort und Zeit herauf und schöpft aus den Traditionen der spanischen Folkgitarre, mittelalterlichen Chorälen und orchestralen Verzierungen, um eine Art okkulte Kammermusik zu schaffen. Geschmeidige Streicher und schwebender Gesang kreuzen Wellen kolossaler Drones, bevor sie wieder im Morast versinken. Hypnagogische Passagen pulsieren mit übernatürlicher Kraft, während klagende, beunruhigende Klavierstücke für Momente des Alleinseins inmitten des Gemetzels sorgen. Violas prächtige Kompositionen werden durch Beiträge der Instrumentalisten Sergio Carmona (Bass) und Manuel Soto "Noly" (Gitarre) sowie durch die mitreißenden Gesangseinlagen von Nadia Torres und Dolores Berg unterstützt.

Wie das Spiel selbst ist auch die Musik von Blasphemous beunruhigend und von Leid durchdrungen, aber dennoch seltsam schön und fesselnd. Schnappen Sie sich Ihr Schwert und Ihren Rosenkranz, bevor Sie eintauchen - Sie werden beides gebrauchen können.

„Wenn alle verschwunden sind, wer fliegt dann dieses Ding?“ Demon Records präsentiert ein exklusives Audio-Abenteuer für den zehnten Doctor, geschrieben von Dan Abnett und gelesen von David Tennant, begleitet von Murray Golds mitreißender Version des bekannten Doctor Who-Themas. Die Tardis materialisiert an Bord eines bahnbrechenden Weltraumkreuzers, der von der Erde zum Planeten Eternity reist. Als plötzlich Passagiere und Besatzung verschwinden, müssen der Doctor und Flugbegleiterin Sugar verhindern, dass das Schiff abstürzt. Doch auf Eternity erwartet sie etwas Schreckliches… „…ein straff strukturiertes und durchweg unterhaltsames Sci-Fi-Thriller-Abenteuer… und das alles getragen von einer gewohnt energiegeladenen Lesung von David Tennant.“ – SFX Magazin Diese spannende Geschichte erscheint als 2LP auf durchscheinend gelbem Vinyl in einer breiten Hülle mit illustrierten Innenhüllen – exklusiv zum Record Store Day Black Friday Event.

AOKI takamasa and Tujiko Noriko’s 2005 album »28« has become a cornerstone in the artists’ respective discographies. 20 years after its initial release, Keplar issues it on vinyl for the very first time. Three years in the making, »28« saw the sound artist and the avant-pop singer-songwriter combine their distinct aesthetics for an album that defied categorisation. Their combination of advanced electronic experimentation and pop appeal paved the way for a new generation of artists and turned »28« into an enduring fan favourite. Remastered by Stephan Mathieu, the reissue comes with a brand-new artwork by Joji Koyama and a changed track listing—authorised by Takamasa and Tujiko—for the vinyl version to fit it on a single LP, while the digital version remains identical to the original release.

Tujiko and Takamasa first shared the stage together after the turn of the millennium. Both were emerging solo artists, with Takamasa a mainstay on the Progressive Form label and Tujiko forging a connection with Mego in Vienna, Austria. »I simply liked Noriko’s voice and music, and since we often performed at the same events, it felt like a natural progression for us to start working together,« remembers Takamasa. They first collaborated in 2002 for two shows at the Fondation Cartier in Paris and at SonarLab in Barcelona, respectively. The first joint piece was a rework of Tujiko’s »Fly« from »Hard Ni Sasete (Make Me Hard)« by Takamasa, appearing as the album opener »Fly2« on »28.«

After that, the Paris-based Tujiko and Takamasa, still based in Osaka, worked sporadically and remotely on new material. For the first two years of their collaboration, the two met in the context of live events or Takamasa’s visits to the French capital to discuss their process and exchange hard drives while also occasionally sending each other CDrs in the mail. »Aoki made beats and sounds that complemented my music perfectly, building the foundation on which my voice could float,« Tujiko says today. Takamasa used hardware such as the Nord Modular, the Korg Z1, and the Korg ER-1, while also working with different kinds of software and plug-ins as well as Logic. Tujiko was using Cubase, her preferred piece of gear at the time being an AKAI MPC.

After Takamasa moved to Paris in 2004, this enabled the duo to finish the album together in person. Starting with its subtle use of glitches to the almost-anarchic way in which it deals with the structures of a song, »28« came to be an incomparably intricate album. 20 years on, it remains timeless because of its flawless synthesis of the cutting-edge avant-garde ideas of early 2000s electronica with an idiosyncratic but accessible pop sentiment. Both artists look back fondly—though not uncritically, with Takamasa noting a certain »youthfulness« in his contributions—to the album that was titled after their respective age at that time. »Maybe we should make ›51‹ now?,« quips Tujiko. See you in three years, perhaps.

Moving freely through time and space via experimental DIY recordings since 2009, Joasihno return with their fourth album "Spots".

