Buscar:flow

HøRD is the solo project of Bordeaux-based synthwave producer Sebastien Carl. Started in 2014, Sebastien has proven himself to be able to gather a cult fan-base around his creation in a short time, collaborating with artists as Hante, Winter Severity Index and Black Bug and performing live in most European countries.

Debuted by Antoni Maiovvi and Vercetti Technicolor’s Giallo Disco, an EP on SNTS’ Sacred Court and a second full-length on Avant! have followed. Bodies is his third album and it shows eight new passages that take HøRD’s distinguishing features one step further once more.

Ethereal synths matching deep analogue beats, veiled vocals speaking of visions, memories, meaning and failing. Synthwave sounds like a soundtrack from the 80’s meet electro and techno mechanical rhythms along a stream of tracks that almost have no name so that the listener can just let them flow and flow with them, taking a journey away from the present time and into an abstract, dream-like modern dimension where the misty and the solid are one.

Utter presents 'The Saturn Star', a score to an imaginary film by music producer and visual artist Jorge Velez.

Inspired by The Third Ear Band, late-period Coil, Carlos Peron's lurid soundtracks and European folk music, Velez's score accompanies the evocative tale of a 16th-century physician-alchemist hunted down by The Inquisition in western Europe.

Much like his acclaimed 'Hassan' soundtrack, Velez purposefully limited the amount of equipment he used to create a cohesive sonic environment, this time restricting himself to a Korg MonoPoly and Prophet 6. The music flowed quickly, with the entire project recorded and mixed within two weeks. The resulting work veers from moments of unsettling intensity to blissful beauty, underpinned by a lingering sense of mystery and paranoia.

Velez is also an avid illustrator and a new 8-page riso-printed booklet titled 'Systema' is included within the LP sleeve. It's intended as a 'guide for self-transformation', with each image to be taken in slowly alongside the music. For Velez, sound and vision are closely intertwined:

"Making music is as visual a process for me as making a drawing. A piece of music that's working is able to take on some fantastic shapes or evoke entire scenes or environments. Creating a story, characters and scenes that vary in intensity make the process of building a score for an imagined film tremendous fun. Listening back to 'The Saturn Star' I can still see those 'film scenes' in my mind..."

For the uninitiated, Velez has been producing music since the mid-90s - his early work was compiled by Rush Hour on its dedicated 'MMT Tape Series' releases - and has been prolific since, with releases under his own name on L.I.E.S, Berceuse Heroique, Skudge and Crème Organization coming in quick succession. He has also produced under a number of aliases such as Professor Genius, Bridge & Tunnel Kids and Duermo for Echovolt, Italians Do It Better and Borneo. His collaborators include Willie Burns, Gilb'r and Acid Arab among others. He currently lives in Amsterdam, Netherlands.

*Limited to 250 copies - includes 'Systema' A5 booklet*

Upsurge is the 5th LP on Ilian Tape and the musical journey of a sensitive soul.

Over the last 8 years Stenny has become one of the core artists on the label, continuously evolving his own style and exploring new territories. His debut album flows through ups and downs and reflects the highs and lows we all go through.

Celebrating a Decade of Dark Entries with a compilation titled ‘Tens Across The Board’. We revisit our roster and chose 10 songs from 10 bands from 10 different countries spanning the years 1981-1993. The songs flow in chronological order and have never appeared on vinyl, with 7 of the songs previously unreleased.

The compilation begins in 1981 with Parade Ground from Belgium, the duo of brothers Pierre and Jean-Marc Pauly with help from Patrick Codenys and Jean-Luc of Front 242. “The Light’s Gone” was one of their earliest experiments and employs a stark minimalism with modular synthesizers, guitar reverb and tape delay. Next we venture to Granada, Spain in 1982 to meet the trio of Diseño Corbusier. Influenced by Cabaret Voltaire and Dadaism, “La Esperanza está en Antenas” was the band’s take on melancholic pop fueled by a robotic DR-55 bass-line. Sailing the Mediterranean Sea to Athens to meet Greek electronic goddess Lena Platonos who shares a demo from 1983. “Μια Γάτα Σασ Περιμένει Στη Γωνία” translates to “A Cat Is Waiting On The Corner” and is possibly the witchiest sounds we’ve shared yet, ending with a blood curdling scream. Frozen in 1983 we cross Ionian Sea to Messina, Italy and visit Victrola, the duo of Antonino “Eze” Cuscinà and Carlo Smeriglio. They’ve unearthed a melodic instrumental version of “Luca” fueled by a Korg Polysix and TB-303. Traveling across the Adriatic to Slovenia circa 1984, where Borghesia are working on their album ‘Ljubav Je Hladnija Od Smrti’. “Magla” translates to “Fog” fitting for the thick, somber electronics of Aldo Ivancic providing a dense atmosphere for the baritone vocals of Dario Seraval.

On Side B we go down under to Sydney and excavate a hidden Tom Ellard song recorded in 1984 under the alias Lord Metal, an anagram of his name for copyright reasons. “Ga Duum Blitzfonika” is a slow-motion, unadulterated dance groove originally released on the cassette compilation "Independent World”. Skipping ahead to 1986 in Tours, France we salute X-Ray Pop the minimum new wave duo of Didier "Doc" Pilot and Zouka Dzaza. They contribute the hypnotically fragile “Corto Maltese” that originally appeared on the cassette compilation ‘Plop’. Crossing the German boarder we arrive in Dortmund at the apartment of Andreas Sippel of Second Decay who recorded the instrumental demo “Lübeckerstrasse” in 1988 with partner Christian Purwien. Utilizing an TR-808, SH-101 and Arp Odyssey this cold slice of futurism was named after the street Andreas lived on. Traveling westward to England, specifically Basildon, Essex to the teenage bedroom of From Nursery To Misery, the trio of identical twin sister vocalists Gina and Tina Fear and keyboard player Lee Stevens. “Contentment” is an introspective, ethereal pop song with child-like vocals that originally appeared on the Belgian tape compilation ‘Heartbeat Vol.4’ in 1989. Finally, we return home to San Francisco and close out the compilation with Cyrnai the moniker of multi-instrumentalist Carolyn Fok. “Digital Grit Box (Demo)” was an outtake from the ‘Transfiguration’ album sessions recorded in 1993, utilizing dark dance drum beats made with MIDI sequencer programs Studio Vision and Sample Cell.

