quête:face of drums

Der multidisziplinäre Künstler Jasper Marsalis, bekannt unter seinem Künstlernamen Slauson Malone 1, kündigt sein neues Album EXCELSIOR als Debüt für das Kultlabel Warp Records an. Unter den Juwelen dieses Albums befinden sich die Singles NEW JOY, eine faszinierende Erkundung des Vergnügens, das aus der Unterwerfung entsteht, und VOYAGER, die von der Zeit der Liebe und Freude nach Veröffentlichung seines von der Kritik gefeierten 2019er Albums 'A Quiet Farwell, 2016-2018 (Crater Speak)' erzählt, bevor er nach LA zog.

Das Wort EXCELSIOR verkörpert den ewigen Aufstieg. Slauson Malone 1 stellt es sich als metaphorisches Schwert vor, das im Besitz von jemandem unaufhörlich wächst, bis es in einem großen Finale die Erde spaltet. Diese Metapher wird zu seinem Objektiv, um alle Facetten der Männlichkeit mit einer neuen Klarheit zu erforschen, während er seine eigenen gelebten Erfahrungen anhand von Songs und Bewegungen auf dem gesamten Album hinterfragt, die von allem inspiriert sind, von der Grammy-preisgekrönten Komponistin Wendy Carlos bis hin zu den Ähnlichkeiten zwischen dem Ende der Liebe und der nuklearen Halbwertszeit. EXCELSIOR hat die Form einer Sammlung persönlicher Essays mit Vignetten, die ineinandergreifen und eigenständig sind, aber letztendlich dem Zweck dienen, Slauson Malone 1s bislang persönlichstes und fesselndstes Musikwerk zu bilden.

A familiar face in space·lab’s catalogue, Rambal Cochet’s deep-diving new EP, Mixed Reality, marks the occasion of the label’s eighth release with four tracks traversing the darker edges of psy-prog. Opening track, ‘Talpa Lionis’, mines the spiralling depths of a psychedelic abyss, driven by a dark, tunnelling bassline reminiscent of mid-90s psy trance. Titular track, ‘Mixed Reality’, is tonally brighter. Brimming with buoyant, prog energy, its liquefied melody submerges the track’s percussion in a glowing, ambrosial fluid. On the B side, ‘Sequence 2000’ grows from the ground up. A rippling, cosmic-hued melody traces ever wider reaches, circling the track’s drums as they rise from deep below ground-level. Skittering high-ends flutter organically through the track’s length, lulling us into a state of all-enveloping hypnosis. To close, ‘Aura 900’ unfolds onto expansive, new-age atmospheres. Delicately sinking into a delectable, chugging pace, its patient speed creates a sense of spaciousness, leaving room for the track’s melody to breathe. Mixed Reality journeys through vast terrains - an EP for introspective listening and mind-opening dancefloor experiences alike.

"Drums from heaven, keys from Mars, a bass made from mother earth's soil and guitars from a guy who's time-traveling from German Kraut in the last 60ies into the next 60ies and who happens to gift us today with this funky, dirty, pulsating, delicious music that's everything which music is supposed to be: ALIVE! (Note to self: Always keep a copy of this record in your suitcase!)." (Malakoff Kowalski)

"Afrokraut" is a stylistic expression of Krautrock, primarily associated with Can, and their creative use of time and space in music. "A Guide To Afrokraut III" is David Nesselhauf´s third and last contribution to the dusty shrine of this long forgotten style.

Next to "Afrokraut" (2016) and "Afrokraut II: The Lowbrow Manifesto" (2018), this album completes a humble sonic Trypticon in honour of David Nesselhauf's musical heroes. Experimentation was key in the immersive process of producing this album, which encompasses elements of Funk, Afrobeat and Krautrock as well as otherworldly Drones, early Elektronische Musik and even field recordings.

Inspired by the unfinished manuscript 'History Deletes Itself' by the late science fiction author Joseph Sabiers, Nesselhauf decided to produce a b-movie soundtrack to the original plot, ignoring the fact that there will likely never be a movie to this music.

In the original script, a virus has infected history, the resulting changes of historical facts leading to an unpredictable present and future for mankind. Every attempt to solve the problem – including time travelling – only worsens the situation. But three planets at the end of the known universe seem to be unaffected by the phenomenon, they become a sanctuary known as 'Afrokraut III'. Three brothers arrive there to start new lives. They are introduced to The Guide, their mysterious advisor...

The striking parallels to today's uncertainties, a strong feeling of hope and the idea to never stop exploring (come what may) certainly have encouraged the making of this album, which sees a belated release due to the obstacles everyone faces right now.

David Nesselhauf lives in Hamburg/Germany and appears as a bass player/songwriter in bands like Hamburg Spinners, The Drawbars, Diazpora, and Angels Of Libra.

Lobster Theremin ambient sub-label Lobster Sleep Sequence announce their double LP + 7” album from Dutch producer nthng - featuring a limited run of copies on deep green vinyl. Themed around events in the artist's life, Unfinished is a deeply personal journey, yet there’s something very relatable to the world he has conjured. Lockdown has forced us to look inward, explore realities within ourselves and the fragility of our forgotten world. The album is a series of peaks and troughs - hopeful words, ominous tones and other-worldly soundscapes, giving way to a journey in no way linear - but a true reflection of our times. The title track sets the scene perfectly, while Son features deep bass notes, dreamy keys and spoken word - creating a visceral and unsettling scene. Subnautica resides in the fringes of ambient and techno - as tribalistic drums are suspended in our new rendered reality.

The marching bass and howling synths of Wrath of the Demon lull conspicuously in a vacuum, while the hauntingly beautiful vocals featured on Disappeared But Not Forgotten evoke a poignant, powerful reaction across the record’s B-side - “Everything stopped, you just disappeared...”

At its most tranquil Our Time offers a sense of rest - a space to appreciate, as we leave the window open, peer outside and feel the gentle breeze brush across our face. Saafe continues this theme, and feels like a warm embrace - “She saved my life in a matter of speaking, when she gave me back the power to believe.”

Ending Theme is beautifully organic as you hear the sound of the piano pedal touch the floor, tones are introspective and vulnerable - while the looming presence of uncertainty subtly takes form in thinly layered pads.

The album also sees the release of a digi only bonus track Only a Flash of Light and invites you outside while the stars are at their brightest.

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Amsterdam based DJ and producer Mayo joins the Fides family with her Frenemies EP marking the 15th release of Fides Records.

Mayo showcases 5 cuts of finely crafted electro and EBM-influenced Techno, it's impossible not to be drawn by her distorted voice that defines each track.

Unrelenting grooves and a deeper look into her analog sound design flair, these tracks are timeless in sound and production quality.

“Tell me how you die” kicks it off as the A1 with stomping analog kick and drums, a dark jumping bassline pushing the groove with ethereal synths.

“Not your shadow” as the A2 strips it back into a 303Acidbass-based track marked by singular industrial sounds and Vocal Shots that are lost in the groove carried by a background synth sequence that follows throughout the track.

The last track of the A Side is “Frenemies” a pulsing, meditative composition featuring label owner and Tresor resident Z.I.P.P.O, who added to Mayo's energetic, analog and eventually dark sense, a more mental, deep and intense face typical of the Italian artist. The B Side starts with Miami Legend Danny Daze’s Hell Mix of “Frenemies” in which he exhibits his unique sound design techniques, combining tribal-tinged rhythm, sharp FX that pops up from the corners of the soundscape with stretched vocals in order to highlight the track's protagonist: a modulated brass bass.

Mary Lake’s Remix of “Tell Me How you Die” closes the EP with a deep kick drum driven forward with rolling and modulated closed hats that run through the track while atmospheric sounds carry the filtered Brass before dissolving into the end of the track.

Drawing from a strong history of electronic influence, Tomashevsky has created his own underworld of foreboding techno. We enter this EP with Incoherent, which exudes ominous sounds - reminiscent of murky radar blips that may be heard deep underwater in the metallic bowels of a submarine. Bubbling electronic delays remain adjoined to these metronomic blips and oer lateral, spontaneous movement around an otherwise sturdy song structure. Jittery melodies scatter nervously under lead elements, remaining disjointed and resulting in increased energy and a darkened excitement.