“Find your spot in the shade,” a truly laid-back and incredibly soft-spoken MC once advised, yet in a world that seems to get shadier every day, it’s probably time to finally get out and face the sun. Southern German experimental pop duo Joasihno – initial solo founder Cico Beck (The Notwist, Aloa Input, Spirit Fest) and drummer/composer Nico Sierig (Instrument, Fehler Kuti) – seem to know exactly when it’s time to shine. Idiosyncratic genre tweakers since day one, they have been operating at their own pace, mostly staying in their own shady corner. Yet, almost a decade after their most recent “Meshes” (an album that came with a whole legion of tiny music robots), it’s high time for them to take over more corners, to reclaim even more spots between lo-fi and sci-fi, retro electronica and contemporary classic. Drawing upon influences as varied as Reich, Riley, and Ryuichi, múm, Meek, and Moondog, while also nodding to other experimental twosomes (e.g. The Books), the duo’s fourth full-length “Spots” is set to arrive via Alien Transistor in late 2025.

Leaving soulless automation and all things artificial to others, Joasihno launch the latest record on “2 Squares” that feel like a peaceful, almost bucolic version of retro space age: lights blink ever so softly as easy-going bass tones point at today’s introspective flight arc. Electronic shapes align and things lift off – with a majestic 8-bit sunrise soon appearing right in front of us. Whereas playful title song “Spots” is a miniature Rube Goldberg kind of device, with quirky plucked strings and glitches setting off more and more contraption layers, “Crackleboom” is uncharted energy, an open landscape, an expanding bonfire that leads to a long-forgotten piano, all dust-covered in some kind of saloon. Space might be only noise to others, here, it’s foreboding screeches (“Dizzle Whistle”) that make room for A-side center piece “Forest Lights”: a steady beat that lures us to a clearance in the woods. Things break and shatter in the distance, but this spot right here is for hypnosis, dancing, sylvan spirits. And yeah, it’s surprisingly hot down here in the undergrowth…

Opening side B with a fun banger that takes the unhinged dancing to the playground – “Characa Orb.” feels like French kids on swings going crazy, a tipsy, tongue-in-cheek electro blow-out between Oizo and Orbis Tertius –, things get even more cinematic throughout the second half. Even the cheapest, lo-fiest gear is sufficient to make “The Slow Hour” glow like true, timeless pop royalty. In fact, the very same pop spirits roam and celebrate freely in the chirpy coves of mesmerizing “Detune Lagoon” – more hand-crafted sci-fi/lo-fi loops you’ll only find after facing the ghosts of Lynch or Sakamoto on those night-time trails under the “Deep Moon”. It’s all DIY spots, spots that leave room to dream or dangle, drape yourself over or dive into. Returning to the leafy bower on a melancholy post rock tip, we eventually learn that “Death Is Real” – and so we’re left with a laterna magica that turns and turns and turns. It’s a beautiful spot where light and shadows keep on dancing, just like they’ve always done, ever since the dawn of this madcap universe.

Househead London launch their 2nd 12" release - a limited-edition Chicago Vs London sampler featuring Glenn Underground and Emmaculate Remixes.

Following a string of critically acclaimed events featuring Chi-Town royalty, Househead London further cement their relationship with Chicago on this vinyl release which features two of the city’s esteemed producers - Glenn Underground & Emmaculate - remixing two sterling new tracks from two of the UK’s most exciting producers - Prefix One and Wez Whynt.

Opening the EP is an artist who needs very little introduction, Glenn Underground. A leading international producer & DJ who seems to effortlessly slide between Deep, Soulful, Disco, Jazz and beyond, Glenn boasts an exceptional discography that very few could compete with. His Cosmic Disco Journey Mix here weaves its lo slung groove in a funky off-kilter disco style with piano ripples as Nambi’s voice shimmers on top. Nambi’s heartfelt soars across Glenn’s Cosmic Journey remix unfurling beautiful piano and taut Chi-town beats. Deep and vocal, it’s got that raw soul power that both Glenn and Chicago are known for.

Known for his exquisitely high attention to detail and quality, Emmaculate is one of the go-to producers and sound engineers in Chicago. Working closely with Terry Hunter on a multitude of projects and a shining light across the global soulful house scene, he’s regularly featured across impressive labels such as Dopewax, Yorubasoul, United Music, Soulstice Music and S&S Records. His lush, tough-edged Remix of ‘Feelin’, rolls on with melodic piano hooks to unlock the groove and boosted with extra keys and vocal refrains before the full vocal unfolds. Solid and deep, “Feelin’ is pure joy for the dance floor.

Interstitial Spaces is Martin Brandlmayr’s debut release on Faitiche. In this award-winning radio collage, the well-known drummer and composer (Radian, Polwechsel) explores the quiet moments in music and film recordings.

The last notes of a piece of music fade out in the space. The pianist and the violinist remain frozen in place, holding their breath. The sound engineer sits silently at the desk. Once he has switched off his tape machine, the dull drone of a ship’s horn is heard in the distance. Otherwise, not a sound. Or was there something else hidden in the white noise?