All songs have been remastered by George Horn at Fantasy Studios. The vinyl is housed in a custom designed jacket by Eloise Leigh featuring our label’s colors black-white-red with connect-the-dots pattern linking the 10 songs via maps/timeline/location, all relating to the reissue process, plus source images from San Francisco, our hometown. For this landmark release we've also printed a 2-sided fold-out wall poster that includes every artist we've released in our first 10 years 2009-2019 in black, red and silver metallic ink, plus an 8x11 insert with lyrics, notes and photos.

Anonymous newcomers Broke Brotherhood delivering 4 cuts, from driven trippy techno to wonky house.

Celebrating the broke side of lyf. That side we all know, but forget to wear it with pride. Losing money for the love of music xxx Bobby Donny

After a year in studio together PST and DJFB are ready with another live studio excursion from the PSTStudion! They continue to explore the live possibilities in the studio. With more additional gear and upgraded old-school synch and programming methods! This time a more up tempo affair. Trippin’ into a dance floor oriented territory, with 808 grooves, the usual heavy dubbed out effects, subtle melody hooks and some psyched out live acid flow. Three track 12″ tripper with a deep touch and groove.

Endlessly sampled across the board, for those dreamy guitar licks, killer Rhodes keys and luscious strings, Goody Goody ‘It Looks Like Love / Super Jock’ is a 1978 masterpiece of disco gold. Original copies of the Atlantic Promo 12” sell for upwards of £65 so it’s about time a remastered, officially reissue landed.

Produced by Vince Montana of MFSB and The Salsoul Orchestra fame, ‘It Looks Like Love’ was a Larry Levan / Paradise Garage classic and still commands dancefloors the world over. Flowing flutes, sultry vocals and xylophone twinkles open up proceedings, as those iconic, funk-flavoured staccato guitars and rising strings step up to the plate. Combined they produce a glistening groove that captures the feel-good factor of NYC’s disco apogee.

Delectable disco, fuelled by an undeniable funk that continues to be harnessed, chopped and sampled by some of house music’s biggest players from Nick Holder and Armando, to Tom Trago and Glenn Underground.

On the B side, soul-searching cosmic fluctuations via ‘Super Jock’, with interplanetary vocal refrains stretching out above a full-bodied bass, tight drumming and spacey Rhodes. Montana’s world class arrangement sees bongo-led percussive interludes and dancing keys solos take listeners to a mesmerising galaxy, far far away.

A double dose of that good stuff!

finally repressed !

The Vivus family ends 2018 in style with its fifth instalment in the vinyl-only series VRV. This release brings back some familiar faces in label founder Daniel Broesecke and an old friend in Silat Beksi.

These two close friends who share their passion for music are fresh off their release on Curtea Veche back in September but they bring some raw energy on this one, resulting in timeless and hypnotic music from two creative young artists.

The first track, Mistral, starts off as strong as you would expect from its name, deriving from the cold northwesterly wind that blows from the south of France to the northern Mediterranean. The heavy bassline floats just above the surface as a cool breeze of atmospheric sounds make their way across.

Next up, on the B side, we have Get Some More, with a calmer approach but powerful nonetheless. An unexpected vocal greets us at the beginning only to make way for a steady flow of uninterrupted intertwined noises that go hand in hand with the firm bass line just underneath.

Glitched out, sub bass roller from the masterfully mysterious EEE camp with a warped noughties vocal for good measure. The previous four releases have flown out of the racks - don't sleep!
Heavy support already from the likes of Raresh, East End Dubs, Barac and Priku. As always - one-sided, 180g, hand-stamped gear!

Percussionist Jamie Muir was a member of King Crimson during the recording of Larks' Tongues In Aspic, in 1973. Staying less than a year with Robert Fripp, the Scot had already cut his teeth with another master guitarist, Derek Bailey, as part of the Music Improvisation Company, along with Evan Parker, Hugh Davies and Christine Jeffrey, whose eponymous 1970 album was one of the first releases on ECM. Muir and Bailey recorded Dart Drug eleven years later, in 1981.There's no shortage of great percussionists in the brief history of free improvised music but on the strength of Dart Drug alone Jamie Muir deserves a place at High Table. Unlike for example Han Bennink and John Stevens, though, you can't hear echoes of any particular jazz drummer in Muir's playing, even if he has expressed appreciation for Milford Graves (who himself sounded like nobody else who'd come before him).What on earth did Muir's kit consist of Some instruments are clearly identifiable (bells, gongs, chimes, woodblocks); others could be... well, anything. Old suitcases thwacked with rolled up newspapers Tin cans and hubcaps inside a washing machine Who cares It sounds terrific - but if you're the kind of person who faints at the sound of nails scraping a blackboard, you might want to nip out and put the kettle on towards the end of the title track.Dart Drug is consistently thrilling, and often very amusing - but it's certainly not easy listening. In music we talk about playing with other musicians, whereas in sport you play against another opponent (or with your team against another team). Why not play against in music, too That's precisely what happens very often in improvised music, and Bailey was particularly good at it. How can a humble acoustic guitar hope to compete with a Muir in full flight Sometimes Bailey's content to sit on those open strings, teasing out yet another exquisite Webernian constellation of ringing harmonics and wait for the dust to settle in Muir's junkyard, but elsewhere he sets off into uncharted territory himself.'The way to discover the undiscovered in performing terms is to immediately reject all situations as you identify them (the cloud of unknowing) - which is to give music a future.' Bailey evidently concurred with this spoken statement by Muir, including it in his book Improvisation.Derek Bailey is no longer with us, of course, and Muir gave up performing music back in 1989. All the more reason for seeking out this magnificent, wild album.

