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“I thought I knew you, but you are alien to me.”

Twelve years have passed since TWINS NATALIA’s debut album, “Destiny Room”, but Dave, Marc and Steve have never really stopped working on new ideas and projects, including the release of a mini-album from Marc’s solo project SHIBUYA STATION. This featured their first collaboration with Greek artist KRIISTAL ANN (also known from PARADOX OBSCUR), who provided the vocals for the track “Madness”. This led to Anna being invited by TWINS NATALIA to perform lead vocals on their cover version of KNOW’s “Knights of Pleasure”. The results were so pleasing that, from then on, Anna was persistently ’pestered’ to work on a TWINS NATALIA EP, which slowly morphed into a complete album entitled “I Died On Mars”. The album is a journey through electronic soundscapes and pure, dark ’80s minimal synth-pop, full of melancholia, haunting melodies, elaborate synth sound design and sequencing, ranging from neat to gnarly, and, of course, KRIISTAL ANN’s charismatic voice icing the cake.

“I Died On Mars” presents us with further surprises: TWINS NATALIA version of “The Dagger In Me” by ’80s Greek post-punk legends THE HANDS OF CAIN, as well as “A Different Hum” by PARADOX OBSCUR, a song that surely needs no further introduction. Anna has not shied away from specially re-recording the vocals for this version, while both versions have been given some distinctly Twins Natalia-specific additions and treatments. Furthermore, Anna has contributed her own composition “Find Me I A Fantasy”, so you’re in for a treat or two, for sure.

Mastering by Nikolas Haldoupis at SoundCave Studios Athens.

Graphic design by Steve Lippert with some original photography by Kriistal Ann.

Environments are sticky, they stick to whatever happens within them. They can’t help it. And neither can you.

Land of the Few and Far Between / Songs for St. Michel is a collection of musical ‘figures’ written and recorded in 2022 and 2023 using a method Lyckle and Kim call the ‘snelkookpan’, translated as the pressure cooker. The ’snelkookpan’ in essence is trying to write and live-record as many musical figures in a given timeframe in a specific place. For ‘Land of the Few and Far Between’ this was an afternoon and evening in an exhibition Kim had curated about collecting and memory in The Hague. For ‘Songs of St. Michel’ this was 6 days in the basement of an art institution in Maastricht where they were joined by Otto de Jong on guitar. The figures are usually worked out by ear, sometimes improvised, sometimes written down, but often they are simply remembered and soon after recording forgotten. For ‘Land of the Few and Far Between’ they recorded ten figures. For ‘Songs for St. Michel’ fifteen. Of each a selection of five ended up on this seven inch.

F. van Abeelen (one of whom’s drawings is pictured on the sleeve of this seven inch and of whom 750 drawings were part of the exhibition mentioned above) was forced as a boy to hide in a basement for years. Only a small window gave access to the outside world. That sliver was his reality. After these years in hiding he began drawing his sliver of reality obsessively. Daily series of similar drawings that he would meticulously catalogue in an organizer. We never met F. Our friend who discovered the drawings in a closet of psychiatric nursing home Dorestad never met F. We only recorded ten musical figures next to 750 drawings by F.

St. Michel is a house that stands on the outskirts of Maastricht. It is built on the floodplains of the river Maas and living there you see the river change daily. It is a river fed by rain. No rain means a low river. Rain means a river that sometimes comes frighteningly close to flooding. Which it sometimes does. Due to the ebb and flow of the Maas, stuff is deposited in the boggy areas that are its floodplains. A shoe, a CD, a drone, some wood.

Places impress themselves onto what you are doing. You become an unwitting prop in the place’s story.

The first ‘snelkookpan’ happened in 2017 in the water-basin of one of the earliest concrete structures in the Netherlands; a bunker that was part of Amsterdam’s defensive line, built around the 1890’s. Something that used to house water was now empty. For three days Kim and Lyckle recorded improvised music there, which is still alive on a hard drive somewhere. In 2020 they recorded ‘the third of May’ at an old pumping station in Den Helder; an eleven part piece of auditory historical-horror which was released by South of North in 2024. Since 2023 Lyckle and Kim have mainly recorded live shows. With a Clarinet, kawai K1, Ipad, organelle, samplers and a variety of instruments curated for their minimal size or odd sound they’ve made chains of brief and improvised mini compositions inspired by browsing environments (digital and otherwise).

Land of the Few and Far Between / Songs for St. Michel adds to this growing collection of recordings for environments that are somehow sticky.

Driven by a lush and irresistible energy, Beyond Brazilian Stories takes you on a musical journey between Brazilian traditions and jazz improvisation.

Introduced to the richness of Brazilian music by Philippe Baden Powell, pianist Mathieu Bélis and double bassist Stéphane Dardour founded BSP PRODUCTIONS and formed the quintet Beyond Brazilian Stories, joined by saxophonist David Florsch, drummer Louis Bao Lao, and Äulne, vocalist and flutist.

Together, they revisit masterpieces by giants such as Milton Nascimento, Airto Moreira, Hermeto Pascoal, Dorival Caymmi, Edu Lobo and Moacir Santos, blending popular melodies with soaring instrumental passages.
The group also brings its own compositions, inspired by the vibrant energy of Brazilian music, creating a sound that is both authentic and innovative.

Their new album O ritmo do sonho has been awarded the “Revelation” distinction by Jazz Magazine!
Album contributors:

Mariana Zwarg - flutist, daughter of Itiberê Zwarg, Hermeto Pascoal’s bassist.
Edmundo Carneiro - Brazilian percussion legend (Tania Maria, De La Soul, Saint Germain, etc.).
Jessica Simon - trombonist, member of the Orchestre National de Jazz.

“An explosive fusion where samba, bossa and jazz become the playground for joyful and virtuosic freedom....” Jazz Rhônes Alpes
“...the brilliant Hermeto Pascoal,
whose spirit is present throughout O ritmo do sonho...” Revelation Jazzmag

Black Truffle is thrilled to announce a second volume of unheard concert performances from legendary Pakistani kyhal singer Salamat Ali Khan, recorded at Berlin’s Neue Nationalgalerie as part of the MetaMusik festival in 1974. Like the first volume, the immaculate recording by Michael Hönig (of krautrock legends Agitation Free) captures Khan performing a single extended raag in the company of Shaukat Hussein Khan on tabla and Hussein Bux Khan on harmonium. In addition to his stunningly inventive and moving vocal performance, Khan is heard accompanying himself on a specially tuned alpine zither (in place of the traditional swarmandal, an Indian style of zither). The lack of an underlying tanpura drone gives the music its characteristic floating quality, with the three instruments and voice masterfully dancing around one another as they sketch the outlines of this grand, 40-minute Raag Chandrakauns.