Interstitial Spaces is based on short excerpts from music recordings, films, TV adverts and field recordings. Brandlmayr takes these quiet scenes, intervals in which nothing seems to happen, and brings them into the foreground, subjecting them to a microscopic spotlight. Moments in which one hears only the space itself, or the subtle presence of someone in the space: faint breathing, footsteps and the soft creak of a chair. We also hear preparations for an orchestra rehearsal: the musicians are all busy tuning their instruments, talking to each other, the concert has not yet begun.

This leads to a shift in perception: incidental details hidden in the hubbub of voices or in the silence suddenly take on a leading role. In the empty spaces, we discover various shades of noise, sharpening our awareness of sonic peculiarities. In a gentle rhythm, Brandlmayr’s radio collage offers a sequence of strange, not immediately identifiable sounds that are woven in the second part into a dense structure. At the end, the carefully captured sounds are released back into the empty space. Interstitial Spaces is a bold spectacle that celebrates the eventful uneventfulness.

For his last solo record ‘Through a Room’, Bill Nace shifted his usual saturated guitar sound and added tapes, hurdy gurdy, doughnut pipe, bird calls and the mysterious Japanese taishōgoto. Setting up for the final night of his three day residency at OTO with only the taishōgoto soundchecked, Nace hoped that Parker would arrive with his small soprano as its opposite. “I’ve been interested in state change, you know, playing until there’s a shift in time.” Known for his development of multiphonics to produce a constantly shifting pattern, Evan Parker has evolved an instantly recognizable sound - his work the soprano most distinct. Happily, it was the soprano Evan brought with him and as soon as the two start to play they entwine - taking off in a double helix of keys and reed primed for endless reconfiguration. Space warps under the velocity of playing, the pitch rising unrelentingly. It felt like unending lift off in the room, sheer energy until the last note makes remember your feet have been on the floor the whole time. Total time bending shredding.

–

"They had never played together before. They had never even met each other before this springtime 2024 concert at London’s Café Oto.

Evan Parker, circular breathing maestro of the saxophone, a legend in the universe that is Free Improvisation since the late 1960s and Bill Nace, one of the most intriguing experimental “noise” guitarists of the 1990s/2000s underground scene.

For those of us who have been enamored by the live and documented work of both these gents, this Café Oto duo was a must-hear event. It could have gone anywhere musically and that would have been totally fine. Particularly with Evan having a history of being thrown into a variety of challenging collaborations throughout his career, employing the learned elegance of trust in his own sensitivity to listening, responding, leading, following, sparring, intertwining, dialoguing, creating in the instant and, essentially, dignifying the non-hierarchical grace of chance.

The aesthetics of socialist consideration in Evan Parker’s playing, in his community of expanded and personal technique, for a younger player such as Bill Nace, strikes an exemplary model. This notion of respect would be entirely the reason Nace, when offered a residency at the most critical “new music” room in England, would request to play in duo with Parker.

Bill Nace came to prominence mostly during the apex of experimental music activity in and around Western Massachusetts in the early days of the aughts, with a focus on visual art and free improvisation guitar action. He could be found in the daytime hours, his head hanging down over a notepad, penning fine-tuned illustrations and abstract line drawings, while in the evenings he’d be attending any number of basement noise gigs, many of which he’d be participating in. His guitar style came across as being informed as much as by the physicality of his writing utensils in friction to the page as it was to his hearing and redefining of radical recordings ranging anywhere from the Black Unity Group to Black Flag.

Utilizing various metal files and other small cylindrical objects Bill would allow his guitar and amplifier to be in tandem with the improvisatory movements of his body as the instrument balanced, intentionally and, at times, precariously, upon his lap. The performances came across thrilling and daring and they would be mostly in the context of venues nothing more than a low-ceilinged damp and dank New England basement, a clutch of people hanging onto rusty pipes or sitting up on dilapidated washer/dryer machines, the shards of Bill’s “file guitar” sounds ringing out like the most alive music on Earth.

By the time Bill reached Café Oto in early 2024 he had relocated to Philadelphia all the while releasing a succession of collaborative LPs on his Open Mouth label to present his developing progression of solo and collaborative work. He also would find himself considerably engaged with playing the electric taishōgoto, a keyboard-activated string instrument from Japan which can exist as a one, two, four, five, or six string oblong sound object. Bill’s approach to the taishōgoto would not be too unlike his approach to the traditional electric guitar, though no outboard implements such as files, sticks, and rocks are utilized. The similarity would lie wholly with Bill’s full immersion of high velocity action-playing where, with the taishōgoto, an electric drone beauty occurs. The flurry of sonics and resultant harmonics emanating from the amplifier (which Bill opts to dial into with borderline loud-as fuck volume settings) furthers the meta-mantra properties of the instrument in an astounding display of drone dynamism.