As we move through the EP, we face ups and downs, both in tempo and mood. Leading on from the first, Rollback is destabilizing, energetic and mean in all the right ways. Wobbling low ends open into a mood of uncertainty, held in place only by the stability of the drums. Rollback suits a peak-time club atmosphere thanks to the gritty synth leads and fast-paced feel.

Ending with the two tracks on the B-side, Tomashevsky still seeks to surprise. Rejected seems to be a distant relative of the Incoherent, following the synthetic blip structure but allowing snares and other percussions to build more prominently. Finally, we arrive at the closing track which marks itself as more obscure. Leaning on kick drum patterns initially reminiscent of electro/breaks, the use of half-time tempo gives a change of pace and a platform for a slightly different song structure and mixing potential.

Mesmeric and entrancing, these songs give any DJ or listener to chance to turn mind chatter o and lock into a hypnotic groove. Drawing on classically techno foundations, Tomashevsky has tipped his hat to the founders of the genre whilst adding his own flavour and subtle techniques that make this EP shine.

Informed by a highly influential early 1980s electronic music classic, the title track literally mind-sets the theme of Llewellyn’s latest release, kicking off with a euphoric vibe and drums shimmering with digital artifacts. At times almost dreamy cinematic pads, upfront with energetic Moroder-esque propelling bass lines, are the sound signatures of Llewellyn’s journey through a warm and synthesizer laden EP, reviving the sound aesthetics of both the post-discoid VHS and today’s club era with a contemporary touch. Finishing off with a laid-back facet, this four track EP contains enough warmth and drive to get you safely through the cold months, into a warm and promising future.

Llewellyn is one of Martin Enke’s producer’s monikers, who is closely associated with the Riotvan crew and also known as Lake People. Past releases can be found on labels like Riotvan, Uncanny Valley, Permanent Vacation, Mule Musiq and others.

Moods & Grooves proudly introduces another new face, this time from the Detroit scene. DJ Eternal Student (aka Marvin Prather) steps up to the plate with his melodic track Hear Me Though and a deep groove entitled Transpose Deep.

Hear Me Though combines a funktastic bass line with some heavy breathing drums, strumming synths, xylophone like keys, and a sexy vox to create a wonderful head bobbing groove all on its own. Hot remixes of Here Me Though come courtesy of Domenique Xander (Berlin) and Deepset. Domenique puts a nice wash over it with panned and echo'd claps, drums, and very dreamy pads to create a stellar remix. Deepset ( a partnership between Brian Neal and Avalon Kalin) provide an up-tempo deep groove with a banging kick and swinging vocal chops to accompany the original vox of the track. A new bass line and funky congas produce a warm and lush version of the original. The synergy these producers had is incredible, all vibing from Marvin’s original version.

Transpose Deep is a climber. It starts off very unassuming with a solid 4 on the floor kick that morphs into solid synthy pads, and a funky bass line before it breaks into a full sprint of these elements, a bass that growls at you, and hats that swing hard.

(Limited edition of 300 copies on clear & black marbled vinyl with full printed sleeve and textured coloured printed insert)

This is the 1st vinyl release on a quiet RIOT, an independent electronic music label based in Scotland.

Following his Interferenza cassette for Osiris Music, Berlin-based sound artist Adam Winchester returns with a new body of work that sees him embracing ever more forthright rhythms while adhering to his established lines of sonic enquiry.

With roots in the Bristol dubstep scene and a long-standing partnership with Christopher Jarman in Dot Product, Winchester has spent the past few years investigating alternative methods of sound generation that deal in hidden electromagnetic frequencies and spectral tones found lurking in circuitry. Bringing these extremities back to a more structured focus, Muutto is a highly personal work that captures the period of transition as he moved from Bristol to Berlin.

While the finely sculpted tonality and artful distortion of his recent work is plain to hear throughout, Muutto is also grounded in arrangement and melody, weaving a tangible narrative that pivots around steely rhythmic architecture, nodding to his roots in club music without expressing anything explicitly 'dancefloor.' Even at its most physical, as on the weighted march of 'Hold,' the emphasis is on atmosphere and mood, no matter how heavy the drums fall. In the distant murmurs of pads and poignant vocal threads, the bittersweet emotional backdrop to the record comes through in abundance.

There's space afforded for the more avant-garde tendencies in Winchester's music too. 'Metaphors' is caked in guttural feedback that comes on like a particularly noisy Albini studio session strapped to a chassis of the swampiest blues rock lurch you're likely to hear all year.

In its needlepoint detail, broad scope of sound palettes and potent expression, Muutto is an accomplished offering, but more significant is the way these facets are bound together by immediacy and form that transcend the freeform experimentation many of Winchester's traits are drawn from.

'a quiet RIOT' is an electronic music label based in Livingston, Scotland orchestrated by Nomad and is the sub-label of the highly renowned 'RIOT Radio Records.'

Since 20th February 2015, Nomad has run his own very successful fortnightly internet techno radio show called the "RIOT Radio Show.' Each show has a resident warm up set then a further hour with a wicked guest, the majority of whom are among the world's top electronic artists. The show gets thousands of listeners on each transmission with every set recorded exclusively for it. You will not hear them anywhere else.

A hoard of very well-known and simply stunning acts always feature on the show along with a whole host of very talented local music makers.

This was the build up to the record label being launched in April 2016 that will show-case major acts and amazing local talent.

From playing chaotic house parties in their home city of Oxford to becoming major festival headliners across Europe, Foals' trajectory has been remarkable. They've earned critical acclaim (NME and Q Award wins, plus Mercury Prize, Ivor Novello and BRIT Award nominations) and fan devotion (1.7 million sales of their four Gold-certified albums) in equal measure. And while the majority of contemporaries have fallen by the wayside, Foals continue to hit new peaks.

After more than a decade in the game, Foals again embrace that love for the unconventional with the bravest and most ambitious project of their career: not one, but two astonishing new albums: 'Everything Not Saved Will Be Lost'. A pair of releases, separate but related, they share a title, themes and artwork. 'Part 1' will be released on March 8th, with 'Part 2' following later in the year.

'They're two halves of the same locket,' frontman Yannis Philippakis explains. 'They can be listened to and appreciated individually, but fundamentally, they are companion pieces.

Fundamentally tethered but possessing their own personalities, the two bodies capture the most compelling, ambitious and cohesive creations they've ever produced. Eager to break the traditional pop song structure which they felt they were becoming increasingly tapered to, the 20 tracks defy expectation. There are exploratory, progressive-tinged tracks alongside atmospheric segues which make the music an experience rather than a mere collection of songs. Yet the band's renowned ability to wield relentless grooves with striking power and skyscraper hooks also reaches new heights.

The album's lead single 'Exits' is a case in point, featuring Philippakis conjuring the image of a disorienting world via a contagious vocal melody. It's a fresh anthem for Foals' formidable arsenal, but also an ominous forecast.

'There's a definite idea about the world being no longer habitable in the way that it was,' says Yannis. 'A kind of perilousness lack of predictability and a feeling of being overwhelmed by the magnitudes of the problems we face. What's the response And what's the purpose of any response that one individual can have'

'Exits' signposts what to expect thematically from both instalments of 'Everything Not Saved Will Be Lost'. The title is a warning that anything - from the tiniest fleeting moment of inspiration through to the planet's own biological diversity - can be under threat of being irrevocably erased.

It's a theme that permeates throughout the album's material, as Foal mirror the public neuroses that have been provoked by our current cultural climate. Paranoia of state surveillance Fear of environmental collapse Anxiety over Trump's next potentially cataclysmic move It's all there in these apocalyptic songs.

'Lyrically, there are resonances with what's going on in the world at the moment,' summarises Yannis. 'I just feel like, what's the utility of being a musician these days, if you can't engage with at least some of this stuff These songs are white flags, or they're SOSs, or they're cries for help... each in a different way.'