With immaculate vocal turns and sleek production, Views is Drake's tour through the city that made him. A meticulous contrast to the off-the-cuff brilliance of recent mixtapes, he taunts adversaries with speaker-rattling anthems ('Hype,' 'Still Here'), revisits his humble beginnings ('Weston Road Flows'), and rekindles the seductive chemistry with Rihanna ('Too Good'). Those extremes—the Caribbean warmth of 'One Dance' and the icy lament of 'Fire & Desire,' the unflinching vulnerability and unapologetic self-assurance—make Views a riveting victory lap from Toronto's game-changing MC.

Konstruktivists are a UK Industrial group formed by Glenn Michael Wallis in 1982 out of the ashes of Heute. In the late 70's/early 80's Wallis was heavily involved with Throbbing Gristle and the Industrial Records crew. Influenced by Krautrock bands like Can, NEU!, Cluster/Harmonia as well as Tuxedomoon, Yello, Chrome, SPK and early Clock DVA, Glenn began to record his own material. After several cassette releases through Flowmotion under his own name, Konstruktivists' first LP A Dissembly' was released in 1982.

Adam Beyer is back on Drumcode with an impressive array of tracks that will get the senses tingling and shows us what Drumcode is all about. These 4 tracks are deep and almost melancholic in their approach to techno, using effects to really help enforce an ambience only Beyer can achieve within his productions. The under lying throbbing of the drums drives this EP into the forefront of the heads down Drumcode sound and have been heard in many of Beyer's phenomenal sets throughout the year.

repressed !

Ideal Audio presents the fourth and final instalment of Oliver Huntemann and Dubfire's seminal ELEMENTS series. These techno heavyweights have worked together on numerous projects over the years, but it is their Elements collaborations that have shone impressively as a complete body of work. AGUA is the final piece of the music puzzle and completes the series that first saw the light of day back in 2010 with the scorching FUEGO. 

2011 brought us TERRA, firm and powerful with its devastating breakdown. 2013 saw us breathe in the mystical AIRE, harnessing the elements of the previous tracks to build a fresh and magical moment. AGUA, as its name suggests, flows effortlessly, helped in no small part by the sultry vocal of Xenia Beliayeva, but kicks in equal measure. 

Signing off in such style has also lead to Ideal Audio drafting in some heavy weight talent on the remixes. Carl Craig, under his C2 moniker, dives straight in to strip the original to its core. A single drum beat, siren, clap... and then the kick. Petar Dundov twists the original's elements into a bubbling acidic stream that washes over us.  An impressive package for an impressive finale! 

Whilst Animalia's worldwide web of a family grows, we're also fostering relationships with our integral alumni, the ones that have helped build Animalia's identity, and made the label what it is today. A year on from part one, chapter two of Sub Basics' series has arrived, flowing organically from his 2026 release ''Wavelengths''. Familiar textures are woven throughout the release; the signature Sub Basics sound; dubby interpretations of UK techno, dubstep and tech house, all interwoven with an undefinably Animalia sound. The artists classic, rolling tunes slide naturally into the labels catalogue of psychedelic, groovy and genre bending sounds.

A Flower to Water, the staggering new album from Greek Progressive-Post Metal outfit Playgrounded, finds the five-piece pushing their boundaries even further; welcoming the unquantifiable depths of loss, grief and finitude into their meticulous, fractal process as friends in defiance of neglect. Hailing from Athens, Greece but predominantly based in Rotterdam, Netherlands, Playgrounded have never ceased to push the envelope of Post Metal with genre-defying contemporary electronic and cinematic neo-classical elements since the band's inception almost two decades ago. A Flower to Water is Playgrounded's third full-length offering and sees the band thriving in their creative relationship with Pelagic Records. Recorded and produced by the band across multiple studios back home in Athens and Rotterdam, Playgrounded enlisted the help of longtime collaborators C. Cederberg (Leprous, Anathema) who mixed the album at Cederberg Studios in Kristiansand, Norway and George Tandero (Madrugada, Satyricon, Jaga Jazzist) who mastered it in Oslo. A profound sense of patience is keenly felt throughout the album. The deliberate spaces between each hammerblow guitar riff, pulsing bass line or hypnotic drum groove; each heavy, breathless pause and fizzing glitchy whisper all tell of unspoken loss and absence as an indelible part of A Flower to Water and indeed of Playgrounded forever more. In marking this absence however, in embracing loss head on, Playgrounded reify memory in defiance of neglect. By extracting such a colossal, breathtaking piece of work from a seemingly unassuming collection of sounds, clips and sonics; the quintet slow time to a standstill to present grief in bloom; a beautiful, perpetual flower with its roots in loved ones lost. FOR FANS OF Karnivool, Katatonia, Nine Inch Nails, Deftones, Moderat, The Ocean, Vola, Leprous, Skyharbor, Anathema

A Flower to Water, the staggering new album from Greek Progressive-Post Metal outfit Playgrounded, finds the five-piece pushing their boundaries even further; welcoming the unquantifiable depths of loss, grief and finitude into their meticulous, fractal process as friends in defiance of neglect. Hailing from Athens, Greece but predominantly based in Rotterdam, Netherlands, Playgrounded have never ceased to push the envelope of Post Metal with genre-defying contemporary electronic and cinematic neo-classical elements since the band's inception almost two decades ago. A Flower to Water is Playgrounded's third full-length offering and sees the band thriving in their creative relationship with Pelagic Records. Recorded and produced by the band across multiple studios back home in Athens and Rotterdam, Playgrounded enlisted the help of longtime collaborators C. Cederberg (Leprous, Anathema) who mixed the album at Cederberg Studios in Kristiansand, Norway and George Tandero (Madrugada, Satyricon, Jaga Jazzist) who mastered it in Oslo. A profound sense of patience is keenly felt throughout the album. The deliberate spaces between each hammerblow guitar riff, pulsing bass line or hypnotic drum groove; each heavy, breathless pause and fizzing glitchy whisper all tell of unspoken loss and absence as an indelible part of A Flower to Water and indeed of Playgrounded forever more. In marking this absence however, in embracing loss head on, Playgrounded reify memory in defiance of neglect. By extracting such a colossal, breathtaking piece of work from a seemingly unassuming collection of sounds, clips and sonics; the quintet slow time to a standstill to present grief in bloom; a beautiful, perpetual flower with its roots in loved ones lost. FOR FANS OF Karnivool, Katatonia, Nine Inch Nails, Deftones, Moderat, The Ocean, Vola, Leprous, Skyharbor, Anathema