This sound world of Bill’s two-stringed taishōgoto on this Café Oto night worked beautifully with Evan Parker’s improvisatory saxophone conceptions. The duology achieved instant lift off at ground zero only to find it’s eventual finale as if it were organically ordained. Time seemingly morphed from its ancient human construct of control, rendered inconsequential to the torrential transcendence of the room wildly activated by the magic resonance of the multi-directional pan-spatial sonance of the music as if it were some beatific blessing. It was one of those nights where art as a liberating force of spirit gifted the listeners with an offering of exaltation and joy. It was entirely mystical and mind blowing. A night of Total Music."

Thurston Moore, London, 2025

Slip is Paul Abbott’s response to his 3 day residency at OTO in 2023. It’s a continued exploration of the acoustic-digital hybrid drum setup Abbott has been developing for some time, which involves drum kit and synthetic sounds combined closely—through an entanglement of limbs and cables—in an intimate but strange relationship with each other.

Paul Abbott hasn’t had any formal musical training, but has a long history of making music, having collaborated for years with Seymour Wright, Pat Thomas, Michael Speers, Cara Tolmie, Anne Gillis and many others. Eventually, led by a profound suspicion of what is fixed or limited, Abbott began finding other ways to organise sound - or what he calls ‘material’:

“I wanted a way to 'persuade' or guide the possibility of something happening - my activity or the events of an algorithmic composition - for example, but without certainty or formalism. It felt to me, during playing, that certain ideas had a particular sort of shape, but more than the form of a line. I began to write alongside (before/after) playing the drums, and ‘characters’ began to enter the scene as a more wobbly, and therefore appropriate option to notation. Working with these characters allowed me to simultaneously approach body, imagination, language and music: without dividing things up or separating these aspects from each other. It allowed me to leave things messy and entangled, whilst trying to deal with form and specificity: wanting to have some things feel or respond differently to other things at other times.”

In approaching his residency, Abbott developed a fixed cast of characters - crystal, lleaf, reiy.F, reiy.C, strike, nee, qosel, sphu and aahn. They each communicate using different kinds of movement and drum kit/s, and Abbott choreographed them as ‘dances’ based on different feelings, or outlines of behaviours suggestive of ways of moving (body, drums, sounds). He then arranged these characters into ‘compositions’: one for each performance day, with each composition featuring multi-layered activity - options for behaviours, ways to move around the rooms, play drums, develop synthetic sounds, change the lights or re-distribute the sound in the space.

After the performances, Abbott took home 9 hours of recordings split into up to 28 multitrack channels for each day, and re-organised his cast once more into a performance for 2LP, CD and digital. It’s an enormous amount of work - but Abbott is activated by the process. For him, the pleasure of unstable edges, possibilities, slippages, is the vital attraction. Like all living organisms, Abbott’s characters have malleability and responsivity. They stimulate a bundle of possible behaviours, a tendency to act a certain way, a temperament, a boundary of respective limits or affordances.

It’s an affective way of working, inclusive of Roscoe Mitchell, Sun Ra, Nathaniel Mackey and Milford Graves. In ‘Pulseology’(2022), Milford Graves reminds us, ‘Breath varies, so cardiac rhythm never has that (metronomic) tempo. It’s always changing. All the alignments of the heart are determined based on the needs of the cells, specifically tissues and organs. The heart knows if it needs to speed up.’ In Slip, to slip, in a heartbeat, is to descend not into the grid of the even metre accorded to the heartbeat, but into a play of mutability and modality. To change is the condition of the heart.

Do you believe in spring? Simon Wangen (cello) and Philipp Sutter (piano) pose this question as the title for their new project. Whereas Bill Evans made a demand in 1981, the two Cologne-based musicians believe that in times of uncertainty, crisis, and environmental destruction, it is ok to set a questin mark here. But politics and world events aside: Do you believe in spring? Of course! It's never too late to start something new, get creative, and test your own limits. Simon Wangen is a classically trained cellist, Philipp Sutter a trained jazz pianist. Their different musical roots merge on this instrumental album into a lively mix of neoclassical, new jazz, and Cinéma Nordique. Ten pieces come across as sometimes dark, sometimes wild, sometimes delicate, always focusing on the dialogue between the two instruments that harmonize so well. The subtle use of electronic effects constantly opens up new perspectives and builds a bridge to contemporary sound aesthetics. Cello and piano—this combination has been established for centuries, but can still add new facets today. Do you believe in spring? begins stormily and turbulently, oscillating between romantic, sad, and beautiful moments, and leads from a rather dark beginning to the final and eponymous piece in C major, which leaves the listener with a glimmer of hope. Do you believe in spring? From October 24, 2025!