The new albums' journeys began as the 'What Went Down' era ended. Founding bassist Walter Gervers departed on amicable terms after playing the Festival Paredes de Coura in Portugal in August 2017. Foals felt that he couldn't be replaced - a decision that ushered in a period of recalibration, reorganisation and, ultimately, rejuvenation.

After taking a little time out, Foals - completed by Jimmy Smith (guitar), Jack Bevan (drums) and Edwin Congreave (keys) reconvened - with Yannis on production duties, who, together with Edwin, also covered the bass parts. They began by writing in a rehearsal space before exporting those sketches into the recording phase at 123 Studios, Peckham, with the assistance of engineer Brett Shaw. They'd repeat the cycle between the two spaces, effectively creating an ongoing feedback loop as they sought to push every new idea to the finish line.

1 x 12" black vinyl 180gsm
- label 4/c
- discobag on reverse board with matt varnish
- gatefold on reverse board with matt varnish
- shrinkwrap

Mana is producer and composer Daniele Mana from Torino in Italy. His debut EP for Hyperdub, 'Creature', is also the first under his own surname. It's one of his most vivid, personal and confident releases to date. Since 2010, he has been releasing under the moniker Vaghe Stelle, with EPs and two full length albums on labels such as Gang of Ducks, Aisha Devi's Danse Noire, Astro:Dynamics and most recently, Nicolas Jaar's Other People records. He is also a member of One Circle with Lorenzo Senni and soundtracks composer Francesco Fantini. On 'Creature', over eight tracks, he ingests Shostakovitch, Drexciya, Darkthrone, Frank Ocean and Paul Lansky, and refashions them into an almost operatic record - a rich, melodrama of dark tension and excitable in-your-face synth melodies. In using his own name for the first time, he says he is confronting the unfiltered, brutal truth' of his self, compressing tension and anxiety' into a claustrophobic sense of emotional vacuum.' From the skulking clockwork of 'Crystaline,' the rich drifting ambience of 'Sei Nove', to the panicky, rushy rave stabs meets horror theme of 'Running Man', it's lucid, dynamic synth music which uses drums sparingly, but occasionally swirls into little sublime vortices of arpeggiated hyperrhythm. The melodies are bright and pitch bent, swollen by euphoric voltage surges and stuttering, soaring strings in 'Rabbia', plucking wide-screen, heart strings on 'Uno e Solo' and lulling down into the delicate, shimmering prisms of 'Wetlife' and 'Consolations'. While in its own lane, 'Creature' feels totally at home on Hyperdub.

A Collision of Worlds. A Convergence of Sound.

Czarface opens another portal. On Czarface Meets Frankie Pulitzer, the boundary between comic book canon and hip-hop reality dissolves. Frankie Pulitzer, also known in certain dimensions as FacePuller, is no ordinary collaborator, character, or catalyst. He is a hybrid entity: part human, part alien force, fully embedded in the expanding Czarface universe.

Following landmark team-ups with MF DOOM and Ghostface Killah, Czarface continues its “Meets” saga with a full-scale crossover event that pushes deeper into story and sound. Frankie’s presence is both lyrical and mythological, bringing a chaotic, shape-shifting energy that challenges and complements Czarface’s razor-sharp precision. Dusty drums, cinematic soundscapes, and razor-edged bars bring the classic Czarface sound, yet mutated.

The universe widens with appearances from Busta Rhymes, Method Man, and El-P (of Run the Jewels), each adding their own gravitational pull to the project, thus grounding it in hip-hop legacy while amplifying its larger-than-life scope.

In a world currently defined by unrest, uncertainty, and cultural fracture, acclaimed saxophonist, composer, and bandleader Isaiah Collier returns with Joy, a 5-track EP that reframes one of humanity’s most nuanced emotions both as a devotional grounding and political act.

Collier’s deeply personal compositions present joy as an act that isn’t rooted in escapism or abstraction, but rather, as something hard-won rooted in lived experience, shaped by transformation, and sustained through connection. Throughout the album’s five compositions, Collier positions joy as a guiding light during challenging times, an expression of challenging yourself to utilize your gifts, an affirmation of love and discovery, and as an affirmative source of reassurance.

“We are in a paradoxical time, where so much is being revealed to us,” Collier shares. “Everything feels political from every scope… our collective hearts feel the heaviness in the air. Yet I say to you all—don’t despair. For right now, the most political thing we can do is share joy.”

That ethos is made clear in the opening title track and lead single “Joy.” A pulsing rhythmic motif anchors the melody with a sense of both searching and certainty. Collier conceived the piece around 3 years ago reflecting on a time where many people in his life were experiencing loss of family and friends and experiencing profound life transitions. “Everything just felt like it was falling apart with no aim in sight,” he reflects. “Yet, there is a light at the end of it all.”

As he played the chords with a sense of urgency, he could feel the vibration of yellow in the piece. That initial triplet motif serves as the guiding light on the piano and the only word Collier could hear was Joy. In addition to Collier at the helm singing and playing piano and tenor sax on the track, it features an expansive 11-piece ensemble with a full horn and string section allowing Collier’s propensity for composition and arrangement to shine with an eclectic sonic palette.

“Landscape of Dreams” finds Collier serendipitously leaning into utilizing his gifts as a multi-instrumentalist. While he had a sketch of the piece going into the studio, a traffic delay caused musicians to be late arriving at the studio. Never one to waste time in the studio environment, Collier stepped into new creative territory and took up the challenge of executing playing all instruments himself as an act of trust and experimentation. “I’ve never done this before, and so it was a leap of faith for me,” he asserts. “I always dream of doing stuff like this, and being part of the small percentage of people who can do it like Prince, Steve Lacy, Frank Zappa, and Stevie Wonder. The end result finds Collier immersed in a hypnotic soundscape playing layered flutes, drums, Metatron, Wurlitzer, and auxiliary percussion.

Another layer of joy is revealed in “Where I’m Loved” that serves as a love letter and leaning into the process of stepping into the willingness to explore life and love with a partner. On the intimate meditation of vulnerability and connection, Collier's vocal prowess is on full display, exerting effortless falsetto reminiscent of D’Angelo over soulful Wurlitzer and guitar as he crosses over into more R&B-inspired realms. “I believe everyone deserves this feeling or to honor the memories of it. Furthermore, I believe you should also go where you’re celebrated and not tolerated.”

“When the Dust Settles” captures the electricity of live collaboration and Collier further steps out of being confined to any specific genre. He had just gotten a microKORG keyboard from co-producer Sonny Daze and was exploring the vast array of sounds on the instrument. Collier plays synth bass on the microKORG joined by the electrifying improvisation of Cole Runge on guitar and the combustible rhythm of his brother Jeremiah Collier on drums with additional post-production work from Sonny Daze.

The album’s final track “God’s By Your Side” reflects on perseverance and artistic legacy, directly inspired from the passing of D’Angelo, whose life’s work was a huge part of Collier’s childhood growing up in the late 90s and early 00s. With gospel flavor and direct influence both from D’Angelo’s vocal and instrumental arrangements, the track speaks to resilience and persistence in the face of obstacles—an affirmation of source and reassurance. “And what’s better than having God by your side, right?” asserts Collier.

Joy is a through-and-through expression of the arc of joy in its truest form. Joy transcends fleeting happiness and is conscious gratitude shaped by taking chances, leaning into your gifts, fostering community, and lived experiences.

“Joy is partially happiness,” Collier explains. “But to me it means happily being grateful for family, friends, lovers, teachers, and good times. These are the things that anchor us.”

The release of Joy comes off the heels of significant momentum for Collier, whose work continues to garner accolades and resonate across cultural spheres. He was featured on the cover of DownBeat’s April 2025 issue, where he was named “The Next Sax Giant,” and profiled on NPR’s Jazz Night in America for his ambitious 13-movement interdisciplinary suite The Story of 400 Years, that traces 400 years of Black American History. He released two full-length albums in 2024 with The World Is on Fire highlighted in The New York Times’ Fall Arts Preview and The Almighty named among the publication’s Best Jazz Albums of the year.