The word ‘Tystnad’ – literally translated – means silence. In this case, the Silence is less that of zen buddhism or that of John Cage, rather the name of the studio where Flowers Must Die – carriers of the torch of Swedish psychedelia for now nearly 20 years – retreated to make their most head-expanding album to date. Located near the Norwegian border in the verdant rural Värmland region, Silence Studios has been a countercultural hub for decades, attaining a legendary status as a residential outpost where bands can retreat to stretch out creatively and focus their psychic powers.
From just such origins, Flowers Must Die have crafted a collection of expansive and incandescent jams that maps out a lysergic trajectory between the idealistic, anything-goes mania of early ‘70s psychedelia and the 21st century. Tystnad is the sound of a band buoyed by the afterglow of their last Rocket release, 2017’s Kompost and its attendant touring, and expanding into extrapolations that marry the wildest free improv with haunting melody.
If Tystnad, as the band claim, is to be their last recording made in one room at the same time, then it displays a formidable escape velocity. Who’s to say whether Flowers Must Die have tapped into a Swedish continuum, one including the like of Pärson Sound, Dungen or Goat. What’s clear is that Tystnad is a timeless treatise, and a potent channeling of spirits –transcending genre in search of enlightenment anew.

Die aus Santa Cruz, Kalifornien, stammende Hardcore-Band Scowl hat die Szene als eine der authentischsten jungen Stimmen des Genres im Sturm erobert beeinflusst von allem, vom Hardcore der 80er über Punk und Oi bis hin zu modernem Alternative-Pop. Die Band hat sich einen Namen mit Songs gemacht, die ebenso nachdenklich und düster sind wie sie Spaß machen. Als Neuzugang in der Flatspot-Records-Familie präsentiert das Label ihr neues Album How Flowers Grow".

Our favorite London duo „ddwy“ are back on Public Possession with a 4 track EP titled „Tell Me, Told You“.
„Drink the real flowers“ is soft, emotional, cinematic stuff, giving hard late 90s early 2000s Trip Hop vibes. Check the B-Side for a very lush D.J. mix by „Stone“.
The title giving „Tell Me, Told You“ is peaking psychedelia, a warm, intense hug.
„Told You, Tell Me“ is orientated more towards the dancefloor and can surely create some serious ecstasy if played in the right moment.
In all this, the multiple layers of sounds intertwined with Naomi’s voice create one remarkable, organic whole that is full testament to the continuous evolution of these super talented musicians.
Dive in, fall slowly, land very gently.

Following the much-loved Library Music: Volume One (2022), and hot on the heels of this year’s critically acclaimed ‘After The Rain, Strange Seeds’ (9/10 - Uncut) , London group The Leaf Library return with a second journey through the margins of their catalogue. Gathering together rare recordings, compilation tracks, limited edition releases, collaborations and hidden gems from their ever-expanding musical world, Library Music: Volume Two is another vibrant and varied collection of electronic indie pop, in all its guises.

Far from a conventional odds and ends collection, the double LP compilation reveals another side of a band who have always treated the spaces between albums as places to explore. These are the moments where ideas stretch out; there are hypnotic drones, motorik rhythms, glowing analogue textures, pastoral electronics and the warm, melodic melancholy that has become unmistakably The Leaf Library. There is the electro-pop of Flowers At The Border, the psych rock-adjacent Building Better Worlds, and the gentle chamber shuffle of Kendrick Road. Tracks range from the 22 minute folk kosmiche epic Versatile Clouds to the 59 seconds, record skip punctuation mark of Harmonic Runout, with a whole array of trips, ideas and experiments in between.

Since forming in a pre-Ghost Box, Castles in Space and Clay Pipe world, The Leaf Library have carved out a unique place somewhere between dream pop, kosmische repetition and experimental songcraft — drawing comparisons to Stereolab, Broadcast, Yo La Tengo and the outer edges of library music, while creating a sound entirely their own.

“We’ve always loved making things outside the pressure of a ‘proper’ album,” says singer/guitarist Matt Ashton. “Singles, collaborations and compilation tracks give you permission to follow an idea wherever it wants to go. Looking back, those pieces tell their own story.”

Where their studio albums have shown the group carefully building immersive worlds, the Library Music series maps the pathways between them — the sketches, diversions and unexpected discoveries that often reveal the most about a band.

Across a lucky thirteen tracks, Library Music: volume two is a reminder that some of the best discoveries are found on the shelves you forgot to check.

[a] Flowers At The Border [4.21]
[b] The Long Dead King [7.16]
[c] Bowed Clusters [4.00]
[d] I Learned To Swim Under Water [4.32]
[e] Building Better Worlds [11.59]
[f] Harmonic Runout [0.59]
[g] Kendrick Road [3.36]
[h] Sailing Day (Wintergreen Remix) [3.59]
[i] Versatile Clouds [22.00]
[j] Bells and Thread [2.54]
[k] No Memories, No Plans [4.33]
[l] Everyone I Met Today [1.00]
[m] Tired Ghost In Orbit [9.19]

1982 4-Piece Demo' is the first official, fully-licensed and unreleased material to be released under the name Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band's mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn't a complete picture. Bryson and McDowall's growing friendship, having met some years earlier on the punk scene, became a creative partnership: Bryson's art school background and McDowall's history in avant-punk group The Poets meant Strawberry Switchblade was a band pitted against many established norms. The band's very first incarnation, an all-female 4 piece, recorded one demo at Glasgow's Hellfire Club and played a handful of gigs. Friends Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry Switchblade would eventually pair down to a duo and go on to chart success but it's in these raw, passionate recordings that the songwriting and vocal elements were being hammered out and explored in real time.