Do you believe in spring? Simon Wangen (Cello) und Philipp Sutter (Klavier) werfen den Titel für ihr neues Projekt als Frage in den Raum. Wo Bill Evans 1981 eine Forderung formulierte, sind die beiden Kölner Musiker der Ansicht, in Zeiten der Unsicherheit, der Krisen und Umweltzerstörung durchaus ein Fragezeichen setzen zu können. Aber abgesehen von Politik und Weltgeschehen: Do you believe in spring? Natürlich! Es ist nie zu spät, etwas Neues zu beginnen, kreativ zu werden und die eigenen Grenzen zu testen. Simon Wangen ist klassisch ausgebildeter Cellist, Philipp Sutter studierter Jazzpianist. Die unterschiedlichen musikalischen Wurzeln verschmelzen auf diesem Instrumentalalbum zu einer lebendigen Mischung aus Neoklassik, New Jazz und Cinéma Nordique. Zehn Stücke kommen mal düster, mal wild, mal zart daher, stets die Zwiesprache der beiden so gut harmonierenden Instrumente im Fokus. Der dezente Einsatz elektronischer Effekte öffnet immer wieder neue Perspektiven und schlägt eine Brücke zur zeitgenössischen Klangästhetik. Cello und Klavier - diese Besetzung ist seit Jahrhunderten etabliert, aber kann auch aktuell immer wieder neue Facetten hinzubekommen. Do you believe in spring? beginnt stürmisch und aufgewühlt, changiert zwischen romantisch - traurig - schönen Momenten und führt von einem eher düsteren Beginn hin zum letzten und namensgebenden Stück in C-Dur, das die Zuhörenden mit einem Hoffnungsschimmer entlässt. Do you believe in spring? Ab 24.10.2025!

Or Kantor returns with his sophomore album Snake Island, a vivid and cinematic journey through imagined landscapes and lost love, for fans of Eden Ahbez and other seekers of sound and spirit.

Following the critical success of his 2024 debut Sarda Sarda, praised by BBC Radio 6 Music, FIP Radio, RRR Australia, WYEP, KCRW, and Songlines Magazine, Kantor continues to refine his distinctive sonic identity, grounded in instrumental storytelling.

With Snake Island, Kantor ventures deeper into what he calls Subterranean Music, an atmospheric fusion of Mediterranean ballads, desert blues, spiritual jazz, and psychedelic textures. Drawing inspiration from artists such as Gábor Szabó, Omar Khorshid, The Budos Band, Dorothy Ashby, and Tommy Guerrero, he crafts instrumentals that feel both timeless and cinematic.

"Snake Island was written as a soundtrack to a fictional film that disappeared from the world, one that most likely no one has ever seen," says Kantor. "It began as a tragic love story, imagined during my time on a remote island in the Cyclades. Every landscape felt like a scene waiting for music. Eventually, the story gave way to sound."

A respected tattoo artist and founder of the Love Light Studio, Kantor's musical path began after a chance encounter with Johnny Sharoni (Garden City Movement, A&R at Anova Records). During a tattoo session, Sharoni heard Kantor's demos and was immediately struck by their raw beauty.

Kantor now steps confidently into the next chapter of his creative journey. Snake Island is more than an album. It is a mythic, imagined soundtrack to a film that only exists in memory, rendered in tones that shimmer like heat on stone.

Vinyl only release of dynamic chicago improvising quartet consisting of Marilyn Crispell - piano * Jason Stein - bass clarinet * Damon Smith - double bass * Adam Shead - drums. Recorded live on the 18th of June 2023 at The Hungry Brain, Chicago by Bill Harris. A cross-generational summit between the legendary pianist Marilyn Crispell (member of the Anthony Braxton Quartet and Reggie Workman Ensemble) and Midwest improvising trio of bass clarinetist Jason Stein, bassist Damon Smith, and drummer Adam Shead delivers all the range and expressivity one would expect from such seasoned players. The concert captured on Live at the Hungry Brain moves organically from searing free jazz to contemplative, lyrical balladry, all of conceived in the urgency of the moment and revealing a long-ranging, intricate approach to free improvisation.

Damit eins gleich klar ist: Auf FARIN URLAUBs zweitem Album ist erst mal Schluss mit lustig.
Es dauert ganze vier Verse, und ein unmissverständliches „Feuer frei“ legt einem nahe, den Kopf für den
Rest des Albums lieber unten zu halten … und besser isses, denn es wird fortan konsequent mit der Gitarre
niedergemäht, was nicht in geduckter Haltung hinterm umgekippten Esstisch kauert*. Sogar die SkaAnleihen klingen nach Ska-ta-ta-ta-ta.
Und Pustekuchen für jeden, der glaubt, sich am wohlvertrauten Sound durch das hangeln zu können, was
da auf einen niederhagelt.
Da kommt einer eigenständig – aber diesmal nicht allein. FARIN URLAUB schart erstmals Teile seines
„Orchester voll Dynamit“ um sich, das ihn fortan live begleitet: Zwar spielt er – Bläser ausgenommen –
wieder alle Instrumente selbst ein, doch die Damen vom RACING TEAM leihen ihm diesmal ihre Stimmen.
Kein Wunder also, dass AM ENDE DER SONNE schnurstracks auf die 1 ging.
URLAUB hat ein fieses Album in eine fiese Welt geworfen. Eine Welt, über der ein teilnahmsloser Lichtball
prangt, um irdisches Elend unbarmherzig auszuleuchten („Sonne“). Eine Welt, in der man’s nicht einmal
mehr schafft, das Meer romantisch zu verklären („Unter Wasser“), weil man vom eigenen Haushalt mit
Anlauf aufs Maul kriegt („Dusche“), während einer mit dem Schraubenschlüssel rhythmisch auf die Heizung
hämmert.
Die 180-Gramm-Vinyl-Wiederveröffentlichung von AM ENDE DER SONNE erscheint am 21.11.2025 mit
Downloadcode.
*) Das Album ist nicht nur gewaltig, es ist auch großzügig, denn eventuell gibt’s einen Hidden-Track.