If anything, this epic performance of the late-night Raag Chandrakauns is even more seductively spacious and psychedelic than the music heard on the first volume. Obeying the traditional shape of Hindustani classical vocal music performance, a gradual rise in both pitch and rhythmic activity, the music hovers for twenty minutes in a reflective calm, the pulse only gently stated by the tabla while harmonium ornamentation and zither strums float by. In this meditative space, Khan gradually orients us to the contours of the raag, beginning with long notes at the bottom of his register. His improvisation at once builds with a stunningly firm sense of internal logic and seems liberated to explore every melodic and ornamental byway that comes up along the way. By the time we turn to the record’s second side, the music has grown into something far more frenetic, with virtuoso tabla passages at times occupying centre stage between Khan’s increasingly rhythmic melodic variations. Concluding with a sequence of unison tabla and voice passages of breathtaking complexity, the performance is met with rapturous applause. Arriving in a blue-toned variant of the first volume’s sleeve, with acclaimed musicologist Peter Pannke’s liner notes in the original German, Metamusik Festival Berlin ’74 Volume II is not to be missed. Essential listening not just for Hidustanti classic aficionados, but for anyone who needs reminding of the magic of collective music making in the moment.

"Guitarize the World" lässt die außergewöhnliche Erfolgsgeschichte des genreübergreifenden Gitarrenduos Café del Mundo erstmals auf einem Album erklingen und versammelt einen Querschnitt der mitreißenden Arrangements aus Klassik, Filmmusik und Pop, mit denen Jan Pascal und Alexander Kilian ihr Publikum weltweit bei ihren spektakulären Live-Auftritten begeistern. Aufgenommen in legendären Studios wie Abbey Road und in Zusammenarbeit mit renommierten Ensembles wie dem Royal Philharmonic Orchestra oder dem Deutschen Filmorchester Babelsberg, präsentiert "Guitarize the World" den unverwechselbaren Sound des Duos in mehr als 20 Tracks. Von reduzierten Gitarren-Miniaturen bis hin zu opulenten Orchesterarrangements umfasst das Album eigene Kompositionen wie "Dance of Joy", "Space Gitanos" und "Smile", Adaptionen klassischer Titel wie "Clair de Lune" und "Air on a G-String", Arrangements von Filmmusiktiteln aus "Interstellar", "Cinema Paradiso" oder "Forrest Gump" sowie bombastische Cover von Pop-Hymnen wie "Viva la Vida", "With or Without You" und "Smooth Criminal". Darüber hinaus enthält das Album exklusiv ein Arrangement von Beethovens Klavierkonzert Nr. 5 für zwei Gitarren. Die 180-g-Color-Vinyl-Edition beinhaltet 23 Titel auf 2 Schallplatten in Grün und Pink im hochwertigen Gatefold. Exklusiv in diesem Format enthalten sind die Aufnahmen von "Blessing", "Easy" und "Smooth Criminal". Die limitierte 2-CD-Edition enthält die 20 Titel des Albums sowie als Bonus-CD "80s Unplugged" mit 13 Gitarrenarrangements legendärer Klassiker der 1980er-Jahre, darunter "Everybody Wants to Rule the World", "Time After Time" und "I Still Haven't Found What I'm Looking For".

SLOT is the high-energy, dance-punk project of couple Abby Detrich (vocals) and Max Detrich (bass, drum machine), based in Baltimore, Maryland, USA. Their music is a potent, genre-fusing sound described as gritty but flirty pop songs with a punk, in-your-face delivery, and pumping, heavy, danceable beats. Drawing on dance punk, noise pop, and alt-rock, their sound is rooted in Max's transition from drummer to electronic beats via a Boss DR-5 drum machine, with Abby contributing lyrics and dynamic vocals. The band's upcoming album is a bold, flirty, punchy, and raw statement, delving into themes of the intersection of performance and sexuality, self-acceptance, and personal reclamation. It was recorded with collaborator Danny Gibney in Harrisonburg, VA, capturing an experimental sound inspired by Y2K media. SLOT delivers an energetic, bratty, and in-your-face live show, having shared the stage with bands like Brainiac and played festivals like MACROCK. Beyond music, Abby is a floral artist and Max is a graphic designer, and they are both dedicated to progressive community causes in Baltimore.

SLOT is the high-energy, dance-punk project of couple Abby Detrich (vocals) and Max Detrich (bass, drum machine), based in Baltimore, Maryland, USA. Their music is a potent, genre-fusing sound described as gritty but flirty pop songs with a punk, in-your-face delivery, and pumping, heavy, danceable beats. Drawing on dance punk, noise pop, and alt-rock, their sound is rooted in Max's transition from drummer to electronic beats via a Boss DR-5 drum machine, with Abby contributing lyrics and dynamic vocals. The band's upcoming album is a bold, flirty, punchy, and raw statement, delving into themes of the intersection of performance and sexuality, self-acceptance, and personal reclamation. It was recorded with collaborator Danny Gibney in Harrisonburg, VA, capturing an experimental sound inspired by Y2K media. SLOT delivers an energetic, bratty, and in-your-face live show, having shared the stage with bands like Brainiac and played festivals like MACROCK. Beyond music, Abby is a floral artist and Max is a graphic designer, and they are both dedicated to progressive community causes in Baltimore.

Dieses Reissue würdigt das 50-jährige Jubiläum eines der wegweisenden Alben des Heavy Metal. Original-Master von 1976, Half-Speed-Mastering, farbiges Vinyl, Original-Artwork, ursprüngliche gewünschte Tracklist. Diese zum 50. Jubiläum erscheinende Ausgabe von Sad Wings of Destiny wurde von den analogen Original-Masterbändern aus dem Jahr 1976 restauriert und stellt die definitive Version des Albums dar. Das ursprünglich 1976 veröffentlichte Album gilt als eines der einflussreichsten Alben in der Geschichte des Heavy Metal und prägte das Genre maßgeblich mit Klassikern wie "Victim of Changes", "The Ripper" und "Tyrant". Die in Zusammenarbeit mit Judas Priest entstandene Ausgabe wurde im Half-Speed-Mastering-Verfahren speziell für Vinyl bearbeitet. Dieses Verfahren bewahrt die Kraft und den Dynamikumfang der analogen Aufnahmen und sorgt zugleich für außergewöhnliche Klarheit und Tiefe. Die Wiedergabe erfolgt in der von der Band vorgesehenen Reihenfolge, beginnend mit "Prelude", wodurch das ursprüngliche Hörerlebnis wiederhergestellt wird. Die LP kommt dabei im ikonischen original Artwork als Galaxy Yellow/Orange Mix Vinyl, auch als klasse klingende CD wieder erhältlich. "Sad Wings of Destiny, ...simultaneously took heavy metal to new depths of darkness and new heights of technical precision. [...] Three songs rank as all-time metal classics, starting with the epic "Victim of Changes," which is blessed with an indelible main riff, a star-making vocal turn from Halford, explosive guitar work, and a tight focus that belies its nearly eight-minute length. "The Ripper" and "Tyrant," with their driving guitar riffs and concise construction, are the first seeds of what would flower into the New Wave of British Heavy Metal movement." -