Spanish Song' is a previously unreleased song. With Rose McDowall's instantly recognizable lead vocal dovetailing with Bryson's harmonies and lead guitar, it's the first glimpse at an alternative history of Strawberry Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indie-pop revolution that would take over British bedrooms a couple of years later. "Trees & Flowers" is instantly recognizable, a bona fide classic that would earn the band its first record deal. Here it's given a more forceful rhythm section: Goodlett and McGowan's playing is in fact accomplished and doesn't hint at the bands' youth. "Go Away" would also surface later on the band's debut LP but here it is a moody-garage stomper with a psychedelic, haunting refrain. These 3 songs point to a tantalizing future of the band that was never realized.


Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and new text. Pa

After a savage summer of performing over 35 festival shows, COLLIGNON continue their journey with the release of Bicicleta.

Bicicleta was written and recorded right in the midst of the band's summer tour. Gino, Yves and Jori seized the moment, the album captures exactly where they currently stand as a band: thriving on the energy of their live performances, with the desire to dive deeper into their music.

The result is Bicicleta—a diverse and authentic album that stays true to COLLIGNON’s distinctive blend of wildly grooving beats, psychedelic guitars, and sharp keyboard riffs. The music transports listeners across many borders, all while maintaining their signature COLLIGNON sound.

This album was made with vinyl in mind, designed to be experienced as a complete journey. From the first Maloya rhythms of "Fonkér la Mér" (Kreol for 'fond du cœur de la mer', meaning ‘from the bottom of the heart of the sea’) to the Brazilian groove and cosmic crescendo of "Vai Vai Vai (Into the Stars)", Bicicleta is a trip that flows from track to track.

The album, recorded while Jori left his Portuguese studio for a year-long stay in the Netherlands, pays homage to what -without engine, exhaust or pollution- might be considered the finest emblem of Dutch culture: the bicycle.

The words of adventurer Nellie Bly, written in 1896, still ring true today: ‘In a frenetic era of expanding possibilities, cycling offers a journey into a landscape of dreams. The bicycle has always signified independence and freedom in steering one’s daily course and the byways of its occasional adventures.’

To truly experience this album, nothing compares to holding the vinyl sleeve in your hands and spinning the record on your turntable.

Pressure is the medium of wind players. Wind instruments all sound thanks to pressure differentials, whether that’s the rush of wind over a lip plate or a steady, buzzing exhalation through pursed lips. Ka Baird and Chris Ryan Williams (HxH) are wind players well- schooled in the power of using pressure and movement to amplify the mystery of an invisible force animating a metal tube. They augment their instruments, flute and trumpet respectively, with electronics, sometimes obscuring the acoustic sound source, sometimes making it hyperreal. Flutters of lip and tongue slither over the listener’s ear, and sustained tones become a dense fog, pushing on other kinds of visceral, emotional pressure points.

On Enthalpy, Baird and Williams’ first album as a duo, the energy they conjure feels barely contained, the pressure built up to a breaking point before spilling out in multiple directions at various speeds. They borrow the title from thermodynamics, referring to the total energy of a system based on its pressure and volume. The music flies out in bursts; it seeps and oozes, flows with intention. It is an incredibly rhythmic work without any hint of meter, full of sounds that punctuate with the thud of a dart hitting a bullseye. Williams’ capability to conjure swirling atmospherics, as well as his remarkable ability to pull fragments of melody from the haze, fit puzzle-like into Baird’s exclamations and the eruption of electronics that often dovetail them. The duo draws on tones from nearly the entire range of human hearing, from nimble but bulbous throbs of sub-bass to pinprick flickers of ultra-high end.

The sessions that produced Enthalpy were completely improvised, showcasing a degree of mind-meld that belies each participant’s thrill at approaching the unknown. This isn’t a casual conversation, but an omnidirectional tangle that ties and reties itself into new knots as the album progresses. Williams and Baird have both become ubiquitous presences throughout the New York City experimental music communities, collaborating with innumerable others and learning how their unique approaches work in tandem with similarly expansive thinkers and players. Even in the album’s most spacious moments, there’s a tension between the feeling of being unmoored and yet completely locked in, like the abyss is just one more river to cross. They ford it together before moving on to the next idea in lock step.

For the listener, Enthalpy is often felt in the body as much as it reverberates within the ears. We’re tossed from side to side, made to shoulder the impact of detonating electronics, absorbing these sounds with the feet, gut, and crown. Baird reaches into the back of their throat for guttural growls, and we can almost feel the scratch. As we tread the border of the synthesthetic, it's a reminder of the physical nature of sound, that the space between our ears and the speakers is its own enthalpic system of energy conduction. Move with it, let it move you, and see how it feels.

On "Chauffeur," The Womack Sisters reflect on the trials and tribulations they each faced while trying to make rent as car service drivers. A HARD-HITTING groove, and impassioned background vocals drive the song as the sisters plea "How many miles do I have to burn... Just to keep my place?"

There are no flowery metaphors here. This song is about the real struggles people face to survive everyday, in this case grappling with the futility of trying to stack meager fares into rent money.

After the acclaimed Bar Mediterraneo, Massimo Di Lena and Lucio Aquilina return with People Of The Moon, expanding their sound into a space of creative freedom. The “People of the Moon” are not fictional, but a dimension within us all: a deeply personal yet universal force, an alternative mindset that emerges when freed from social constraints.



Under moonlight, the album explores anxieties and aspirations through groove and rhythm, expressed in Neapolitan, Arabic, English, Spanish, and Portuguese. It moves fluidly from Afro-Cuban influences in “Celavì” to Anatolian textures in “Ma Tu Che Bbuò”, blending highlife guitars with Nu Genea’s signature mandolins-new rhythms filtered through an Italian lens.



The first single “Sciallà” (2025) introduced this direction: dance as catharsis, not escape. The title track reflects a quiet resilience-persistent rather than triumphant. “Onenon”, featuring Tom Misch, channels Mediterranean brit-funk, while “Acelera”, with María José Llergo, evokes a flamenco-tinged pursuit of the unattainable.



“Puleza” recalls Nuova Napoli with driving energy and vintage synths, while “Shway Shway”, sung by Celinatique, captures the album’s orbital flow-measured, rich, and rhythmically complex, echoing afrobeat explorations with Tony Allen.



