quête:ha lo

Acoustic Bass: Nobuyoshi Ino
Acoustic Piccolo Bass: Isao Suzuki
Alto Saxophone: Sadao Watanabe
Arranged, Conducted, and Piano: Masahiko Satoh
Drums: Motohiko Hino
Guitar: Sadanori Nakamure

The beautiful new world that master bassist Isao Suzuki built with the support of a diverse group of musicians finally returns to life after nearly 50 years!

With his deep musical insight and collaboration among some of Japan’s finest jazz artists, Isao Suzuki created a work of timeless beauty that now resonates
once again in the modern era.

APORIAMOR noun 1. The death of love’s contradiction.
| “Embody APORIAMOR”

Etymology
aporia-: an irresolvable internal contradiction or logical disjunction in a text, argument, or theory. from Greek aporos ‘impassable’, from a- ‘without’ + poros ‘passage’
-amor: love. Sentimiento intenso del ser humano que, partiendo de su propia insuficiencia, necesita y busca el encuentro y unión con otro ser. Del latín amor.
-mor: latin for death.

APORIAMOR explores the affective ontological and organic processes of love and lust in the turmoil of an urban existence, through the female lens. It expresses the process of strengthening through heartbreak in its various forms.

With her debut EP The Art of the Concrete, elsas knew that by giving that name to a record which was ironically expansive and experimental, she would be calling for a distilled and clearer path further down the line. This is what she’s been incorporating into the sonic world of this new EP, APORIAMOR, signifying the birth of a more matured and distilled version of herself as an artist.

With APORIAMOR (“the death of love’s contradiction”) elsas conveys a personal process of healing in the romantic space. Through different experiences of heartbreak, elsas builds a language - a coping mechanism attached to its subsequent artistic expression – that isn’t founded on hardness or a closing-off, but instead, on a playful but profound reckoning, and learning of self-worth.

APORIAMOR embraces the complexities of being a lover-girl: of moving through life with an open heart. It celebrates the clarity, sweet hindsight, and detachment that come from processing emotion. APORIAMOR is both an affirmation and a release.

elsas makes canonical blends with a forward boundary-bending vision. Her sound in this record is naturally referential of both her Mediterranean heritage and UK alternative music — intrinsic parts of her lived experience. She has had the opportunity to collaborate with artists she deeply admires, each exchange enriching her creative world.

The experience of working hand-in-hand with Sampha for the last 3 years and ongoingly has been a core of her evolution as an artist. She has also collaborated in many forms with artists like Florence + the Machine, Little Simz, Jordan Rakei, Jockstrap, Obongjayar, Black Country New Road, Genevieve Artadi (KNOWER) and Duval Timothy. Additionally, her ongoing work with the Idrîsî Ensemble, of which she is a core member, continues to inform her artistic depth.

The making of this largely self-produced record unfolded over four years — “it’s a well-kneaded dough,” she says. These songs evolved through exposure to multiple environments: from early writing sessions in her childhood home in the Spanish countryside, to stages across the U.S. while on tour supporting Sampha.

Experimentation and modulation are an intrinsic part of elsas’ method, conceiving songs as organisms that respond to their surroundings. Collaborators on this collection of songs include Shrink, Will Lister, Gabriel Gifford, Ethan P. Flynn and more. The record was mixed by David Wrench (a long-time supporter of elsas’) and Nathan Boddy, and mastered by Matt Colton.

With APORIAMOR, elsas creates a visual world from the fabulation of the past, as an act of playful historical revisionism in which she embeds herself as both subject and storyteller. The songs function like an archive of her experiences across various years, each one unearthed and presented as some sort of archaeological artifact. Through this body of work, elsas begins to conceptualize herself as a legacy artist: one who honors the archive of her own becoming while emerging as a distinct and resonant voice in today’s musical landscape.