Röhrender Gitarrensound, voluminöser Bass und treibende Drums! Das Powertrio aus Dortmund verbindet perfekt Stoner, Grunge, Psychedelic und Post Punk in ihren abwechslungsreichen Kompositionen. Seit Erscheinen ihres im November 2024 von Muiskmedien gefeierten Debütalbums "Neuzeit", begeisterte LBC Musikfans auf mehr als 60 Shows in ganz Europa. Ihr zweites Studioalbum erklimmt durch die Live-Erfahrung nun ein noch höheres Level, vereint Klangstrukturen so verschiedenster Genres wie Grunge, Post Punk. Hard und Stoner Rock, teilweise in einem Song - das Markenzeichen von Last Bolt Ceremony! Heavy Psych Post Grunge für Fans von Fu Manchu, Daily Thompson, The Picturebooks, Truly, Okay You Win. CD und farbiges Vinyl erhältlich!

John Coffey built a reputation as one of the most explosive live bands in Europe - even becoming an internet sensation with the legendary “beer catch”. From Graspop to Sziget, Wacken to Pinkpop, Vainstream to Jera On Air, 2000trees and Hurricane/Southside - the Dutch group has played several of the biggest festivals, sold out the Melkweg in Amsterdam and even launched their own punk rock festival - Coffey Fest - to celebrate community and uncompromising music. Never shying away from the world around them, John Coffey actively uses their platform to speak out on social justice and political urgency. The new studio album "Not Alone" is about the power of connection. About discovering that there are other people who feel what you feel. Whether you find that connection through a partner, a friend, a helpline, or a room full of people feeling the same music. Talking helps. Singing helps. Screaming along helps. Armed with new music, a fierce activist ethos, and upcoming European tour dates, the band proves that engagement and heavy rock ’n roll are a perfect match.

This album is a glimpse into the creative outpouring from Todd in September and October of 2025. He returned to the Purple Building in East Nashville to perfect what he called “the sound of country music 10 years from now”. This meant taking his favorite country music tropes, dismantling and reassembling them over stretched-out, swampy grooves with New Orleans-style horns. He was so sure of this sound, feel, and his studio band's pliability that he insisted on recording his vocal and guitar first, with no accompaniment or click track. Todd wanted the band to record after him, so they would HAVE to follow his lead wherever it went. In his mind, he was attempting to write and record a double album. His excitement over the recordings and the push to capture that much material meant that by mid-October, Todd had recorded his vocal, guitar and the band's rhythm section for at least an album’s worth of material, with plans to continue recording. Sadly, Todd passed away before the remaining overdubs and additional songs could be completed. Fortunately all the notes, directions and encouragement he left behind in the form of emails, voice memos and demos provided an extensive roadmap for his band. Following that roadmap as closely as possible, his band was able to complete Todd's last work, My Second Rodeo, Part 1.

Röhrender Gitarrensound, voluminöser Bass und treibende Drums! Das Powertrio aus Dortmund verbindet perfekt Stoner, Grunge, Psychedelic und Post Punk in ihren abwechslungsreichen Kompositionen. Seit Erscheinen ihres im November 2024 von Muiskmedien gefeierten Debütalbums "Neuzeit", begeisterte LBC Musikfans auf mehr als 60 Shows in ganz Europa. Ihr zweites Studioalbum erklimmt durch die Live-Erfahrung nun ein noch höheres Level, vereint Klangstrukturen so verschiedenster Genres wie Grunge, Post Punk. Hard und Stoner Rock, teilweise in einem Song - das Markenzeichen von Last Bolt Ceremony! Heavy Psych Post Grunge für Fans von Fu Manchu, Daily Thompson, The Picturebooks, Truly, Okay You Win. CD und farbiges Vinyl erhältlich!

,Es ist ein Bedroom-Album, das sich aber gar nicht wie eins anfühlt", sagt Glenn Morrow, Gründer von Bar/None Records, über ,Reseda Spleen", das lange verschollene Album von Ventilator aus dem Jahr 1996. Nach Jahren bei Permanent Green Light wurde Matt Devine klar, dass er weiterziehen musste. Devine stürzte sich kopfüber in sein neues musikalisches Kapitel: mit Earle Mankey als seinem musikalischen Mentor, Todd Rundgrens Klassiker ,Something/Anything" aus dem Jahr 1972 als konzeptionelle Inspiration und einem gebrauchten Tascam 388 - gekauft von einem Stuntman bei ,Mighty Morphin Power Rangers" -, den er in seiner Wohnung in North Hollywood aufstellte. ,Reseda Spleen" hätte bei Liebhabern von lautem, gitarrenlastigem Pop eigentlich Anklang finden müssen. Leider blieb die Existenz des Albums, wie bei so vielen Indie-Veröffentlichungen davor und danach, so gut wie unbemerkt - abgesehen von zwei begeisterten Kritiken (von ,The Big Takeover" und ,TapeOp"), die erst lange nach dem Verschwinden von ,Reseda Spleen" aus der Szene erschienen. ,Es ist so ein zeitloses Album", sagt Rob Zabrecky Possum Dixon. ,Es hat nicht diesen schrecklichen Glanz, mit dem damals so viele Bands überzogen wurden, und Matt hat nicht versucht, seine Gitarre wie Nirvana klingen zu lassen oder den Lo-Fi-Weg wie Pavement einzuschlagen; er war so im Reinen mit sich selbst und seiner Vision, dass ihn all das nicht beeinflusst hat. Es ist einfach so schön, dass diese Songs wieder herauskommen, denn ich glaube, die Leute müssen sie hören."