Within the world of theatrical archives, there are the known, the unknown, the forgotten, and the lost. Demetrio Stratos' stage compositions for Teatro dell'Elfo's groundbreaking 1979 production Satyricon - directed by future Oscar winner Gabriele Salvatores - represents one such lost artifact now wondrously returned to life. This radical sonic work, integrating extended vocal techniques, Balinese instruments, and pioneering whale song recordings, stands as the final masterpiece of Italy's most visionary vocal experimenter, lost for over four decades until Die Schachtel's extraordinary recovery. As Stratos himself explained: "The musical operation performed on Satyricon is particular: the composer-musician here does not compose, but borrows ready-made music, vivisects it, melts it, intervenes and recomposes it on magnetic tape. The structure of the signifier, from a morphological point of view, presents itself as a conceptual collage." The music is obtained by utilizing compositions and musical elements from David Behrman, Joan La Barbara, Balinese Ketyak, Turkish Nay flute, Yugoslavian bagpipe, Pan flute, and whale song, with synthesizer interventions by Paolo Tofani. It began as part of something known - a wild, immersive theatrical event that inaugurated Teatro dell'Elfo's historic venue in 1979, was almost entirely forgotten, becoming lost and then unknown. The original production marked a radical departure for the company: no longer popular street theatre, but a dark, immersive, sophisticated spectacle that transformed their space into a rough wooden arena with a sand floor. Demetrio Stratos, working with Paolo Tofani (fellow Area member), created an entire sonic universe that subverted every conventional function of stage music. Their composition wasn't accompaniment, but autonomous sonic dramaturgy that integrated extended vocal techniques, archaic electronic elements, Nay flutes, Balinese instruments, and pioneering whale song recordings. The result was a three-dimensional soundscape that enveloped audiences, creating an otherworldly acoustic dimension. Stratos' score even intervened in the actors' vocal delivery, with the recordings capturing both the performance and his coaching sessions with the cast. The production featured young actors destined for fame - Elio De Capitani, Ferdinando Bruni, Cristina Crippa, Corinna Agustoni, Ida Marinelli - guided by Gabriele Salvatores in this adaptation of Petronius' ancient novel. Shortly after the Satyricon performances, Stratos was hospitalized for the condition that would lead to his death at just 33 years old. This work represents his final composition - a haunting farewell from one of Italy's most innovative sound artists. Die Schachtel presents this recovered work in collaboration with Teatro dell'Elfo, pulled from the original magnetic tape and carefully restored. Satyricon '79 is one of the great artifacts of 1970s Italian avant-garde - a wild, grinding sonic expose which sucks the ear into its depths, made in the spirit of collaboration and creative risk-taking. The edition includes critical apparatus with essays, testimonies from protagonists, and period photographic documentation, documenting an unrepeatable moment where theatre, vocal research and sonic experimentation converged. This release marks a poignant moment in experimental music history - Stratos' final work, now rescued from the archives and restored to its rightful place in the canon of Italian avant-garde masterpieces. A true wonder of towering historical importance. As essential as it gets for any fan of experimental music, or the history of the Italian avant-garde. Fully restored and newly mastered from the original analog tapes. Absolutely essential.

Leviathan Whispers is an album of longings, laments, deliriums and drones, savage and sublime. Within are breaths, hums and bone songs for shadows and fl ames to dance to. Tim Hill is an inspirational fi gure within the UK arts, jazz, noise and improv world. A shapeshifting maverick exploring Britain's diverse musical traditions, from rough music to industrial folk, free jazz to dub, post-punk to avant-rock, incorporating ambient electronics, hymns and noise. Having worked with pioneering arts company Welfare State International, Tim’s performed inside Stonehenge, on the back of trucks at Notting Hill Carnival, leading giants through the streets of London, Dublin and Galway, at Olympic Torch events, celebratory feasts and leading humanist funerals. Tim is also festival director for The Sound of the Streets, a charity promoting outdoor music and musical director of the Wye Valley River Festival where he helps street bands across the country including The Big Noise in Taunton and Horns of Plenty in Oxford.