American singer, songwriter and guitarist Boz Scaggs rose to fame in the 1970s with several top 20 hit singles in the United States. In 1976, he teamed up with a group of session musicians who would later form Toto and recorded his seventh album, Silk Degrees, which became a huge hit. The album reached #2 on the US Billboard 200, #1 in a number of countries around the world, and spawned three hit singles: “Lowdown,” “Lido Shuffle,” and “What Can I Say,” as well as the MOR standard “We’re All Alone,” which was later recorded by Rita Coolidge and Frankie Valli.

Silk Degrees is available as a limited edition of 750 copies on translucent blue coloured vinyl and includes an insert.

A long-overdue vinyl reissue for this underground gem from the Bronx! Originally released in the late ’90s, Ghetto Chronicle Daily stands as a timeless snapshot of New York street rap in its rawest form — a true reflection of the city’s golden era grit and lyrical craftsmanship.

The Money Boss Players — made up of Big Ah (RIP), Lord Tariq, Tre Bag, Eddie Cheeba, C-Dubb, and legendary producer Minnesota — were key figures in shaping that unmistakable Bronx sound. Their chemistry was electric: sharp lyricism, vivid street storytelling, and cinematic beats that carried the DNA of hip-hop’s golden age.

This first-ever vinyl reissue brings this underground classic back to the masses in its full glory and goes a step further with bonus tracks previously unreleased on vinyl, including “Drug War Rages” and “Same Shit” — raw, unfiltered cuts that capture the crew at their most authentic. Also included is “White Chalk Pt. 2”, featuring none other than The Notorious B.I.G., a rare collaboration that cements the group’s deep roots in the East Coast rap lineage.

Since the original release, members of Money Boss Players have continued to carve their own lanes — with Eddie Cheeba and Tray Bag evolving into Boss Money, and Lord Tariq making his mark as a solo artist. In recent years, Bronx rapper Yung JB has joined the fold, carrying the Boss legacy into a new generation.

Now, more than two decades later, Ghetto Chronicle Daily returns to turntables worldwide — remastered and pressed with care for true heads and collectors alike. A must-have piece of hip-hop history, finally on wax where it belongs.

After decades deep in the game, few names carry the same weight as D.I.T.C. veteran O.C. and East New York’s own PF Cuttin, the DJ and producer behind countless underground classics. Long respected for their consistency and craftsmanship, the two finally joined forces for Opium — a nine-track masterclass that channels the essence of true-school hip-hop.

Originally released to remind heads of what the real sound of the streets was, Opium plays like a time capsule from the era of block parties, 40s, and cipher sessions on the corner — where bars mattered and the beats hit hard. PF Cuttin’s rugged, sample-driven production perfectly complements O.C.’s sharp lyricism and timeless flow, delivering a record that bridges nostalgia with enduring relevance.

Reissued in 2025 with the same iconic artwork by Scarful, this edition celebrates a collaboration that captures the raw soul of New York hip-hop — pure, uncut, and eternal.

Two of the most respected voices in the underground connect for a heavyweight collaboration that's been a long time coming — BULLETPROOF CHICKEN is out now!

CRIMEAPPLE, the bilingual New Jersey spitter known for razor-sharp wordplay and a steady run of cult-favorite projects like Aguardiente and his collaborations with DJ Muggs, cementing his spot as a force in modern hip-hop.

On the boards, V DON has become a staple for his signature dark, cinematic production style. From Harlem to the world, he’s laced tracks for the likes of Boldy James, Estee Nack, A$AP Rocky, Dave East, Benny The Butcher among several otehrs, while also building his own lane with the underground classics like Omerta and his Deutsche Marks and Blue Note series with Willie The Kid. His beats balance grit and atmosphere, making him one of the most sought-after producers in the underground and beyond.

With BULLETPROOF CHICKEN, the two bring their worlds together — sharp rhymes, moody textures, and guest appearances from T.F, Bruiser Wolf, and Primo Profit only add more weight. This album is a testament to where both artists are right now, rising higher with every drop, carrying the underground to new levels.