ERSTMALS AUF VINYL! Ursprüngliche 2-CD-Veröffentlichung: 1995. 32 Improvisations- und Dub-Tracks von The Ex! Die Verbindungen zwischen einer Punkband und improvisierter Musik liegen also auf der Hand: Ablehnung von Autorität, Hinterfragung traditionell gepriesener Maßstäbe, Erforschung von Kreativität jenseits der Zwänge kommerzieller Verkäuflichkeit. Kein Instantkaffee, kein Instant-Frühstück, kein Instant-Geld - INSTANTS, DIE BEWIRKEN. Momente, die bekräftigen: ,Das ist jetzt; hier sind wir, das tun wir." Auch improvisierte Musik braucht so einen Energieschub, um nicht engstirnig, verfestigt, elitär, kleinlich oder elitär zu werden. Wie Misha Mengeberg sagte: ,Ich bin im Moment sehr weit davon entfernt, Aussagen zu treffen wie ,Komposition sollte so oder so sein` oder ,Improvisation war bisher so und so`. Das hebe ich mir für den Moment auf, in dem ich tatsächlich in eine musikalische Aktion einsteige. In solchen Momenten habe ich vielleicht ein paar Definitionen. Aber jetzt noch nicht." - John Corbett ,32 Miniaturen. Manche sind ehrlich gesagt faszinierend, andere auf jeden Fall umwerfend. Aber es wird nie langweilig oder glatt. Praktisch ohne Gesang reisen The Ex durch eine Traumwelt, in der Überraschungen sich gegenseitig überraschen und in der sich neue und bisher verborgene Welten offenbaren." - The Wire THE EX: Terrie, Luc, Andy, Katrin, Han Buhrs, G.W.Sok & Gäste: Ab Baars, Wolter Wierbos, Han Bennink, Dolf, Tristan Honsinger, Michael Vatcher.

Rathmann spielen dunklen Gitarrenpop. Ungeschliffen und roh. Schmutzig, räumlich und mit einem Sinn für Romantik. Auf ihrem Debütalbum "Die Goldenen Zwanziger" haben sie zu einem klaren Selbstverständnis - einem eigenständigen Sound - gefunden und erzählen darin ehrlich und nahbar. Wenn in ihren Songs ein junges Paar ungewollt schwanger wird, Menschen aus der Bahn geraten oder sich dystopische Zukunftsaussichten breit machen - dann vertonen Rathmann abgründig und introspektiv, eingängig und wunderschön die Zwanziger. Ihre eigenen und das Jahrzehnt, in dem sie sie erleben. Vom Indierocker "Warum tut Liebe so" über den folkigen "Trauriger Geist" bis zum Italo-Western-Titeltrack des Albums - überall ist die klare Handschrift zu erkennen: Eine Band, die sich erlaubt, Band zu sein. Eine Band, die sich nicht am Zeitgeist, sondern ausschließlich an ihren eigenen Interessen orientiert. Und so findet man auf ihrem im Herbst 2026 erscheinenden Debütalbum mehr Anleihen von Leonard Cohen, Big Thief, Dr. Dog und Bands der Hamburger Schule als vom zeitgenössischen, deutschen Indiepop. Bei ihren Konzerten wie auch im Songwriting, Rathmann fangen in ihren Liedern den Moment ein: Die Unsicherheit unserer Zeit und die Tristesse einer soliden Quarter-Life-Crisis - immer aber auch die Freude an der Gemeinsamkeit und die Aufregung eines Lebens, das es noch zu entdecken gilt. Inklusive der Singles Wenn alles vorbei ist, Der Test in Deinen Fingern, Warum tut Liebe so & Trauriger Geist.

Das 1982 aufgenommene (aber erst 1986 veröffentlichte) Album *Jealous* war John Lee Hookers erstes
Album mit neuem Material seit Jahren und leitete ein Comeback ein, das drei Jahre später in dem mit
einem Grammy ausgezeichneten Album *The Healer* gipfelten sollte.
Im Gegensatz zu der Vielzahl an Gaststars, die auf den meisten Alben seiner späten Schaffensphase zu
hören waren, präsentiert sich *Jealous* als schnörkellose, erdige Produktion von Hookers eingespielter
Band. Das Album, das neu interpretierte, weniger bekannte Stücke aus seinem frühen Repertoire enthielt,
wurde schließlich mit einem W.C. Handy Award ausgezeichnet und für einen Grammy nominiert.

Als Sänger, Songwriter, Schauspieler und Model hat sich Troye Sivan längst als eine der prägendsten Popstimmen seiner Generation etabliert.
Seine Musik verbindet emotionale Offenheit mit modernem Synth-Pop, euphorischen Dance- und ClubSounds und persönlichen Geschichten über Liebe, Begehren, Identität und Selbstfindung.
Mit seinem vierten Album „She’s the Best“ führt Troye diesen Weg weiter: Intim und selbstbewusst zugleich bringt das Album all das zusammen, was Troye Sivans Musik ausmacht – große Popmomente,
emotionale Verletzlichkeit, pulsierende Club-Energie und eine unverwechselbare queere Perspektive. Das
Album beschäftigt sich mit Begehren, Identität, Freude, Einsamkeit und queerem Zugehörigkeitsgefühl und
ist als immersives Projekt konzipiert, das ebenso visuell wie musikalisch erlebt werden soll.
Seit seinem Debütalbum Blue Neighbourhood (2015) und dem Nachfolger Bloom (2018) hat Troye seinen
Sound und seine visuelle Welt kontinuierlich weiterentwickelt. Songs wie „Youth“, „My My My!“, „Dance
To This“ feat. Ariana Grande, „Angel Baby“ und „Rush“ machten ihn zu einem international gefeierten
Pop-Artist. Einen bisherigen Karrierehöhepunkt markierte sein drittes Studioalbum Something to Give Each
Other (2023). Die Leadsingle „Rush“ entwickelte sich zum globalen Dance-Pop-Hit, erreichte international
hohe Chartplatzierungen und brachte Troye u.a. zwei Grammy-Nominierungen ein.
Die enge Verbindung zu seiner Community und eine selbstverständliche queere Perspektive prägen Troye
Sivans Musik und visuelle Welt seit jeher. Mit She’s the Best entwickelt er diese weiter und eröffnet
ein neues Kapitel, in dem Pop, Performance, Fashion und Clubkultur zu einer unverwechselbaren Einheit
verschmelzen.