Beyond performance and recoding, Collier’s influence is recognized in broader cultural and intellectual spaces as he was the recipient of the Jazz Journalists Association’s 2025 Up and Coming Artist of the Year Award, the 2024 Chicagoan of the Year in Jazz, and was named a Steve Jobs Archive Fellow joining an elite cohort of the next generation of artistic visionaries through a yearlong program.

In addition to the release of Joy, Collier is touring his “Collier Plays Coltrane” program throughout 2026 in honor of John Coltrane’s centennial. Rather than presenting Coltrane’s expansive catalog as repertory, Collier approaches this music as something living, reshaping it in real-time with a sense of space and improvisational dialog reflecting both reverence to the past and present times.

2026 Repress

Georgian powerhouse Yanamaste drops long-anticipated new EP on Mutual Rytm.

In-demand DJ/producer Yanamaste is a resident at Georgia's renowned Khidi Club and a key part of Amsterdam's Vault Sessions crew. His unique sound and fresh creative approach result in raw and visceral techno, reflecting his passion for pushing boundaries and showcased perfectly via his 'Dance' EP on Vault last year. Now, he returns with an EP born out of the creative process behind his live set with a debut appearance on SHDW's Mutual Rytm, 'Evil' - a collection of heavily-requested tracks that have already made an impact after featuring in his Boiler Room and Stone Techno Festival livestream.

'Evil' kicks things off with perfectly rubbery, funky drum patterns and an urgent sense of movement that sweeps you off your feet. 'Lahante' is more percussive, with busy snares riding the rolling, forceful drums and stark synths arresting your attention. 'Dragonfly' is perfectly reduced via minimal drums intertwined with thunderous effects and ghoulish energy, while 'Modulation Detected' has a more cosmic feel as it journeys into the future with whispered spoken words and synths searching across the face of the groove. Last but not least is the irresistible broken beat goodness of 'Walking On Mars', with its swinging kicks and vast bassline spraying about the mix beneath hypnotic melodic patterns.

Two superb bonus cuts, 'Ohohoi' and 'Pwiu', are also provided for digital buyers, bringing further gems loaded with moody depths and compelling rhythms.

The Carburetors are back and louder than ever! Their brand-new album, "We Ride At Night", is set to tear through speakers and shake venues to their foundations. Packed with the ferocious riffs and raw attitude that fans have come to love, this is the band firing on all cylinders-no brakes, no apologies. "We Ride At Night" is a statement that The Carburetors are still one of the most dangerous rock'n'roll bands on the planet. The Carburetors are a hard-hitting rock band hailing from Oslo, Norway, known for their electrifying blend of rock'n'roll, hard rock, and heavy metal. Formed in 2001, the band has carved out a reputation for delivering fast-paced, high-energy music that channels the raw spirit of Chuck Berry and the relentless power of Motörhead. Their signature sound-often described as "Fast Forward Rock'n'Roll"-combines driving riffs, thunderous drums, and an unapologetic attitude that's made them a staple of the Norwegian rock scene. Over the years, The Carburetors have released a string of acclaimed albums, including their debut "Pain Is Temporary, Glory Is Forever" (2004), "Loud Enough to Raise the Dead" (2006), "Rock'n'Roll Forever" (2008/2010), and "Laughing in the Face of Death" (2015). Their latest release, "Drinkin' from the Skull of Our Enemies," continues their tradition of raw, energetic rock, capturing the band's dynamic stage presence and relentless drive. The band has also contributed to tribute albums for legends like Kiss and The Ramones, and in 2012, they made it to the Grand Final of Norway's Melodi Grand Prix with their song "Don't Touch the Flame." With a career spanning over two decades, sold-out shows, and a loyal fanbase, The Carburetors continue to embody the spirit of rock'n'roll-loud, fast, and forever.

Sacred Leather is a traditional heavy metal band from the heart of Indianapolis, consisting of Dee Wrathchild (vocals), Lynn St. Michaels (lead guitar), Cvon Owens (rhythm guitar), Magnus Legrand (bass) and Don Diamond (drums). Following a privately manufactured live cassette, 2018’s debut album »Ultimate Force« and numerous (digital) singles, the new »Keep The Fire Burning« is the band’s most definite statement yet. Produced by the legendary Arthur Rizk (Eternal Champion, Power Trip), every track on the record is a call to arms. High-octane compositions such as “Spitfire At Night”, “Phantom Highways” or “Malevolent Eyes” show that Sacred Leather are true defenders of the faith. All songs breathe the raw power of classic 80s metal. Bassist Magnus Legrand comments: “Judas Priest has been a massive influence on us - not just aesthetically or stylistically, but in their ability to cover a wide range of sounds while always remaining unmistakably themselves. That balance is something we actively strive for: to explore every facet of heavy metal without ever losing our identity. The same can be said for KISS, Scorpions, and Queensrÿche - bands that can rock, rip, soar, go epic, or strip it down to something tender, all while keeping their signature intact. That versatility, anchored by a strong sense of self, is the standard we hold ourselves to.” According to Magnus Legrand, »Keep The Fire Burning« is a clear progression from the debut album »Ultimate Force«: “It’s sharper in its songwriting, stronger in its musicianship, and more focused in its execution. Where »Ultimate Force« laid the foundation, this record pushes further into those same territories with greater intent and refinement. It builds on what we established before, expanding the scope while tightening the strike. As a whole, »Keep The Fire Burning« is a relentless ride through the heart of traditional heavy metal - familiar in spirit, but undeniably Sacred Leather in execution.“

African visions, Middle Eastern mirages, and cosmic pulsations: the map of Giuliano Sorgini’s sonic universe continues to expand, revealing new, uncharted territories.

Set for release on 10 July, the 7-inch Savana Selvaggia brings together two extraordinary, previously unreleased tracks, shedding light on one of the most visionary facets of Sorgini’s library music aesthetic. On Side A, “I misteri del mondo” (The Mysteries of the World) transports us to an imagined, ancestral Africa suspended between endless horizons, elegiac wilderness, and analogue electronics.

On Side B, “Arabian Safari” opens the door to a mystical, Arabic-tinged soundscape where African imagery blends with Middle Eastern influences and kosmische futurism. Driven by a potent mix of electronic drums, hypnotic sequencing, and fiercely inventive synths, it strikes a sonic kinship with the finest European Krautrock.

The dialogue between these two tracks perfectly highlights the composer's artisanal, experimental approach. Here, the Solina, Minimoog, modular circuits, pulsating synth lines, and suspended melodies intertwine to form a fascinating, enigmatic, and deeply personal sonic world—one built entirely by Sorgini in his Cat & Fox Studio in Rome, located a mere stone's throw from the RAI headquarters.

Two forgotten tracks. Two cinematic journeys whose original visuals have been lost to time. Two missing puzzle pieces in the ongoing recovery of the work of a composer who sounds more modern today than ever before. A magnificent sonic transmission from a bygone era that lands with the force of a contemporary revelation.

Bone colored vinyl. RUNNIN'SCARED is more than just a musical outlet-it's a way for two longtime friends to share their love for hardcore, stay creative, and keep doing what they've always loved: writing songs together. Though the name may be new, the faces are familiar. Ricky (drums) and Martin (taking care of everything else) first played together back in 1997 in the short-lived band Damage I.D.-and their paths have crossed ever since. Among others, they've been part of bands like Solid Ground, Animal Instinct, Cataract, Liferide, MINE, and Safe State

Mit Tether veröffentlicht die preisgekrönte Saxophonistin, Improvisatorin und Komponistin Alden Hellmuth ihr neues Album - der kraftvolle Nachfolger zu Good Intentions, das als Debut Album of the Year International beim Deutschen Jazzpreis ausgezeichnet wurde. Hellmuth, Absolventin des renommierten Herbie Hancock Institute, verbindet hier kompositorische Präzision mit einem markanten, modernen Bandsound. Das Herzstück von Tether ist ein seltenes Zwei-Bass-Quartett, getragen von zwei der radikalsten Musiker der LA-Szene: Logan Kane, ein genreübergreifender Bassist zwischen Jazz, Avantgarde und Punk-Funk, und Miller Wrenn, einer der furchtlosesten Improvisatoren der Westküste. An den Drums sorgt Justin Brown für energetische Dynamik - ein herausragender Musiker, der u. a. mit Ambrose Akinmusire, Christian McBride und Vijay Iyer gearbeitet hat. Besondere Gäste wie Paul Cornish, Finalist großer internationaler Klavierwettbewerbe und auf Blue Note veröffentlicht, sowie Yakiv Tsvietinskyi, eine prägende Stimme des modernen ukrainischen Jazz, erweitern den Klang zusätzlich. Tether ist ein energiegeladenes, modernes Jazzalbum, das Avantgarde-Mut, kompositorische Tiefe und unmittelbare Spielfreude vereint. Hellmuths Quartett erschafft eine kraftvolle, eigenständige Klangwelt zwischen Modern Jazz, zeitgenössischer Improvisation und experimentellen Low-End-Texturen.