Melody remains central, as in “Carè”. Across ten tracks, falling, flying, and dancing merge in a suspended groove. Gabriel Prado’s “Ondas Do Mar” embodies this pull: a cyclical motion, like the tides—irresistible, transformative, and alive within us.

Locust, das Projekt des legendären englischen Elektronikmusikers Mark Van Hoen, freut sich, das neue Album „Spectral+“ über TODO Records zu veröffentlichen. „Spectral+“ ist eine vielseitige, einzigartig ausgefallene Sammlung, die klassische Einflüsse wie Giorgio Moroder, Brian Eno, My Bloody Valentine und Boards of Canada als Ausgangspunkte für neue Wege nutzt. Mit dabei sind Musiker wie Neil Halstead von Slowdive, Olive Kimoto, Natasha Morrow, Nick Holton von Black Hearted Brother und Griff Spex, dessen industriell-elektronischer Touch dem Album eine unerwartete und mitreißende Dimension verleiht.


Die Ankündigung des Albums folgt auf große Vorfreude seitens der Fans, seit Van Hoen eine neue Live-Besetzung zusammengestellt hat, mit der er seit September an ausgewählten Terminen in den USA neues Material uraufführt – darunter als Headliner beim „Elsewhere“-Takeover von Perfectly Imperfect, beim „And Always Forever Festival“ und beim „Flower Moon Festival“ –, was ihre ersten Live-Auftritte seit ihrer Zeit als Vorband von Massive Attack in den 90er Jahren markiert.


In den letzten Jahren hat das Projekt eine beeindruckende Kult-Anhängerschaft aufgebaut. Das Publikum besteht nicht nur aus denen, die sich an seine Tourneen mit Autechre und Aphex Twin erinnern, sondern auch aus einer aufstrebenden jüngeren Generation, die Locust durch das Trip-Hop-Revival und die Präsenz in den sozialen Medien entdeckt hat.

Bonding over a shared love of soul, jazz, funk and hip-hop, rapper Essa and producer / multi-instrumentalist J-Felix assembled a dream-team of top notch vocalists and players for this collective effort.



The result? Driving beats, poignant bars, soulful hooks and stirring brass.



The collective includes vocalists Avijè, Vanya Lyma, Marshall Mandiangu and Jerry Clavier, with Jack Kendon on horns and a guest appearance from your favourite drummer’s favourite drummer, Richard Spaven.



With his customary wit and masterful flow, Essa speaks on finding truth, confronting ego, eloping to the tropics and breaking generational curses. The esteemed lyricist was a key figure in UK Hip-Hop’s heralded “golden era”, alongside contemporaries and collaborators Jehst, Klashnekoff and TY, performing and recording with such luminaries as De La Soul, Wu-Tang Clan, Guru, Slum Village and Pharoahe Monch, winning praise from Nas and Mark Ronson.



J-Felix’s rich production takes in neo-soul, UK Jazz, boogie and hip-hop. His signature “J-Funk” style evokes classic samples but with all-original playing from the versatile multi- instrumentalist, who has worked with Swindle, Kojey Radical, Mahalia and Alice Russell.



The Fifth Foundation’s explosive live experience ranges from a versatile MC/DJ set-up to a full live band, with horns and multiple vocalists, mixing originals from this bold debut with inspiration from timeless soul, jazz, funk and rap classics.

10th Anniversary Edition auf metallic goldenem Vinyl. Mit neuem Artwork und A2 Lyric/Poster Insert. Casey (South Wales) drücken dem Hardcore aus UK ihren eigenen Stempel auf . Mit berechtigten Vorschusslorbeeren (1. Single bereits auf Heavy Rotation bei BBC1) geht die Band Ende September mit ihrem Debüt-Album an den Start und im November auch gleich mit guter Begleitung (Being As An Ocean & Capsize) auf Deutschland Tour. Ihr Sound hat Punk von LA DISPUTE, Hardcore von TOUCHE AMORE und das Feeling von LETLIVE verinnerlicht!

The Garden, a magical place where lost dreams don't fade, but grow like silent flowers. Each petal holds an unfulfilled wish, each scent a memory left behind. In this garden, those who enter rediscover parts of themselves they thought lost and understand that nothing should be forgotten if it has touched their heart. The garden is the image that recurs most frequently throughout the album. We chose it as a metaphor for "refuge," a place where we can choose to nurture our natural inclinations, let them grow and blossom, but where we can also keep our shadows and our lights hidden. Where our secrets, our most authentic truths, our aspirations and our dreams, can therefore remain guarded until we are ready to reveal them to those who can contain and appreciate them.

Magenta Coloured Vinyl, limited to 400 copies. The Garden, a magical place where lost dreams don't fade, but grow like silent flowers. Each petal holds an unfulfilled wish, each scent a memory left behind. In this garden, those who enter rediscover parts of themselves they thought lost and understand that nothing should be forgotten if it has touched their heart. The garden is the image that recurs most frequently throughout the album. We chose it as a metaphor for "refuge," a place where we can choose to nurture our natural inclinations, let them grow and blossom, but where we can also keep our shadows and our lights hidden. Where our secrets, our most authentic truths, our aspirations and our dreams, can therefore remain guarded until we are ready to reveal them to those who can contain and appreciate them.