Bachs h-Moll-Messe (BWV 232) ist seine einzige vollständige lateinische Messe. Sie entstand in den letzten Jahren seines Lebens und vereint neu komponierte Sätze mit überarbeiteten früheren Sätzen zu einer
musikalischen Synthese seines Schaffens, die einen Höhepunkt der Barockmusik darstellt.
Karl Richters Aufnahme von 1961 mit dem Münchener Bach-Chor und dem Münchener Bach-Orchester
gilt bis heute als legendäre Referenzaufnahme. Sie besticht durch ihren geschlossenen Klang, ihre klare
Interpretation und ihre herausragenden Solisten.
Um die bestmögliche Klangqualität zu erzielen, wurden die Aufnahmen neu gemastert und erstmals rein
analog von den originalen Zweispur-Bändern geschnitten.
Die audiophile Vinyl-Reihe „The Original Source“ präsentiert herausragende Aufnahmen in einer völlig
neuen Klangqualität. Dazu haben die renommierten Emil-Berliner-Studios die originalen Mehrspurbänder
in 100 % analoger Qualität (AAA) unter Verwendung von Technologien, die speziell für die Produktion
dieser Reihe entwickelt wurden, neu gemastert und geschnitten.
Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: größere Klarheit, mehr
Feinheiten und Verbesserungen im Frequenzgang bei gleichzeitig weniger Hintergrundrauschen, Verzerrungen und Kompression ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Diese limitierte und nummerierte Auflage erscheint auf 180-g-Vinyl in einem luxuriösen 3-LP-Box-Set und
enthält zusätzliche Fotos sowie Faksimiles der ursprünglichen Aufnahmeprotokolle und Bandkartons.

The UK Players & Friends Hills and Valleys, Rivers and Streams (A Tribute to Idren Natural) 9 brand new tracks by The UK Players. Voiced by Singers and Poets who knew Idren Natural personally. Recorded and Mixed by Supa Yout’ at Earth Works Studio, Amsterdam. Sleeve artwork and written testimonials from close friends and associates. Idren Natural aka Ras Natural aka InI Oneness, DJ, Singer, Chanter, Musician, was a pivotal player and pillar of UK/European Roots, Reggae, Dub, Sound System Culture. A humble Rastaman who did so much for so many, inasmuch as inspiring, encouraging, and connecting. He selflessly helped those less fortunate than himself. A strong advocate of the culture and philosophy of Rastafari. He was a commanding presence who lit up the stage, giving JAH all the glory. His passing was a great loss to the community. The UK Players Dub Band formed in 1996. They teamed up with Ras Natural/InI Oneness to record their debut 7” single ‘Further’ for Jah Works with Producer Jah Rej. This single gained exposure via Jah Shaka, Abashanti, and King Shiloh Sound Systems, even the famous Radio 1 DJ ‘John Peel’ played it. More recordings with Jah Rej at Seventh Sense Studio led to the debut album ‘Take Heed’. During the halcyon days of InI Oneness & The UK Players (1997-2004) they toured the UK and Europe, clocking up over 250 gigs in that time. Amongst brethren within the Rastafari community, the band became affectionately known as Ras Naturals band. Friends of Natural like Ras Iyah, Tony Roots, Sister Aisha, Wayne McArthur, and Barry Isaacs (among others) performed with them during this time. Members of InI Oneness & The UK Players never split up, throughout the years they branched out into other projects, reconvening for specials and one offs. Following Idren Naturals passing in 2022, the band stepped up to play his memorial show, where the idea formulated of making a tribute album to him. Ben King offered the use of Earth Works studio to help realise the vision. Work began with longtime live sound engineer Supa Yout’ in March 2024. Jah Rej assisted production on a number of these recordings, and sadly passed during the making of it, the last album he worked on. Various vocalists who were close to Natural, submitted vocals across the following year. The album was mixed and dubbed in March ‘25 at Earth Works by Soupa Yout' & Kingsway. Artwork and written memories/testimonials were then assembled. Everyone involved in the creation of this album knew Idren Natural personally. This album shines a spotlight on his spirit. Carrying songs of tribute, and messages for the times. ALPHA DUB: Every time the band played a gig, Natural would insist on starting with a dub. In that tradition, this album is no different. ‘Mandlion’ passing through the studio, headtopped a Melodica cut on it. Dubbed to the max by Supa Yout! NATURAL VIBE: The ‘Forward Fever’ crew from Belgium were one of the first collectives that Natural affiliated with in Europe. Here, Ras Cloud cleverly weaves all of Naturals song titles into the lyrics, creating a song in itself. WORD & FLESH: Fellowdread was born and raised in Kingston, Jamaica. Now living in Bristol, England, residing with Natural in his last days. His Poetry is rich in inflection, knowledge and wisdom, teachings that spark up the divine. ALL ABOUT LOVE: A pause for contemplation, this one stills the listener. Rootsman Rak’s words warn against complacency, and encourages action. A completely (natural) acoustic track featuring the skilled percussionist Jonah Dan. REMEMBER HIM: Inna Dubplate style, Barry Isaacs toasts to Idren in personal remembrance, reminding us all of the man he was. The track also features snippets of a phone call from Naturals oldest friend ‘Fergie Greenspears’ recounting memories. RISE UP RASTA CHILDREN: The legendary Tony Roots, graces the album with his unique delivery. Natural, The Players, and Tony go back a long way. A song of strength to affirm the soul, and rally against Babylon. Livicated to the one (Natural) SONG FOR THE RIVER MAN: During those halcyon days, many stages were shared with Albaroot, whom the band met whilst on tour in Scotland. Clark Innes (lead singer/songwriter) reminisces about the force of nature that was Natural, times shared, and that knowing, to never meet again. ONE STEP AHEAD: An interpretation of the ‘Look Inside’ riddim by Reuben Addis. Built for Sound System, it is the only track on the album that rolls into a dub. Lyrical Benjie literally entered the studio, rode the riddim without hearing it first, cutting his vocal in one take! A message for the times that sends shivers up your spine. THE PRAYER: Iman Onedub AKA Iman Gebre Iyesus, member of the Ethiopian Orthodox Tewahedo Church, met Idren Natural at Fairfield House in Bath. Here he seals the album with a recital of the Lord's Prayer in English, with Amharic. His rich textural tones elevated with a one away riddim to carry the listener home.

Robert Nasveld (*1955 Utrecht) studied piano at the Utrecht Conservatory with Polo de Haas, Sas Bunge and Herman Uhlhorn, composition with Joep Straesser, and electronic music with Ton Bruynèl. After completing his piano studies, Robert Nasveld specialised in 20th-century repertoire, with a particular focus on Dutch, Russian and American music. He achieved international fame as a pianist for his interpretations of the works of the American composer George Crumb, which led to invitations to perform at various events, including the Warsaw Autumn Festival (1990). His connection with George Crumb also enabled him to produce a seven-hour live broadcast of Crumb's music for VPRO radio in 1986 and a television program with the composer. Nasveld recorded the complete works for one piano by George Crumb, which was released by the Attacca label in 1991. He has given concerts in Europe, Russia, and the United States.

Nasveld was also a member of the Orgella Quartet, founded in 1976 (with Margaret Krill, Polo de Haas, and Niek de Vente), Piano Kwadraat, and the Netherlands Pianists Quartet (with Marian Bolt, Corien van den Berg, and Niek de Vente). These ensembles specialised in performing music for two eight-handed pianos. He also collaborated with several vocalists, including Claron McFadden, Marjanne Kweksilber, and Liesbeth List (tour 1983/'84). Due to multiple sclerosis, he retired from performing in 1998.