Following vibraphonist and long-standing member Lewis Wright"s move to the USA, the award-winning UK jazz ensemble, featuring Nathaniel Facey on alto saxophone, Tom Farmer on double bass and Shaney Forbes on drums, have embraced a more flexible lineup. The trio enlist high-caliber guest artists to expand their sound, with long-time collaborators Ivo Neame on piano and David Preston on guitar lending their distinctive musical voices to the album. The album traverses the musical terrain between contemporary classical music, soundscape, post-bop and free jazz. The jazz of the 1960s has long been a guiding light for Empirical, not least in the way it represented Black musicians" struggle for respect, freedom and civil rights, often drawing on their faith as a moral foundation.

Like their name suggests, Model/Actriz seek to channel raw emotions into striking new forms. The band’s surface glamor is supported by nerves of steels, leveraging their focus into moments of wild abandon. Since their songs roar to life off the back of blistering guitar, relentless drums, and pummeling bass thereʼs an expectation that Model/Actriz aim first and foremost to be shit-starters. But their instrumental muscle couches a searching heart and the Brooklyn quartet have long made a mission to reconcile undefinable feelings by charting a ferocious new path through sound, one that brings jagged emotions back into full, sweaty alignment with the listenersʼ bodies.

Near the end of fifth grade, Eli Edwards’ mom gave him $20 and told him to go find a friend. His team had won its soccer game that day, so they were out celebrating at a local pizza parlor with games. But, more importantly, there had been one other Black kid that day on the pitch in Spanaway, WA, a Tacoma suburb and military-base town at the rainy northwest corner of the United States. That kid just happened to be Xayvien Young. An instant deep connection was formed between Edwards and Young—Eli and Xay, as they prefer to be called were inseparable— and now twelve years later they are the electrifying, boundary-skipping duo Casi.

Along the way, Eli had relocated to Los Angeles with the indie rock band Enumclaw he had helped found, but he found himself flying home maybe a little too much. He was ostensibly visiting his girlfriend, but he spent most of his time with Xay. They cut tracks in every bit of free time they found until they had an epiphany: Maybe this music they’d made together for a dozen years was actually something special. Casi’s 10-track, self-titled debut out on Carpark Records is the electrifying proof they needed.

On the record, they enthusiastically explore every musical interest they have ever had—explosive hip-hop and unbridled hardcore, high-gloss nü metal and a little bit of emo—as a pair. These songs don’t ignore genre lines; they delight in destroying them, in finding ways to slam hip-hop and hardcore, emo and nü metal together until it seems illogical that they were ever apart. Take “Jumper,” where heavy metal guitars and face-kicking drums stir the moshpit for rabid verses about crushing ICE and the lessons you learn riding the poverty line. And take closer “Bridges,” where the melodic imprint of Deftones meets the relentless confessions of Death Grips. Here are the hard, funny, and loud stories of two 23-year-olds, screaming about the world over a breathless composite of all the music they’ve ever loved.

When Eli was in Los Angeles, Xay missed his friend. But in his absence, he also felt the spark of inspiration. Music was something that had just been their childhood hobby, but now Eli was in a rock band that had press accolades and tours. He got serious about the craft. Eli would write about the dislocation and isolation he felt in California, while Xay would document the hardships of being a young Black man with a complicated family while working menial jobs in Spanaway.

This isn’t a coming-of-age album for Casi; it is, instead, a raw and riveting snapshot of that process, painful as it can be. “Eleven87” is a breakup song, a soul beat springing beneath arching emo vocals. And “Intrusive Thoughts” treats that topic like a punching bag, Eli and Xav fighting against the mental habits that keep them down. These 10 songs instantly close that gap.

This solo percussion work was recorded in 1980 and released in 1981 by Masahiko Togashi, one of Japan’s leading percussionists and drummers. After becoming partially paralyzed, he created this recording of a world of sound using drums, bells, gongs, and a wide variety of percussion instruments, together with his own original playing methods and techniques.

Massimiliano Pagliara celebrates 20 years of music production with a special anniversary compilation on Funnuvojere. The release brings together solo productions and collaborations spanning a rich and abundant period that began when Pagliara acquired his first analogue machines, five years after moving to Berlin from Milan, where he worked as a professional dancer and choreographer.

The compilation features 20 previously unreleased tracks, deeply infused with italo grooves, wonky bass-lines, balearic pads, drama, love, sex, and dreams. These tracks evoke a wide spectrum of moments, ranging from intimate, pleasure-driven home listening to full-blown dance-floor euphoria. Throughout the compilation, one can feel Pagliara’s enthusiasm for discovery—his excitement in encountering new machines and immediately putting them to work.

Pagliara’s sonic identity is unmistakable, present in every track and in the compilation as a whole. Like the facets of a crystal, the music reflects his many nuances while maintaining a strong, coherent core. Tracks such as Waves of Desire pay homage to Dream House, reimagined through contemporary production with cosmic tones and infectious drums. Flicker Of Us reveals a dramatic tension between a rowdy bass-line and melancholic pads, while We Can Touch The Sky features Pagliara himself on vocals, blending synth-pop with elements of new wave and glam rock. Cool Breeze unfolds as a sunlit, optimistic walk through a wide Berlin avenue—funky, warm, and filled with curiosity for what lies ahead.

A notable strength of the compilation lies in its collaborations, which highlight Pagliara’s joy in working with other producers and vocalists. Each collaboration reveals a distinct character: the balearic sensibility of A Journey of Discovery with Gatto Fritto, the French house flavour of Neon Memories with Alinka, the 70s disco inflection of It’s In Your Eyes with the late Aérea Negrot, and the driving techno attitude of Whirlwind with Fabrizio Mammarella, to name just a few.

Ultimately, this compilation stands as both a gift to Massimiliano’s long-time fans and an open invitation to new listeners. It offers entry into a world shaped by beauty, order, balance, and ecstasy—guided by an enduring love for the craft.

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

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

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

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

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

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

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

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

Every so often in music, we come across voices that achieve a certain timelessness, so naturally do they encapsulate both past and present. Laure Briard is one of these voices, retro in form but contemporary at heart, spanning a career rich in aesthetic twists and turns, never without her signature magic, a special kind of eternal filter. Her first album, Révélation (2015), reveals her yé-yé influences, a testament to her love for ‘60s French pop music. Her second studio album, Sur la piste de danse (2016), follows in this vein and finds Laure accompanied as always by her long-time bandmates who share an affinity for warm, catchy arrangements that never lose their appeal. Her tour of Brazil marks a turning point in her career, introducing her to the local indie scene and thus launching her collaboration with the band Boogarins, as well as inspiring the release of multiple EPs composed and performed in Portuguese. Today, her music is embellished by touches of bossa nova and a folk sensibility, boasting increasingly intricate arrangements, as exemplified by her 2019 release, Un peu plus d'amour s'il vous plaît. Several years later, the Californian desert captures the musician’s imagination with Ne pas trop rester bleue, a poignant musical journey inspired by the rich history of Western legends and the role they play in shaping our collective consciousness.