Leviathan Whispers is a spectral, contemplative selection of Tim's recorded work, including material created for art installations, outdoor projects, solo performances and personal meditations. Inspired by landscape and the eternal pull of Blake's Albion, baritone, alto and soprano saxophones are mixed with tape loops, old synths, recycled live recordings, woodwinds and reeds. Other sounds are processed by Colin Potter (Nurse With Wound) and drone artist Jonathan Coleclough. The album artwork and accompanying videos feature sound sculptures by Michael Fairfax (Royal Society of Sculptors) alongside unsettling visuals by fi lm-maker and junk-alchemist David Young. "an amazing player - there's a weight to his music with a wonderfully dark edge" Corey Mwamba / BBC Radio 3 Fans of Colin Stetson, John Surman, Anna Von Hausswolff , William Basinski and La Monte Young will fi nd much to savour on this new 12" LP. LAUNCH PARTY: we're holding a special launch event with a live performance and talk by Tim Hill on Saturday, 15th November inside a beautiful Victorian chapel beneath Royal Berks Hospital, Reading.

The first ASFON release has been a year-long labour of love that has come into being from what felt like a lucid dream, off in the distance, too crazy to believe was real. From our first meeting in the Freerotation yurt to late-night exchanges in Bristol, Winkles (Jamie Slater) has been sharing tracks that lingered long after the party ended. Their raw textures and warped sense of time found a natural home in our sets, eventually leading to the emergence of ‘The Unavoidable EP’, a collection of four diverse tracks which form a singular, immersive experience.

On A1 journey, The Unavoidable Consequence Of Familiarity, a knocking kick opens the door to this new sound world, introducing us to the granular clicks, crazed telephony and vocoded grunts which populate the deep space of Winkles’ imagination. Machines whir and perception shifts in the space between distant synth stabs, while a pulsating bassline battles to break through the filter and create a throbbing low end. Hallucinatory and deep, this is the perfect introduction to both the EP and the ASFON outlook.

Semi Stretches sees Winkles pick up a signal from beyond the outer rim, fire up the hyperdrive and lock into the rolling hum of intergalactic techno. Juggernaut bass forms the perfect counterpoint to the rapid fire rim shots trembling away up top as this Venusian club craft battles static, drives through the milky cosmic and transports the dancing bodies to a Multicoloured Plasticine Universe.

Cutting the engines and switching to suspended animation, Winkles lets us drift through a hazy dream-space where there’s no up or down, where twinkling arps, insectile electronics and hazy sirens coalesce into a psychotropic swirl.

Out of this multicoloured mirage comes Osaka-based astral traveller Erik Luebs, who translates that peak-time ambient bubbler into a Balearic chugger which emerges from the ether to add another dimension to the EP. Rubberised bass, velvet pads and nuanced percussion ensure this is perfect for poolside play in a land of pink sand and sideways tides.

DOUBLE VINYL
The full album on vinyl for the first time, packaged with the classic original Designers Republic artwork


ABOUT
To celebrate the 20th anniversary, Collabs 3000: Metalism, the original classic pure techno album and first full-length collaboration between techno innovators Chris Liebing and Speedy J, is remastered and reissued via NovaMute.

Originally launched by Speedy J (aka Jochem Paap) as a platform for 12" collaborations with other artists, the Collabs series laid the groundwork for what would become one of techno's most compelling partnerships. The first release with Chris Liebing, Collabs 300 (featuring 'Trick_' / 'Treflon_'), landed in 2004 to a rapturous response; its machine-funk intensity and unmistakable breakdowns helped define the sound of early 2000s techno whilst revealing a writing and production chemistry that demanded a larger playground for their work.

That creative spark ultimately manifested in Collabs 3000: Metalism, a landmark record for techno. Combining the pair's mastery of subversive electronics and peak-time techno, the album remains a career highlight for both artists: a smouldering collision of taut techno rhythms, sonic abstraction, and, as the title suggests, robust metallic beats.

The 20th anniversary edition of this timeless techno masterpiece has been fully remastered by Liebing himself and is available on CD and for the first time on vinyl across 2 discs.

With no musical background and without ever having performed in public, Zelmani rose to the top of the charts in 1995
with her self-titled debut album. Until now, she has released up to fifteen albums and was described as Sweden's answer to
Norah Jones. In 2005 she released A Decade Of Dreams 1995-2005, a compilation album featuring both fan favourites and her
personal favourite tracks of the decade.

This double LP features 18 tracks including “Going Home” and “Dreamer” and eventually reached #2 in the Swedish album charts.

1995-2005 A Decade of Dreams is available as a limited edition of 1000 individually numbered copies on crystal clear vinyl and includes a 4-page booklet with photos and notes about the songs.