From 1988 to 2021 Robert Nasveld worked for Dutch national radio (NOS/NPS/NTR) as a program producer for NPO Klassiek. Until 2004, he was editor of Supplement, which received the Silver Reiss Microphone in 1996, the highest award for a radio program, for its adventurous and innovative programming. Robert Nasveld also programmed concept evenings at Muziekcentrum Vredenburg, featuring contemporary music performed by soloists, ensembles, and the broadcasting orchestras for NOS/NPS. From 2019 until his retirement in 2021, he presented a series of podcasts for NTR/NPO Radio 4 about electronic music pioneers. The three compositions on this LP are the only tape pieces recorded by Nasveld. They were created at Ton Bruynèl’s studio at the Utrecht Conservatory and the Institute for Sonology in Utrecht.

A quick scan of the world’s favourite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet »The System«, ingeniously culled and sequenced from Ranaldo’s soundtrack work for Dutch filmmaker Joris Postema’s ›eco-doc‹ of the same name, nonetheless feels like a reawakening. Quietly released in a vastly different (and much more ›filmic‹) form by Doxy Music/Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material written and recorded for the film, to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst.

Given the state of the world, it’s not surprising that the film Ranaldo scores – a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur – is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs.

As it turns out, the gorgeous scope of Lee Ranaldo’s guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon – the high plains raga of Bruce Langhorne’s »Hired Hand«, Neil Young’s sparse and ghostly solo transmissions on »Dead Man«, or the monolithic mantras of Popol Vuh’s »Nosferatu« – its devotion to spectral gestures and meditative song forms launches it firmly outside of the OST orbit into a universe fully its own.

It might seem like a long journey from the Lower Manhattan rhythmic grime of the album’s opener »Tajikistan (Nice to Meet You)« (reminiscent of guitar opuses like Robert Quine and Jody Harris’s »Escape«) to the ringing cowboy chords of the final track, but the narrative logic of the LP pulls the listener along as solidly as a pack horse. As the LP unwinds, and collaborators like Jim Jarmusch, cellist Leila Boudreil, Yeah Yeah Yeahs snare shaman Brian Chase, and guitarist Yonatan Gat take their places, new vistas unfurl: the ritualistic thrum of »Berlin Blockade«, the haunted overtone palaces of »Bergelmir«, and the cavernous acoustic strumming of »Instruments of Violence«. It all winds up with the high lonesome standard »Cool Water«, each unhurried note trailing off into long-tail reverb, layers of shifting vocal harmonies pulling everything skyward – a hopeful note in an album where existential dread never lurks too deeply below the surface.

In the end, »The System« functions both as a film score and a hallucinatory (mostly) instrumental guitar record, revealing a sensibility not too often spotted in the 21st century – a liminal space where the song, the jam, and the meditation merge into a blurred whole. »The System«’s expansive fabric, emerging from a collective sound circling around Ranaldo’s signature tones, envelops and ampl amplifies the contributions of its community of creators – the perfect antidote to narcissistic despair. Much like the subjects of the film light the way towards intra-generational resistance, the music of »The System« reveals a path through gathering darkness. The world could be yours if you follow.

– Tom Carter

A quick scan of the world’s favourite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet »The System«, ingeniously culled and sequenced from Ranaldo’s soundtrack work for Dutch filmmaker Joris Postema’s ›eco-doc‹ of the same name, nonetheless feels like a reawakening. Quietly released in a vastly different (and much more ›filmic‹) form by Doxy Music/Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material written and recorded for the film, to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst.

Given the state of the world, it’s not surprising that the film Ranaldo scores – a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur – is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs.

As it turns out, the gorgeous scope of Lee Ranaldo’s guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon – the high plains raga of Bruce Langhorne’s »Hired Hand«, Neil Young’s sparse and ghostly solo transmissions on »Dead Man«, or the monolithic mantras of Popol Vuh’s »Nosferatu« – its devotion to spectral gestures and meditative song forms launches it firmly outside of the OST orbit into a universe fully its own.

It might seem like a long journey from the Lower Manhattan rhythmic grime of the album’s opener »Tajikistan (Nice to Meet You)« (reminiscent of guitar opuses like Robert Quine and Jody Harris’s »Escape«) to the ringing cowboy chords of the final track, but the narrative logic of the LP pulls the listener along as solidly as a pack horse. As the LP unwinds, and collaborators like Jim Jarmusch, cellist Leila Boudreil, Yeah Yeah Yeahs snare shaman Brian Chase, and guitarist Yonatan Gat take their places, new vistas unfurl: the ritualistic thrum of »Berlin Blockade«, the haunted overtone palaces of »Bergelmir«, and the cavernous acoustic strumming of »Instruments of Violence«. It all winds up with the high lonesome standard »Cool Water«, each unhurried note trailing off into long-tail reverb, layers of shifting vocal harmonies pulling everything skyward – a hopeful note in an album where existential dread never lurks too deeply below the surface.

In the end, »The System« functions both as a film score and a hallucinatory (mostly) instrumental guitar record, revealing a sensibility not too often spotted in the 21st century – a liminal space where the song, the jam, and the meditation merge into a blurred whole. »The System«’s expansive fabric, emerging from a collective sound circling around Ranaldo’s signature tones, envelops and ampl amplifies the contributions of its community of creators – the perfect antidote to narcissistic despair. Much like the subjects of the film light the way towards intra-generational resistance, the music of »The System« reveals a path through gathering darkness. The world could be yours if you follow.

– Tom Carter

Pyromancy is the debut album from Furii (pronounced Fury) which is
the alias of Adrien Rodes AKA Topo Gigio and long-time member of Tim Smith’s
Spratley’s and sometime musician in Cardiacs’ live band.