In Voyage Mental, Laure Briard draws upon an inner energy unearthed during a new stage in her life, where the thrill of spontaneous adventure is not accessible in quite the same way. The result is a collection of sophisticated, introspective songs, narrating a young mother’s quest for balance in the face of routine. The album, nostalgic but always tethered to the present moment, is also the fruit of her collaboration with Gaëtan Nonchalant, a talented musician known for coaxing poetry out of the mundane. The two of them co-wrote and recorded five tracks at Studio Nocturne, accompanied by her long-time sidekick Pieuvre, aka Vincent Guyot, Léo Blomov, Pierre-Louis Vizioz, and Hedi Bensalem. The gentle pop opener “Rocking Chair” sways steadily to the rhythm of dynamic drums, followed by “Train,” a ballad that extends an invitation to set sail and daydream alone. The folk escapade continues with “Golden Sun,” a duet featuring the 1960s cult American musician F.J. McMahon, who Laure contacted via the internet on a whim. “Golden Sun” is an unlikely encounter between two generations and two cultures, giving new life to an old forgotten demo on the other side of the Atlantic. And while Laure sings of wide open spaces, cowboys, and sunsets sinking into the sea, we feel the city surrounding her in “Miroir,” a song composed by Hedi Bensalem that laments the suffocation of living in a crowded metropolis where the sky is a distant gray smudge. This pressing need for air, this search for rest and total disconnection, is one of the album's central themes. It may also explain the ever-present sense of nostalgia that pervades the songs, a welcome respite in our current era of doomscrolling and darkness. Along the way, Laure soothes us with melancholy guitar, delivers poetry set to scattered piano notes, and takes us by the hand during lively, uptempo passages. We climb onto her wings, never straying too far from the ground, soaring joyfully above her moods.

On her second album, Sawt El Doumouh (The Sound of Tears), Beirut-based Sandy Chamoun summons flickers of light from sadness. Influences from the Arabic tradition of Tarab – one of the first styles Chamoun learnt to sing – and polyphonic Cantu are reinterpreted and reimagined through her voice and electronics, synths from her SANAM and Ghadr bandmate Anthony Sayhoun, and live percussion from Ali Hout.
Marked by its times, the record isn’t what Chamoun had planned. “I wrote the lyrics between October 2023 and September 2025,” she explains. “The plan was to write about nature, since the album’s concept was inspired by Cantu, a tenor Sardinian ritual that celebrates humanity’s victory over nature. I intended to visit several places and regions in Lebanon and write a track for each, but after the genocide and the war in Lebanon, everything changed.”
“I chose the title because many mornings during this period I woke up crying silently. I remember a dark story from school: a teacher yelled at a small boy while he was crying and told him to cry without making any sound. I feel we are still living in that condition in the region — forced to die or suffer without making any noise.”
Sawt El Doumouh is a gorgeous refusal to be silent. It opens with a booming drum. Over keening autotune Chamoun’s pure voice cuts through, burying the despair to illuminate rays of hope. On “Ward W Shok” a shuffling swing gives way to a righteous organ interlude. The title track sees a choir of Chamoun’s vocals lull and lap. Drums arrive and indignation stirs, what’s mournful begins to stride.
Chamoun’s tracks are as beautiful as they are defiant. Why write songs in the face of horror? Perhaps because music can hold onto something better. By turning to song, Chamoun catches the hopeful glints and sparks that persist and strive outside the terror. In SANAM and Ghadr she often borrows lyrics from Arabic writers through the centuries, listening to what their words say in the present while reminding us the world can and has been different to how it is now. Solo she writes her own words, and the way her songs alternately soar and sigh evokes hopeful pluralities and suggestions of other, kinder realities. Even hearing someone cry is a connection to humanity.
It’s a possibility conveyed in the album’s most jubilant moments. “Shahed” is an incandescent dance of percussion and levitating synths. “I wrote it after I saw a photo of a small boy on a horse on the beach in Gaza,” Chamoun recalls. “I imagined a fantasy where the boy lives in the water and watches the terrifying reality on the shore, trying to bring water to put out the fire. Shahed is the witness who lives far from the shore, enjoying the water and trying to help. You can hear this duality: the percussion is desert-like, while the vocals and synths evoke the feeling of water.”
Although it comes from darkness, in Chamoun’s music we can hear faith in something beyond it.

Hailing from New Orleans, Louisiana, Soilent Green emerged in the early 1990s as a formidable force in the extreme metal scene, blending sludge, grindcore, and death metal into a uniquely savage sound. The band quickly gained recognition for their ferocious intensity and uncompromising approach, pioneering a fusion of genres that profoundly influenced the development of extreme metal. With a history spanning over two decades, the band has faced more than its share of adversity and struggles. Yet they continue to push forward. Driven by passion, perseverance and an unrelenting will to dominate. On stage, Soilent Green is known for their electrifying performances, harnessing raw energy and aggression to create unforgettable shows. Each performance is a visceral experience, featuring blistering riffs, thunderous drums, and guttural vocals that resonate deeply with audiences. Whether headlining festivals or playing intimate gigs, Soilent Green leaves an indelible mark, forging a connection with fans that cements their legacy as one of extreme metal’s most revered bands.

Wheelchair Sports Camp is certainly not your average hip-hop act. Hailing from Denver, CO, fronted by Kalyn Rose Heffernan—a wheelchair using, profanely queer and tiny rapper, with a very distinctly high-pitched sense of humor. Backed by her gimp Greggy on drums, the band combines fantastic beats with an absolutely face shredding live show. Playing shows everywhere they could, the band has expanded into performance art, museum takeovers, politics, prison tours, permanent installations, theater, film, and now the release of their newest album, “Oh Imperfecta!” on Alternative Tentacles Records. They bring together contributions from Jello Biafra (twice), Radio Pete (who happened to come up with the name Dead Kennedys when Biafra was a teen in Boulder, CO, and this is their first time ever collaborating musically), Kimya Dawson (Moldy Peaches), Oliva Jean, Junia-T, Amy Goodman, and some honorary WSC members: Qknox, Michelle Rocqet, Wes Watkins, RAREBYRD$, and many more; to create 11 absolute bangers.

"Swedish modern rock unit SELF DECEPTION is set to unleash their Napalm Records debut, One Of Us, on May 15, 2026! The band is known for their fiery fusion of anthemic modern metal and powerful melodic rock. Since their 2009 debut, they have shared stages with the likes of Electric Callboy, Danko Jones, and Adept, while racking up millions of streams and video views – including their viral 2022 hit, “Fight Fire With Gasoline”, with tens of millions of streams. Written on the road during the heaviest touring of SELF DECEPTION’s career so far, One Of Us is a cohesive album full of character, made for the stage – and the pit! Bone-crushing album-opener and title track “ONE OF US” takes no prisoners, unleashing the heavy modern metal side of the Swedish powerhouse: fusing relentless hardcore energy, in-your- face lyrics, and high-voltage attitude, the track hits with unstoppable force. Following track “TIME'S UP” features an absolute hit chorus, fresh hooks and high-energy instrumentals, while emotional “DON'T B E L O N G” addresses the difficult themes of addiction and mental health battles – the combination of hauntingly beautiful melodies, multifaceted vocal performance and heavy rhythm section carry this sentimental track.

Further highlights on SELF DECEPTION's new 10-track offering include “THE WEDDING”, an energetic modern rock anthem with a particularly dark and twisted storyline, and “BREAK!"", with its heavy-hitting drums, electronic influences and yet another irresistible sing-along chorus. Final track “ENTERTAINED” wraps up the album impactfully, featuring one of the heaviest breakdowns on the album. From massive pit churners to creative storylines and choruses full of hit potential, the energy on One Of Us is unmatched. The band has a busy festival summer following the album’s release, so fans will get the first chance to experience these new tracks live at several major European rock and metal festivals. With One Of Us, SELF DECEPTION is ready to push contemporary rock to the next level!"