On Hungry Animal, Luke Temple continues to trace the invisible lines between the personal and the cosmic _ between what we feel, what we observe, and what we inherit simply by being alive. The album reunites Temple with Doug Stuart (bass) and Kosta Galanopoulos (drums), the core of his Cascading Moms ensemble, whose instinctive chemistry anchors the record's balance of rhythmic precision and melodic drift. Together they shape a sound that feels handmade and fluid, delivering sharp observations in soft focus. The album opens with "Clean Living," a tenderly libidinous groove, unraveling purity myths and self-discipline _ less a confession than a celebration of the futility of striving for perfection in a flawed world. From there, "Echo Park Donut" shifts into the memory of an unsettling vignette drawn from a violent incident outside Temple's Los Angeles home. The band moves with a quiet pulse beneath the story, suggesting both detachment and the surreal intimacy of fear. The title track, "Hungry Animal," grounds the album's broader questions: how well can we really know one another, or ourselves? Temple's lyrics circle around the idea that we are animals among animals, driven by instinct and affection alike. It's both playful and philosophical, one of the record's emotional centers. Temple's bandmates bring an understated mastery to these pieces. Stuart's melodic, infectious grooves converse fluidly with Galanopoulos's drumming, which breathes life into each song even as it gently propels them forward. The trio's interplay feels both weightless and deeply rooted _ commanding the listener's attention and empathy without ever forcing it. With Hungry Animal, Luke Temple and the Cascading Moms create a world where reflection becomes rhythm and consciousness gains texture _ a record of quiet revelations and deliberate grace.

'Flowers', the new EP from Elizabeth Davis, finds itself at the cross-section of many factors. In part, it’s the result of Davis’ obsession with a seminal folk song. But it also coincides with her rediscovery of the voice and language as an instrument. It was recorded during an autumn residency at Sternhagen Gut, the cultural refuge run by Gudrun Gut and Thomas Fehlmann, located deep in the Uckermark countryside halfway between Berlin and the Baltic coast.

The six tracks on 'Flowers' all take Pete Seeger’s ‘60s protest-folk song 'Where Have All The Flowers Gone' as their starting point. However, they veer off in different directions, from vocal loops and deconstructed lyrics, to instrumental drones and glitchy, manipulated rhythm tracks. Like many musicians, Davis has learnt composition by a process of disassembly, analyzing musical works piece by piece, and 'Flowers' began as one such forensic exercise. “But sometimes,” says Davis, “a source is so loaded up on meaning that the studies and experiments can become worthwhile and meaningful works in their own right.” 'Flowers' began to take on a life of its own, raising renewed questions about age-old themes such as war, authorship, translation and historical structures.

Davis is no stranger to cover versions. From studying violin to playing in free jazz and punk bands, interpreting other artists’ works has long been a key part of her musical approach. And since her radio show 'Deep Puddle' recently drew to a close after seven years, her experiments with narration and sound collage have found their way into her musical work once again. For 'Flowers', she cut up the source material (with a nod to Gysin and Burroughs), and reassembled the lyrics, the musical notes, and recordings by different performers, to create uncanny new forms.

But perhaps the biggest influence on 'Flowers' was conversations about music, art and pop subcultures with Gut. These dialogues helped Davis find a balance between far-out sound design experiments and catchy melodies, combining a certain avant-garde element and modern day songcraft. And it’s this sense of conversation, this revisiting of topics and renewal of ideas, that will keep us coming back to 'Flowers' long into the future.

Belgian electronic duo schntzl, known for their fearless live improvisation and playful fusion of jazz, Dada, and ’90s trance kitsch, invite listeners to hear sound anew with their latest album.



On their new album Fata Morgana, an illusory trip of emotion and confrontation, Belgian duo schntzl conjure mirages of fleeting realities while diving headfirst into a trance-driven, confrontational digital sound.



Fata Morgana unfolds like a hyper-visual journey, constructing enveloping dreamworlds through trance-infused live electronica. Yet trance here is present not in form but in essence—an intensity, a state of being. It may stir the same emotions as club music, but schntzl express them in a language entirely their own. Kitsch loops, improvisation, and distortion bend their music into illusions that dissolve and reappear, creating sonic worlds that never settle into habitual patterns.