We are Excited to announce - The Department of Almost with our first full-length LP - Second Office. The Album
will be released via WSNWG on October 9th.
„Developed over extended Berlin studio sessions in January 2026, the record brings together two artists whose
respective platforms, STOOR and WSNWG, have long embraced artistic exchange and open creative practice.
Moving between crafty dancefloor material and more reflective and exploratory compositions, the album
develops a shared sonic language that extends beyond their two unmistakable, longestablished artistic voices.
Across eleven compositions, deliberate dancefloor material is elegantly intertwined with calm and spacious
soundscapes. A propulsive current gives way to passages of suspension and introspection. While rhythm and
atmosphere gradually fold into one another, the record favours gradual transformation over dramatic gesture.
The album's quieter moments open up a more contemplative space, extending its emotional register without
departing from its forward motion. Beneath, a subtle and understated sense of distance evokes spacious
environments and glacial landscapes – topographies in cold light.“
We have setup a preorder with the first Single - Fingerprints - on Bandcamp. A limited special edition will be
released via WSNWG Bandcamp on September 4th - 12.00pm CET.
All Tracks Written, Produced & Performed by Speedy J & Rødhåd in January 2026 at WSNWG Studio in Berlin.
Mastered by Conor Dalton at Calyx Mastering Berlin Vinyl Cut by Lathesville Mastering Berlin
Cover Foto by Thomas Beutel


a A1 Cold Start 260114
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

Dutch artist Maurits Verwoerd, aka Nachtbraker, makes his first outing on Up The Stuss with ‘Bodu Imchi’, a four-track collection that highlights the breadth and curiosity that have long defined his work. Drawing from a world that stretches from ambient and cinematic music to dub, jazz-inflected electronics and house, the Amsterdam native has developed a sound that can feel both deeply considered and completely instinctive. Releases across Aus Music, Peach Discs, Heist Recordings, Dirt Crew and his own Nachtbraker and Quartet Series labels have established him as one of the more distinctive voices within the Dutch house landscape, with support from artists including Jamie xx, DJ Seinfeld, Raresh, Shanti Celeste and Axel Boman.

Across ‘Bodu Imchi’, those influences come together in a record that feels fluid, slightly strange and constantly alive. Warmth sits alongside subtle unease, hypnotic grooves give way to more playful rhythmic ideas, and intricate melodies drift through low-slung foundations without ever becoming overly polished. There’s a sense of late-night discovery throughout, the kind of music that rewards close attention but still carries enough physicality to move a room and keep packed dancefloors moving with a locked-in approach. Four tracks, one evolving atmosphere, and a meeting of musical worlds that feels right at home on Up The Stuss. It’s a release that finds character in the fine details: unexpectedtextures, subtle rhythm shifts and elements that seem to appear out of nowhere before then disappearing again. It’s an EP that moves between heads-down focus and hazier hours, capturing the curious, nocturnal spirit that runs through his work.

Eine Italo Disco Rarität aus dem Jahre 1986 jetzt wieder als farbige 12“ Maxi Single erhältlich:

Brian Ice - Tokyo

Zusätzlich zu den raren Original Versionen, gibt es als Highlight auf Seite B zwei neue und exklusive Remixe von Flemming Dalum und DJ TinTin.

Jonathan Kaspar returns to Crosstown Rebels with an eclectic four-tracker that shows his stylistic range. The EP features his own vocals, as well as some long-time personal secret weapons.

After an intense touring summer with acclaimed gigs, including Fusion Festival, Fabric London, Else Berlin or Woodstock 69 Bloemendaal, Jonathan Kaspar lands back on Crosstown Rebels. After remixing CRM head Damian Lazarus with two different versions in 2025 and his last massive "We Come EP” to the label in 2024, Jonathan is in a purple patch right now with upcoming remixes for the likes of Âme and Acid Pauli. This upcoming release reveals different sides to his sound while still feeling connected as one body of work.

Opener 'Take Control' will be familiar to fans who have seen Kaspar play recently - it's stripped back but tense, with a searching lead synth and tight, dusty tech drums that grip you and never let up. 'The Reason Why' came to life when Bákayan's incredible vocals were added to the deep, dreamy groove, bringing a smoky soul and human warmth that tugs at the heart. 'Play With Me' and 'I Love Your Voice' both feature Kaspar's own vocals: the former is a subtle, late-night grower that unfolds with trippy synth details and sci-fi motifs. The closer is a deeply immersive and widescreen mid-tempo sound that carries a heartfelt reminder to hold on to the voices of the people who love you when everything else gets loud.

We’ve always been careful not to call Balmat an ambient label, because we like having the freedom to move, to drift, to morph. But with our 11th release, we turn our ears—proudly, blissfully—to a strain of ambient at its most timeless. The appropriately titled Dreams & Whispers comes from Warsaw’s Bartosz Kruczyński, who has recorded under a number of guises, Earth Trax, as well as his own name. Over the years, he’s touched upon deep house, breakbeats, acid, techno, electro, IDM, and more; often, the throughline running through a given album is simply the refusal to remain in any one place for long—well, that, and his unusually nuanced ear for harmony and texture.

Those qualities come to the fore on Dreams & Whispers, which might be the most focused encapsulation of Kruczyński’s atmospheric sensibilities to date.. Across 14 stripped-down tracks for shimmer and pulse, Kruczyński evokes overlapping styles in ambient—warm vibraphones, taut arps, massing strings, lonesome delay chains —but always with his own twist. Fitting the album’s title, the album is loosely divided into two distinct moods: The A-side, “Dreams,” is charged with subtle movement, rhythms spreading out like rings around skipped stones, while the B-side, “Whispers,” plunges into a zone of shadows and hush. The two complementary moods flow into one another like the faces of a Moebius strip, yielding an album that’s intuitively shaped and rich in emotion.

Die größten Hits des Freestyle-Stars Stevie B jetzt auf hochwertiger farbiger Vinyl-LP! Diese exklusive Edition vereint die bekanntesten Songs des Künstlers und bringt den unverwechselbaren Sound der 80er- und 90er-Jahre zurück auf den Plattenteller.

Mit dabei sind unter anderem die Klassiker:
Funky Melody
Dreaming of Love
Spring Love
sowie weitere unvergessliche Hits.

Ein Muss für Fans von Freestyle, Dance-Pop und Sammler außergewöhnlicher Vinyl-Ausgaben.

Hinweis: Vol. 2 mit weiteren Stevie-B-Klassikern erscheint demnächst!

It's time for no.7 in the Disco Combine vinyl only series, with two heavy hitters re-worked and re-mixed from the tapes by Dave 'Love' Lee. On the A is 'Not This Time (Baby) (Give Me Some Moore Mix)' a much loved slice of Philly Disco,Aabsolutely bursting with lush orchestral arrangements. This classic jam has been given a noticeably different refresh, with a show-stopping acapella intro and more of the less heard instrumental passages. Speaking of classic, on the B is 'Jammin' Up In Smoke (Ready Steady Eddie Mix)' a Harris Machine, gospel charged chuggerAwhich is given a more groove based mix, which builds up instrumentally before hitting some falsetto vocals half way through, leading to a big hands in the air finale. Stay still if you can!!