Work of Art is not merely a sophomore album; it is a victory lap run with the precision of a master artist. Following the stratospheric global ascent of his debut, Mr. Money with the Vibe, Asake faced the kind of pressure that usually demands a pivot. Instead, he treated that intensity like clay, sculpting a project that feels at once more expansive in scale and more intimate in spirit. Released in 2023, the album serves as a definitive statement on Asake’s sonic identity, deepening his signature fusion of Amapiano, Fuji-inspired percussion, and Afrobeats while moving with a newfound sense of deliberate poise.

If his debut was a high-octane sprint to introduce his sound to the world, Work of Art is a confident stroll through his own creative museum. Anchored once again by the masterful production of Magicsticks, the album serves as the perfect architectural space for Asake’s erratic, infectious flows. The record feels richly textured—brimming with pulsating log drums, soulful samples, and the specific, ecstatic chaos of Lagos nightlife. Asake successfully bridges the gap between traditional Yoruba heritage and the deep, percussive basslines of South African Amapiano, resulting in a sound that feels simultaneously ancestral and futuristic.

The project thrives on a unique duality: it is introspective, yet undeniably club-ready. Tracks like "Amapiano," featuring Olamide, provide the anthemic energy his fans crave, while cuts like "Basquiat" showcase a lyrical swagger that frames his life as high art set to a relentless four-on-the-floor beat. By leaning into his "Mr. Money" persona with added vulnerability and a clearer focus on the craftsmanship of his vocal delivery, Asake avoids the dreaded sophomore slump entirely. He proves that he isn't just making pop songs; he is curating a moment. Ultimately, Work of Art captures the feeling of an artist standing at the peak of his powers, looking out at the landscape he has helped reshape, and confirming that, indeed, he belongs there. It is not about reinventing the wheel—it’s about proving that the wheel he built is a masterpiece.

San Diego’s Mrs. Magician has always bent surf music and punk into something delightfully off-kilter — sun-soaked, hook-heavy power pop with a lyrical fixation on life’s darker undercurrents. Their 2012 debut, Strange Heaven, was a nihilistic pop statement that grew into a cult classic. The 2016 follow-up, Bermuda, sharpened the edges with punchy, nervy songwriting. Both records were produced by John Reis (Rocket From The Crypt, Hot Snakes, Drive Like Jehu), cementing the band’s place in Southern California’s underground lineage. Now, in 2026, Mrs. Magician reemerges with their long-awaited third LP, Spiritual Hangover. Recorded at Dave Grohl’s Studio 606 and Singing Serpent Studios with producer Christian Cummings, Spiritual Hangover finds songwriter Jacob Turnbloom trading youthful nihilism for something more reflective. Where earlier records wrestled with existential dread through anthemic defiance, this new collection embraces uncertainty — an admission of ignorance in the face of the human condition, paired with a genuine longing for connection and understanding. The humor remains. The hooks are sharper than ever. But the perspective has shifted.

These songs feel less like a declaration of dominance and more like a celebration of fragility — an acknowledgment that life is fleeting, confusing, and still worth enjoying. The album features Andrew Montoya (drums) and Mark Rivera (bass) of The Sess, Ian Fowles (guitar) of The Aquabats, and John Reis (guitar). Spiritual Hangover channels the bright urgency of late-’70s power pop through a distinctly Californian lens — warm, melodic, and irresistibly alive. “Super fun, well crafted, with great melodies. It gives me that late ’70s power pop energy I loved so much as a kid. Every track has something joyous to grab onto. In a world full of bleak news, Spiritual Hangover is a warming blast of California sunshine.” — Walter Schreifels (Gorilla Biscuits/Quicksand)

Just as you were getting your head straight coming off the 21st Trip … Brown Acid dose # 22 drops, continuing to fry your mind in a revolving trap-door Twilight Zone alternate world of early hard rock… populated by real life characters so far out they can look like a cheesy wedding band but sound like Blue Cheer! Uncanny! This music comes at you from many angles. Teens in a garage colliding with booze, drugs and girls for the first time, lounge lizard hustlers with snazzy stage clothes and fuzz boxes… gnarly backwoods troublemakers meet blow dried glam rock wannabes here, seamlessly clobbering your head with sound rather than each other! An electric post-psychedelic bar brawl for your mind awaits, unfasten your seat belt, crank it up and fly! Sounds Synonymous "Babylon" out of Flint, Michigan 1969 rip the devastating Blue Cheer classic a new one, immediately swarming you with organ swells and distortion before collapsing into a tuff funk groove, a psychedelic James Brown vibe shot through with dirty howling fuzz guitar, vocals nailing the messed up but confident relaxed sneering attitude of the original Cheer eruption. The Bumps "Shining" from Seattle 1969 resides right at the transition of ‘60s psych into early prog, well constructed, no diluting things artsy fartsy style, a compelling heavy riff, spacious vocal harmony hook floating above a turbulent take on getting your shit together and shining like a star. Fat chance, but you can dream, the band did and their dreams kick ass across time to right now or you wouldn’t be here.

Coulda been a hit back then, definitely a hit now. Riverside "Farmer" explodes out of Austin, Texas 1974, economical but brilliantly structured riffs and power chords, intense dynamic tension/release, fantastic screaming leads over shifting angles of attack during the middle break… it’s all here with a detached confidence in the vocal that swaggers back in time to the late ‘60s in its proto-heavy psych adjacent assault. Cincinnati Joe & Mad Lydia "Get It Together" for real in Cincinnati, Ohio 1970. The song says everything you need to know: “You may think that you’re the very best, miles and miles ahead of the rest, but be sure when you’re put to the test you get it together!” These words are deployed in a manner similar to Peter Green’s “Oh Well”, intermittently stated between killer gnarly guitar and gushy organ attacks. Bar band heaven and hell rolled up into one big ball, the vocals get all the way out there! Straight Up "Fire" takes the monster 1968 Crazy World Of Arthur Brown hit into faithfully executed but surreally minimalist territory, Minneapolis, Minnesota 1974. Genius version of a key song that presciently cuts to the chase regarding Brown Acid’s incinerations of psychedelic idealism, you’re gonna burn, burn, burn… as that moment climaxes you can gawk at their preposterous flashy lounge band stage outfits and realize side one must end because everything is totally scorched into eternity. Scrap Iron "Poopsie" is a primitive two chord stomper with spiraling fuzz and organ riffs, singer marking his territory caveman style. “Poopsie, you’re my woman” he commands, but gets weirdly insecure she’ll blow him off at the altar by the end of each verse. Snarly wah-wah ices this toxic cake out of Carteret, New Jersey 1973. Focused delivery so single-mindedly crude it creates an inescapable instant brain-worm. Lady "Live Show Tigers" is amongst the most potently life affirming trash rockers you’ll ever hear, one outrageously triumphant but fiercely sloppy anthem about living it up like a star, strutting the stage glammed up New York Dolls drag style but with a Dictators sense of humor. Tasty slightly off kilter guitar leads all through, going serendipitously berserk on the fade. Picture disc single out of L.A. 1980. Fantastic fun rock star rock at a very raw local street level where any time is party time.

Killer Frog "Hard Times" on Masochist Records from Chicago, Illinois 1972 takes less than two minutes, an action packed James Gang style bar band rocker with a bit of punky sneer in the face of misfortune. These guys never even heard of flower power. They are killer frogs. Good Humore "Killer" does kill in stripped down hard rock trio style, Warren, Michigan 1976. No frills guitar, bass and drums groove tight, snaky primordial riff, snarly licks. “She’s a killer of a woman, knows just what she’s doing…” The singer knows she’s a femme-fatale roadhouse predator but she’s so hot the inevitable wreckage seems a bargain. Ride it out like the extended jam on the fade knowing she’ll be back for more! Sarawest "Space Rider" winds up the 22nd Trip lost in a twisted two chord space adventure from the point of view of an alien visiting our planet seeking knowledge but finding out we are stupidly destroying ourselves, so he gotta split sneering back at us like we wasted his time “I got no time for loving… I wanna be a space rider, space rider”. Toronto, Canada 1974, a vibe lurking in some strange but funny void between late ‘60s outsider garage psychedelic rock complete with reverb-y acid guitar leads and late ‘70s retro-futuristic D.I.Y wisecracking from inner space… taking the piss out of outer space!