KIK is the new project of two core strategists of sonic enigma HHY & The Macumbas: Jonathan Uliel Saldanha & João Pais Filipe. Ditching acoustic instruments in favour of drum synthetics & tightly controlled sound design, the duo's debut album NIGHTSHIFT focuses on off-kilter club tracks that thwart 4-on-the-floor flavours whilst maintaining trance-inducing extended cycles. If the devil is in the details, this is all about the spectromophology of the details.
Beginning with moving morse code blips in an odd time signature We Can't Dance announces the characteristic unlife of the album's pulse. Once the kick enters, syncopations progressively accumulate into a weave of interacting rhythmic lines. Smoke Machine's groove is reminiscent of the riddims Saldanha explores in his HHY & The Kampala Unit, adding scintillating pads and snippets of blitzed out laughter.

The album's third track, Proff, hearkens back to the initial pulse, displaced and pitched down in register. Here's a more meditative temperament on display, where the regular geometries of the club have been moved into higher-order structures. Segments rise & fall into earshot. Deepening the meditative mood, Back Room explores a short melodic leitmotif anchoring the track's wander- lust.

The rhythmic assault continues in Tactical Gear, bringing further experiments into polyrhythmic contours exacerbated by preci- sion movements of echo & delay. Limping can be heard as a what-if sonic fiction taking Autechre-inspired abstractions through Durbanoid Gqom terrains. The album closes with its longest track, Night Shift, that segments into shifting sound worlds.

Drawing from industrial grit, cybernetic percussion and the eerie fluorescence of after-hours energy, NIGHTSHIFT exists in the liminal space between body music and abstraction——a soundtrack for phantom warehouses and malfunctioning machines. This isn’t just music; it’s an immersive sonic environment, a journey into the heart of deconstructed dancefloors.
For fans of Rian Treanor, Proc Fiskal, Jlin and Lorenzo Senni.

Most recently, HHY has been collaborating with Nyege Nyege through projects such as Kampala Unit and Arsenal Mikebe, performing live with the ensemble alongside Valentina Magaletti, and producing records for artists like Fulu Miziki, as well as collaborations with Phelimucasi, Rey Sapiens, Kingdom Choir and others. He also released Camouflage Vector: Edits From Live Actions 2017–2019 on the label, a live album featuring two tracks with Adrian Sherwood.

Previous collaborations include Tunnel Vision with Badawi (released on Tzadik), the HHY & The Macumbas album Beheaded Totem on House of Mythology, and Fujako (Wordsound, with MC Sensational), along with double-bill shows with acts such as Clipping and Death Grips.

Much more than just another punk band, Ideal Victim is a wildfire fueled by fury, grit, and defiance. Formed in Porto in 2022, this young outfit proposes a seemingly improbable formula that proves to be both unique and cohesive: over the raw, unyielding energy of 1980’s British hardcore, they layer the hypnotic vibes of surf rock and the nervous tension of rockabilly—crafting a taut and irresistible balance between atmosphere and aggression.​
At the forefront stands the fierce and outspoken roar of vocalist Mariana, supported by the driving cadence of drums and bass, and by a guitar that writhes as it drowns in distortion.​

Ideal Victim belong to a lineage of bands that never asked for permission to exist: from Discharge to Bikini Kill, from The Cramps to Dead Kennedys, their influences are undeniable. Yet, Ideal Victim refuse to echo them in exercises of nostalgia. Their music is urgent, combative, and strikingly current—a visceral response to the shackles of patriarchy and the open wounds of a world in accelerated collapse.​

Propelled by the impact of their demo Diary of a Pig and a considerable amount of stage experience, Ideal Victim now presents Rage Letters, a debut album that reflects the band's evolution through a set of six brief tracks—where nothing is left unsaid, nor unshouted.​
With Rage Letters, Ideal Victim extend us an invitation to insubordination—and it's one we can't help but accept.