Intriguing Siberian B-Boy roots informed Anton LTF's first solo album last year and its mix of funk, hip-hop and early turntablism influences really worked. He's back now with a tidy two-tracker on Soul Service Sabrosura that leans into Latin funk. It's raw, direct and charged up tackle for once again getting under the skin of b-boys and girls thanks to the killer breaks. 'Garra' is lit up with shuffling percussive keys and rhythms and big brass horns, while 'Aroma Sunset' is more pared back and loose. There's a celebratory vibe that's smoother and more languorous, with sunny flutes leading the way and irresistible Latin charm in the ways the keys dance.

Tokyo Riddim Band continue their journey striding across times and cultures, this time with their colourful keyboardist and frontwoman Mimi Kobayashi breathing new life into a song she originally penned in 1981. ‘Lazy Love’ first featured on Mimi’s highly sought after Coconuts High LP, which she recorded in LA recruiting top session players to play alongside her. It was also included in Time Capsule’s 2024 compilation of Japanese reggae - Tokyo Riddim 1976-1985.

This soulful pop tune turned deep dub cut retains the romantic charm of the original, whilst the tasteful performances of the Tokyo Riddim Band and Ras Tavaris combined with Prince Fatty’s studio magic give the song a newly found depth.

London based Tokyo Riddim Band is a unique fusion of cultures, bringing together the vibrant energy of three generations of Japanese female musicians with the eclectic sounds of London. Their dynamic performances blend reggae drums, funky bass lines, and the smooth City Pop guitar, all magically dubbed-out live on stage. This is not just music; it's a cultural phenomenon, offering a fresh and exciting take on the reggae scene.

Psyché is an eclectic project rooted in the Neapolitan music scene. Conceived in 2018, the project includes Marcello Giannini (Nu Genea Live Band, Guru, Bassolino, La Famiglia), Andrea De Fazio (Nu Genea Live Band, Parbleu, The Funkin Machine), and Paolo Petrella (Nu Genea Live Band, Fratelli Malibu). They were recently joined by Roberto Porzio (Parbleu, Fitness Forever, 24 Grana, The Funkin Machine).

"Hurriya (We Must Resist)" is a sonic bridge crossing the Mare Nostrum, connecting the shores of Naples and Tunisia.

At the heart of this fusion is the voice and soul of Tunisian musician Ziad Trabelsi, whose Arab roots intertwine with the psychedelic, Mediterranean sound of Psyché.

In this track, Afrobeat and Arabic sonorities meet to create a hypnotic journey, one where Ziad's oud weaves an evocative groove that gallops like horses in the desert.

The song carries the echo of the ancient dominations and cultural exchanges that have shaped Naples—a millennia-old crossroads of civilization—where traces of Arab and North African influences continue to resonate in its streets and, most notably, in its music.

"Hurriya"—the Arabic word for freedom—is an anthem of resistance and resilience, a dialogue between East and West that dissolves the rigid boundaries of geography and politics. It is a collective song for the freedom of all peoples, against oppression, abuse, and injustice everywhere in the world. As Psyché emphasize: "Even if life tests us severely, and we often feel like giving up in the face of injustice, we must resist. We must refuse to disappear."

The single is available digitally and physically, on January 23rd, as a 7" vinyl. The B-side of the physical release includes an exclusive, extended version of "Hurriya (We Must Resist)", available only in this format.

Cameron Stockman has risen from the Manchester rave scene to become a new school producer that builds on that background with other influences from US West Coast and 00s UK tech house. As such it's no wonder Chris Stussy and Enzo Siragusa have played his jams, or that Burnski has snapped him up for this new EP. 'Warm Welcome' begins with a slithering groove that works its way under your skin with zesty little synth expressions and rasping bass that never quits. 'Give It 2 Dem' heats up with naughty breakbeats and some bass that wouldn't be out of place on a jungle record, but here powering a future tech sound. RTK Tarantino shuts down with some classic neon organ chords and a quicker, throwback garage vibe that gets works. Effective stuff.

Italian sound artist Giulio Aldinucci returns with his 5th album on Karlrecords: "Materia" is unsurprisingly a truly masterfully composed and sound-designed ambient masterpiece that adds perfectly to a series of critically acclaimed albums like “Disappearing In A Mirror” (2018) or “Shards Of Distant Times” – some of which made it onto several year’s best lists.

Giulio Aldinucci is an Italian composer and sound artist from Siena, Italy. His work focuses on ambient and experimental music, blending field recordings, electronic processing, and acoustic elements. Active since the early 2000s, he has released several solo albums on international labels including Karlrecords, Home Normal, and 99chants. His compositions often explore themes of memory, perception, and the relationship between sound and place.

Aldinucci's music is characterized by immersive, multilayered textures and meticulous attention to sonic detail. He constructs expansive soundscapes by integrating processed environmental recordings, choral elements, instrumental timbres, and subtle harmonic shifts. His style draws from both the aesthetics of contemporary ambient and the techniques of electroacoustic music, resulting in works that are at once atmospheric and conceptually grounded. The interplay between organic and synthetic sound sources is central to his approach, blurring the boundaries between the natural world and the constructed sonic environment.

His works have been presented at international festivals. He has also created art installations and multidisciplinary performances. In addition to his solo output, Aldinucci has collaborated with a wide range of musicians and artists, developing projects that intersect sound art, composition, and performance.

Aldinucci about "Materia": "Materia focuses on the idea of sound as a matter, which can be shaped into complex forms by removing excess material from the sound mass.The album originates from the dichotomy between accumulation and subtraction, creating compositions out of frequency-dense audio material in order to unearth what is “hidden” inside the raw sound mass. Unlike sculpture, in music time can be matter too by shattering sounds into milliseconds andrecompose them with a different fragments order, going beyond the traditional notions of rhythm and duration.“

There are few electronic musicians as accomplished as A Guy Called Gerald From writing genre-expanding records as a member of 808 State and as a solo artist, to crafting what journalists call the greatest jungle album ever made under the moniker Black Secret Technology, AGCG has spent four decades redefining what electronic music can be. With collaborations, remixes, and tracks for the biggest names in house, techno, drum & bass, and jazz, one thread remains constant: in any decade or any genre, AGCG's music continues to be celebrated as genre-pushing excellence.

Juice Box is AGCG's label, named after his Manchester-based soundsystem. Originally established in 1992, the label went on an unofficial hiatus before the decade's end as AGCG's output demanded wider release. pairing two essential cuts from Gerald's vault that have long deserved proper vinyl treatment. On the A-side, the absolute classic "Voodoo Ray" finally returns to wax. On the flip, 1990's "I Won't Give In" resurfaces from the archive, a reminder that even Gerald's deep cuts carry the weight of lost classics. Juice Box is back, and the catalog has plenty of treasures to unearth, along with new material from one of the all-time greats.