Just as you were getting your head straight coming off the 21st Trip … Brown Acid dose # 22 drops, continuing to fry your mind in a revolving trap-door Twilight Zone alternate world of early hard rock… populated by real life characters so far out they can look like a cheesy wedding band but sound like Blue Cheer! Uncanny! This music comes at you from many angles. Teens in a garage colliding with booze, drugs and girls for the first time, lounge lizard hustlers with snazzy stage clothes and fuzz boxes… gnarly backwoods troublemakers meet blow dried glam rock wannabes here, seamlessly clobbering your head with sound rather than each other! An electric post-psychedelic bar brawl for your mind awaits, unfasten your seat belt, crank it up and fly! Sounds Synonymous "Babylon" out of Flint, Michigan 1969 rip the devastating Blue Cheer classic a new one, immediately swarming you with organ swells and distortion before collapsing into a tuff funk groove, a psychedelic James Brown vibe shot through with dirty howling fuzz guitar, vocals nailing the messed up but confident relaxed sneering attitude of the original Cheer eruption. The Bumps "Shining" from Seattle 1969 resides right at the transition of ‘60s psych into early prog, well constructed, no diluting things artsy fartsy style, a compelling heavy riff, spacious vocal harmony hook floating above a turbulent take on getting your shit together and shining like a star. Fat chance, but you can dream, the band did and their dreams kick ass across time to right now or you wouldn’t be here.

Coulda been a hit back then, definitely a hit now. Riverside "Farmer" explodes out of Austin, Texas 1974, economical but brilliantly structured riffs and power chords, intense dynamic tension/release, fantastic screaming leads over shifting angles of attack during the middle break… it’s all here with a detached confidence in the vocal that swaggers back in time to the late ‘60s in its proto-heavy psych adjacent assault. Cincinnati Joe & Mad Lydia "Get It Together" for real in Cincinnati, Ohio 1970. The song says everything you need to know: “You may think that you’re the very best, miles and miles ahead of the rest, but be sure when you’re put to the test you get it together!” These words are deployed in a manner similar to Peter Green’s “Oh Well”, intermittently stated between killer gnarly guitar and gushy organ attacks. Bar band heaven and hell rolled up into one big ball, the vocals get all the way out there! Straight Up "Fire" takes the monster 1968 Crazy World Of Arthur Brown hit into faithfully executed but surreally minimalist territory, Minneapolis, Minnesota 1974. Genius version of a key song that presciently cuts to the chase regarding Brown Acid’s incinerations of psychedelic idealism, you’re gonna burn, burn, burn… as that moment climaxes you can gawk at their preposterous flashy lounge band stage outfits and realize side one must end because everything is totally scorched into eternity. Scrap Iron "Poopsie" is a primitive two chord stomper with spiraling fuzz and organ riffs, singer marking his territory caveman style. “Poopsie, you’re my woman” he commands, but gets weirdly insecure she’ll blow him off at the altar by the end of each verse. Snarly wah-wah ices this toxic cake out of Carteret, New Jersey 1973. Focused delivery so single-mindedly crude it creates an inescapable instant brain-worm. Lady "Live Show Tigers" is amongst the most potently life affirming trash rockers you’ll ever hear, one outrageously triumphant but fiercely sloppy anthem about living it up like a star, strutting the stage glammed up New York Dolls drag style but with a Dictators sense of humor. Tasty slightly off kilter guitar leads all through, going serendipitously berserk on the fade. Picture disc single out of L.A. 1980. Fantastic fun rock star rock at a very raw local street level where any time is party time.

Killer Frog "Hard Times" on Masochist Records from Chicago, Illinois 1972 takes less than two minutes, an action packed James Gang style bar band rocker with a bit of punky sneer in the face of misfortune. These guys never even heard of flower power. They are killer frogs. Good Humore "Killer" does kill in stripped down hard rock trio style, Warren, Michigan 1976. No frills guitar, bass and drums groove tight, snaky primordial riff, snarly licks. “She’s a killer of a woman, knows just what she’s doing…” The singer knows she’s a femme-fatale roadhouse predator but she’s so hot the inevitable wreckage seems a bargain. Ride it out like the extended jam on the fade knowing she’ll be back for more! Sarawest "Space Rider" winds up the 22nd Trip lost in a twisted two chord space adventure from the point of view of an alien visiting our planet seeking knowledge but finding out we are stupidly destroying ourselves, so he gotta split sneering back at us like we wasted his time “I got no time for loving… I wanna be a space rider, space rider”. Toronto, Canada 1974, a vibe lurking in some strange but funny void between late ‘60s outsider garage psychedelic rock complete with reverb-y acid guitar leads and late ‘70s retro-futuristic D.I.Y wisecracking from inner space… taking the piss out of outer space!

A tribute to Bob the Landlord from Rotterdam. Bob the Landlord became known in Rotterdam after appearing in a documentary about the harbor cafe Willems Kantine. He was a loud and direct landlord who rented small rooms to people around the area. Bob was famous for his strong Rotterdam attitude and the way he spoke to people without filtering his words. One of the most famous moments was when Cowboy Jos asked him for five euros. Bob angrily replied, "Five euros? On your face!" This line later became a well-known quote in Rotterdam. Even though he could be rough and strict, Bob became a memorable character and a small cult figure in the city. 4 tracks on one very special release. A1 by Doctr - Our Minds Belong Together. The long awaited super nu italo hit already played by David Vunk at many festivals and clubs where everyboday is waiting for! A2 by Theo Scuera - Your Virus. Club banger and Dancefloor filler with crazy sexy bassline and pumping rhythm section. Half electro half techno. Endmix legendary by Endrik schroeder. A1 David Vunk and Ben la Desh - Unrealized prophet. Long time friends Ben la Desh and David Vunk team up again with another super deep techno house track, layered analog sequencial prophet 5 synths sound, Erica Perkons drums and fx. All of this comes together in an exciting tech break with space-like sounds. Be prepared for this secret wapon. B2 Patricio Diaz - Come To My Hell A Parisian space house techno track with energetic beats and 90ies vibes. Pure energy. Get your 10000 steps on this one. Hint: Most likely people will already buy this just for the cover. So be quick for this release and don't miss this.

Some grooves don’t rush to the dancefloor — they crawl there, slow and heavy, like smoke wrapping around a bassline. With Fragments of Reality, The Balek Band sculpt an electronic funk that lives between shadow and light — an end-of-the-world fever dream, a Barjavel-style Ravage where chaos turns nihilistic.

No sequencer grid here — just four musicians sharing the same room, shaping air and tension together: drums locked tight with a slap bass, a guitar dripping with echo and heat, and a one-man orchestra behind his machines, weaving acid lines and synth arpeggios while mixing the band live — drenching it in delay, reverb, and saturation, like a dub producer in a Kingston studio, Lee Scratch Perry or King Tubby conjuring ghosts through smoke.

This isn’t fusion — it’s friction. A living ritual where the TB-303 hums, and machines don’t dominate but converse with the human pulse. Each track feels like a night that refuses to end — that humid in-between where trance slips into languor, and the body starts to think for itself.

The record recalls the cosmic jazz of Alain Mion or Eddy Louiss meeting the fiery energy of West African afrobeat musicians freshly arrived in a smoky Belleville basement in the mid-’80s. When The Balek Band summon ghosts, it’s only to reshape them — bending the past into something futuristic, alive, and strangely refreshing. Both disciplined and delirious, Fragments of Reality feels like a promise at dawn: dark funk for the late hours, slow acid for warm blood.

This EP isn’t nostalgic, though it remembers. It’s a transmission from a parallel past — a moment when jazz players met drum machines and decided never to stop playing. Each note sweats, each rhythm breathes. You can almost see the light cutting through the haze, faces half-awake, half-possessed.

The Balek Band aren’t recreating a moment — they’re keeping it alive.
Flesh and cables. Impulse and patience.
A band, not a loop.
A trip, not a format.