Montréal-based sound artist Steve Bates expands his strategies and stylistic influences on An Infinite Antenna, his second solo album for Constellation, giving freer reign to melodic components and textural dynamics: leftfield synth work, deconstructed drum machine, pointillist electric guitar, and radiostatic blur are all part of the new brew swirling around his bruitist signal-bending and field-recording sensibility. Arguably a more ambient album than his acclaimed 2022 Constellation debut, An Infinite Antenna is at the same time more densely packed with ideas, dynamics, evocations and earworms. Coming out of the anarcho-punk scene of the Canadian Prairies in the 1990s, Bates founded Winnipeg’s experimental sound festival Send + Receive in 1998 before moving to Montréal to become Sound Coordinator at Hexagram (Concordia University), delving further into sonic research and theory, tape-based composition, and installation work. Alongside the curatorial arc of his own sound art label The Dim Coast, Bates released several solo and collaborative albums on ORAL_records leading up to All The Things That Happen, the 2022 Constellation debut praised by Boomkat for its “grittily iridescent ambient billow rendering maximalist panoramas” and by Backseat Mafia as “extraordinary soundscapes of unstable, destructive cacophony and tender calm, echoes of the threat of power.” Where that album was noisier and single-minded, made with the self-imposed limit of a Casio SK-1, Bates plays more widely with instrumentation and atmospheres on An Infinite Antenna, also drawing on his post-hardcore roots in seeking a sort of track-by-track concision nonetheless driven by the album’s coherence as a seamless work. “I was trying to set durations I associate with punk rather than the longer, sprawling music coming from more ambient styles (that I very much love), and while I wasn’t able to quite pare it down to Minutemen durations, I had that reduction to essential elements as a sort of whisper over my shoulder.” Incorporating source recordings made throughout 2023-2025, including at artist residencies and site-specific sound installation visits in Bosnia and Herzegovina (the album’s cover photo was taken in Sarajevo), Austria, Greece, and Saskatchewan, An Infinite Antenna combines Bates’ “idea of slowly scanning a radio dial” with a soundworld of recurring timbral and textural touchstones that forge an integrated whole.

The album’s 12 tracks work effectively as stand-alone pieces, replete with shifting undercurrents, buried melody, and stuttering kinetics, and as a sequential flow where the brief interstitial silences between them are like short pauses to flip the next page in a sketchbook of perspectival studies of a wide but singular tableau. The glistening atonal synth expressionism of opener “Pink pink pink pink…pink pink” drifts gently toward submerged ambience, darkened by the noised rumble and static interference of “Green as a ghost”, which introduces broken beats and piano chords in its denouement. Tracks like “Battles and sieges and street trees” and “Easier sad than done” work the foundations of low-end field-recording resonance, but dappled with lovely melodic droplets of treated guitar and synth. “Waste, songs of the world” and “Disaster loans” are among the album’s most explicit stylistic references to posthardcore, with distorted ambient bass and gently abrasive drum sampling. Closing track “Swamps and factories”, the album’s longest piece, is perhaps most reminiscent of Bates’ previous record with its sustained dissonant glimmer-drone, but the journey An Infinite Antenna traces to get there is Bates at his most dynamic, diverse, distinctive, and engaging. Thanks for listening.

Bright Madness is the third album from the improvising trio of Wendy Eisenberg, David Grubbs, and Bonner Kramer, a glorious afternoon"s worth of instant compositions laid down in Asheville NC in the early spring of 2025. The sound of Eisenberg, Grubbs, and Kramer doing their damnedest to dazzle one another is encompassing, flowing from shell-game sleights of hand to effortless beauty in the flicker of an ear, a lyrical group sound, with an insistent, vivid and immediate feel.

Montréal-based sound artist Steve Bates expands his strategies and stylistic influences on An Infinite Antenna, his second solo album for Constellation, giving freer reign to melodic components and textural dynamics: leftfield synth work, deconstructed drum machine, pointillist electric guitar, and radiostatic blur are all part of the new brew swirling around his bruitist signal-bending and field-recording sensibility. Arguably a more ambient album than his acclaimed 2022 Constellation debut, An Infinite Antenna is at the same time more densely packed with ideas, dynamics, evocations and earworms. Coming out of the anarcho-punk scene of the Canadian Prairies in the 1990s, Bates founded Winnipeg's experimental sound festival Send + Receive in 1998 before moving to Montréal to become Sound Coordinator at Hexagram (Concordia University), delving further into sonic research and theory, tape-based composition, and installation work. Alongside the curatorial arc of his own sound art label The Dim Coast, Bates released several solo and collaborative albums on ORAL_records leading up to All The Things That Happen, the 2022 Constellation debut praised by Boomkat for its "grittily iridescent ambient billow rendering maximalist panoramas" and by Backseat Mafia as "extraordinary soundscapes of unstable, destructive cacophony and tender calm, echoes of the threat of power." Where that album was noisier and single-minded, made with the self-imposed limit of a Casio SK-1, Bates plays more widely with instrumentation and atmospheres on An Infinite Antenna, also drawing on his post-hardcore roots in seeking a sort of track-by-track concision nonetheless driven by the album's coherence as a seamless work. "I was trying to set durations I associate with punk rather than the longer, sprawling music coming from more ambient styles (that I very much love), and while I wasn't able to quite pare it down to Minutemen durations, I had that reduction to essential elements as a sort of whisper over my shoulder." Incorporating source recordings made throughout 2023-2025, including at artist residencies and site-specific sound installation visits in Bosnia and Herzegovina (the album's cover photo was taken in Sarajevo), Austria, Greece, and Saskatchewan, An Infinite Antenna combines Bates' "idea of slowly scanning a radio dial" with a soundworld of recurring timbral and textural touchstones that forge an integrated whole. The album's 12 tracks work effectively as stand-alone pieces, replete with shifting undercurrents, buried melody, and stuttering kinetics, and as a sequential flow where the brief interstitial silences between them are like short pauses to flip the next page in a sketchbook of perspectival studies of a wide but singular tableau. The glistening atonal synth expressionism of opener 'Pink pink pink pink_pink pink' drifts gently toward submerged ambience, darkened by the noised rumble and static interference of 'Green as a ghost', which introduces broken beats and piano chords in its denouement. Tracks like 'Battles and sieges and street trees' and 'Easier sad than done' work the foundations of low-end field-recording resonance, but dappled with lovely melodic droplets of treated guitar and synth. 'Waste, songs of the world' and 'Disaster loans' are among the album's most explicit stylistic references to posthardcore, with distorted ambient bass and gently abrasive drum sampling. Closing track 'Swamps and factories,' the album's longest piece, is perhaps most reminiscent of Bates' previous record with its sustained dissonant glimmer-drone, but the journey An Infinite Antenna traces to get there is Bates at his most dynamic, diverse, distinctive, and engaging. Thanks for listening