Season of The Dead is a visceral, cinematic extreme metal project born from the twisted minds of Titta Tani (former drummer of Necrophagia and Goblin), Giacomo Anselmi (former Goblin guitarist and current member of Goblin Legacy), and Enrico Giannone, founder and owner of Time To Kill Records, acting as producer and visionary behind the entire concept. The idea is as brutal as it is clear: to resurrect the blood-soaked legacy of horror-infused death metal, channeling the rotten spirit of bands like Necrophagia, Mortician, and Fulci, while paying tribute to the grotesque imagery and raw energy of cult underground horror films. Influences range from Killjoy to City of the Living Dead, The Beyond, and Cannibal Holocaust, creating a soundscape that feels like a soundtrack to a lost VHS splatter nightmare.

The producers of the new hit Broadway musical BUENA VISTA SOCIAL CLUB and WORLD CIRCUIT RECORDS present the show’s Original Broadway Cast Recording, to be released in July 2025, recording produced by Dean Sharenow and David Yazbek. Step into the heart of Cuba, beyond the glitz of the Tropicana, to a place where blazing trumpets and sizzling guitars set the dance floor on fire. Inspired by true events, the new Broadway musical BUENA VISTA SOCIAL CLUB™ brings the GRAMMY® Award-winning album to thrilling life—and tells the story of the legends who lived it. A world-class Afro-Cuban band is joined by a sensational cast in this unforgettable tale of survival, second chances, and the extraordinary power of music.

The BUENA VISTA SOCIAL CLUB™ Musical officially launched at Broadway’s Gerard Schoenfeld Theater in March 2025 to huge critical acclaim and has been nominated for 10 TONY AWARDS. The show is produced on Broadway by Orin Wolf, John Styles, Barbara Broccoli, Atlantic Theater Company, Luis Miranda, LaChanze and John Leguizamo with Executive Producer Allan Williams, with Nick Gold (World Circuit) and Juan de Marcos González (Buena Vista Social Club) acting as consultants on the production.

I first remember meeting Eminence in 2019, at one of her Upraw events she was doing at the time in Leeds (now taking place in Bristol). She had booked me & Coco Bryce to play & since then, we kept in contact and she would send me her music that she was working on.

Last year, I heard that she had collaborations on the go with both Dwarde & Kid Lib, which made me curious about how those tunes would sound & when she sent me early previews of them, I was very keen on getting them for the label. It took quite a while for both of these collabs to get finished but eventually, after many back & forth between Eminence & both artists, we reached a point where everyone was happy (I think!) with the end results.

I was asked by Priori (a producer based in Montreal) who runs a label called NAFF about doing a remix of this tune called "First Step To Peace" by Sabola. I did the remix that month & both him & Sabola were pleased with how it sounded and it got the go ahead for release (should be out at some point soon!)

In February, I had a gig in Montreal where I was able to meet both of them beforehand to hang out and chat about music and such & getting to know Sabola in person, I realised that he had more interest in & knowledge about jungle than I had initially assumed. Also, he was occasionally producing jungle tunes, but none of them had been released before.

I asked him to send me some of what he had been working on & when he sent me "Close Your Eyes", I knew straight away that I needed to get him on the label in some form. I signed that track instantly and then waited for him to work on some more music for a Future Retro London release, which then resulted in "Give You Some Space" & that was all I needed.

In the end, I decided that rather than doing 2 separate 10" releases for the collabs Eminence had done with Dwarde & Kid Lib and the tracks that Sabola had made, it would be more practical to combine them into a split 12" EP release & here we are.

Big up to Eminence for her collabs (as well as her putting up with my constant chasing up of progress for the release), to Dwarde & Kid Lib for their work on the collaborations, to Sabola for his excellent work on his two tracks & to Priori for introducing me to his music.

47 marks TEN YEARS with its 47th and final release, closing the catalogue at 47047.

Launched as an event series by Tommy Four Seven in Berlin’s intimate Arena Club in 2014, the 47 parties paved the way to the label we’ve come to know today, inspiring and encouraging a host of interdisciplinary artists along the way. The imprint opened in 2015 with a V/A, and now, ten years later, 47 comes full circle with the release of its last-ever record and compilation.

As always, the various artist collection reflects the imprint’s long-running ethos of championing underground and upcoming talent. Titled ‘Ten Years’, the record features label debuts from Jin Synth, Casual Treatment, SAMA, Yrsen, and contributions from familiar faces like Pause, Rommek and AgainstMe, to name a few.

Across the 20-track V/A, each artist delivers precise and sonically rich productions, spanning several palettes. You’ll find a dreamy soundscape punctuated by blips and bleeps from Amotik. Claustrophobic atmospheres and winding rhythms by Innersha. Liquid melodies and maximalist basslines from Ana Rs. Moonlit synths and icy motifs by VSK. Club-driven 4/4 techno with a metallic sheen from ASEC. An emotive take on ambient and techno from Linn Elisabet. A spiralling trip with IDM touches from Nørbak, and more.

‘Ten Years’ mirrors the adventurous attitude of 47, celebrating the artists and sounds who’ve helped to build the label’s solid reputation, leaving an indelible signature on electronic music for years to come.