Courant Zéro is the new moniker of Montréal multi-media installation artist and Kohlenstoff label co-founder Maxime Corbeil-Perron, signalling his return to purely recording-based electronic music production following several years focused on award-winning experimental film and audio-visual works. Solari channels his cinematic sensibility and decade-long exploration of sound art and electroacoustic counterpoint into deep cuts of maximalist ambient electronica. Drawing on his early background as a pianist and jazz drummer, Corbeil-Perron weaves a fabric of melodic and rhythmic vectors with his unique timbral palette, intersecting modern composition, IDM, ambient, glitch, and noise on a debut album brimming with sonic detail and emotive resonance. A fixture of Montréal's sound art community as both creator and curator since the early 2010s, Corbeil-Perron's work has ranged from "hypnotic A/V onslaught" (FACT Magazine) to the "richly nuanced acousmatic journey" of his 2018 EP Polychrome (Bandcamp Best Contemporary Classical Of The Month), with earlier electronic and techno-adjacent projects like Political Ritual, Dresden, and Le poisson d'argent garnering accolades from avant-music outlets A Closer Listen, Silence and Sound, and Musicworks, among others. Courant Zéro mobilizes this cumulative wealth of explorative sonic experience in the service of distinctive compositional architectures and electronic music pathways that fans of Floating Points, Jan Jelinek, Squarepusher, Tim Hecker, and Oneohtrix Point Never should find compelling. Title track "Solari" opens the album with a cavernous ambient glitch-drone soundscape that envelops ever-shifting timbres of modular arpeggiation, serving as introduction to the clarion call of "En deçà du réel", an homage to video artist Manon Labrecque, where layers of interweaving melodic counterpoint played on Buchla and other synths slowly build to widescreen immersive intensities; "I have this vision of Labreque vibrating eternally between two frames of magnetic VHS tape_ the slow pace of the piece also inspired by Tarkovsky's approach to scenography" says Corbeil-Perron. "Strange Aorta" is ectoplasmic ambient with wistful melody lines transmuting along a central filament, awash in shifting waves of low-end and ricocheting tonal glitch, the title a reference to "the thumping rhythm beating around the main melody_and the heavy remnants of grief related to my father's passing and a brutal confrontation with my own mortality a few years back." Tracks like "La peau des dents" and "Eroding Us" are more firmly rooted in electroacoustic and aleatory systems music, where colliding loops are shaped into unstable flows of deconstructed slippage and reconvergence. Those two pieces bookend the album's pivotal center: the gorgeous piano digitalia of "Horizon n'arrête" and the skittering electronica of 9-minute opus "Unyeldd", its loping broken beat and cascading melodic glitter like a cluster of wind-up music boxes in a dappled forest _ and for Corbeil- Perron also partly inspired by now fellow Constellation labelmates Do Make Say Think: "I spent a lot of time rediscovering their records after seeing them last September 2024 which definitely influenced this piece." Courant Zéro's debut is a vibrant sonic rebus at the junction of electronic, electroacoustic, noise and ambient music that resists easy categorisation. Solari strikes a compelling balance of unsettled disorientation and hospitable warmth, teeming with real feeling throughout. The album's cover art painting Cryptography I by Yen-Chao Lin represents this prevailing sensibility, its mazelike circuitry distinctly carved and crisply rendered, while filigreed with handmade detail and artisanal patina. Thanks for listening.

Early in 2018 he unveiled Zoning Out, Volume 1, an album intended for chilling while deep in thought, or for getting into that crucial head-nod zone, like when the DJ drops the dopest beat. With listeners ready for more rhythmic brain-food, Emapea provides with the anticipated next installment: Zoning Out, Volume 2. Developing the theme of Volume 1, Emapea takes his jazzy sensibilities and fresh drum patterns and ups the ante, delivering 18 mandatory cuts that swerve and shimmy while exhibiting pure dopeness. Take "Last Cypher," which is an infectious funk- hip- hop hybrid that flows with more than a few surprise embellishments. There's also the low-rider spy-hop of "Big Small Talks"; "Tantra" with its smooth, old school ride; the sensual boom bap of "Blue Almonds"; and the infectious, latin-lounge-tinged "Rainy Day". These are no- nonsense beat compositions, perfect for thinking, for grooving, for dreaming, for zoning out. Emapea and Cold Busted come correct once again.

Diffuse Reality presents Hashashin - BASTION. A 12inch vinyl and digital release built on solid, robust Techno. Four tracks driven by a constant groove that keeps the energy flowing from the very first beat. Dynamic, enveloping drums create a powerful and playful sonic experience. Without a doubt, this is a record that will earn a permanent place in your bag, shaking foundations wherever it lands. Closing the EP is Achtervolging, a powerful breaks cut designed as a moment to catch your breath, recharge, and prepare for what comes next.

Following the success of Naturalisten’s release “Forms”, E2-E8 is back with the latest offering from Milan-based artist Joseph Tagliabue. “Espansione” presents a meticulously crafted sonic exploration that transcends conventional genre boundaries. It is a double LP consisting of four distinct parts: an ambient concept presented in Part 1 & 2, and four techno tracks in Part 3 & 4. This structure makes for a multifaceted listening experience, seamlessly blending organic textures with synthetic manipulations.

Part 3 & 4 pivot towards the dancefloor, presenting four tracks of driving, progressive techno. This transition from meditative ambient to hypnotic rave is executed with precision, showcasing Tagliabue’s versatility. These cuts are designed for late-night immersion, while maintaining the album’s overall sense of depth and trance and channeling a deep, immersive rave experience.

The album as a whole is a sophisticated sound collage, highlighting Tagliabue’s mastery of sonic manipulation. The dense sonic flow, characterised by echoes of distant temples and molten synthetic modulations, creates a compelling auditory and potentially visual experience. The interplay between organic and synthetic, combined with the album’s thematic depth, makes Espansione a noteworthy evolution in Joseph’s artistic expression. A work designed to be both deeply listened to, and physically experienced.

Early support comes from Vladimir Ivkovic, Marco Shuttle, Konduku, among others.