Conjuring a faithful following, quite rare in these days of ADHD, by sheer force of their celebratory and fiery live shows, Montijo's most celebrated outfit reflects these past couple years of camaraderie and life on the road on their debut album, after a self-released EP and a 4 way split on Zegema Beach Records. Sublimating all the inherent potential of post-hardcore at its most sweeping into a forceful and focused delivery, 'Acetate' captures all their urgency through 13 memorable and sharpened tracks. Recorded patiently and mastered by the gifted know how of Jack Shirley - Deafheaven, Joyce Manor or Gouge Away -, the songs on 'Acetate' open sprawling vistas upon the band's recognizable sound between chaos and order, cutting back on everything that might be redundant or overly technical. Alex Domingos' vocals reach new means of expressiveness through harrowing screams and hints of melody, João Pires' sinewy guitar pulling out riffs and skewed lines that echo for posterity and the rhythmic section of Simão Simões - bass - and João Portalegre - drums - driving all this turmoil with kinetic precision and flexibility. Never before did Hetta sound as relentless, chill and melodic, tracking down life at its own pulse.

La Margarita (1994) is an unforgettable collaboration between iconic Uruguayan musician Jaime Roos and legendary writer and playwright Mauricio Rosencof. Blending the rich musical traditions of Uruguay-candombe, murga, tango, and milonga-with elements of folk and rock, as he is known for, Roos sets to music a cycle of sonnets that tell a tender, naive love story. These poems were written by Rosencof under harrowing conditions during his imprisonment by the Uruguayan dictatorship in the 1970s. Includes 16-page booklet. Jaime Roos and Mauricio Rosencof are two of Uruguay's most beloved and influential artists. Roos, a groundbreaking musician, redefined Uruguayan music in the 1980s with his signature fusion of deep-rooted local rhythms and cosmopolitan flair. Rosencof, a celebrated writer and playwright who emerged in the early 1960s, was also a prominent figure in the historic Tupamaros guerrilla movement. Their paths converged in 1987, when Roos composed the score for Rosencof's play El Regreso del Gran Tuleque. During this collaboration, Roos discovered a series of sonnets Rosencof had written while imprisoned under Uruguay's brutal dictatorship. Held in solitary confinement for over eleven years, Rosencof composed these poems as a lifeline-scribbled on cigarette papers and hidden in the hems of clothes his family collected for laundering. Against all odds, both the author and his poems survived. The sonnets tell a delicate, moving love story set in 1950s Montevideo. Roos, inspired and captivated, rose to the challenge of transforming them into music. The result was La Margarita-a groundbreaking project in which Roos masterfully fused Uruguay's rich musical traditions-candombe, murga, tango, and milonga-with elements of folk and rock, creating a deeply evocative set of songs as only he could deliver. Beyond its beautiful music, La Margarita stands as a testament to resilience, creativity, and the enduring power of love and art.

Today Cork's acclaimed Cardinals announce their much-anticipated debut album 'Masquerade'. Set to land February 13th on tastemaker label So Young Records, the ten song album was recorded with producer Shrink at RAK Studios, London across the summer. It's a record that is at once grand and intimate, awash with romance and flickers of holy imagery, and most of all, it's an undeniable fulfilment of the innate promise the band have shown since their earliest beginnings. These are emotionally expansive songs, some simmering with an undercurrent of violence, cynicism or fervent discontent (Anhedonia, The Burning of Cork, Barbed Wire) and others gleaming with a bright-eyed vulnerability. A vivid first half contrasts a darker second and crafts a record with a clear A-side and B-side. A nod to the band’s collective love of vinyl, that tonal shift takes its cue from a variety of expected and unexpected influences - from the brittle honesty of folk to the theatrical melodrama of goth-rock. Formats and Quantities

Portland, Oregon dark rock trio HOAXED return with their stunning new album Death Knocks. Three years in the making, the group—featuring vocalist/guitarist Kat Keo, drummer Kim Coffel, and new bassist/vocalist April Dimmick—have honed their stygian craft to perfection. "We've added another element to the writing and collaboration process," says the band. "April comes from a classic heavy metal background, and her influence is in these songs. We've also had experiences on tour that have helped shape these songs. You can hear influence from the bands we toured with and learned from. We played together for three years as we wrote this album, and we learned a lot about our styles, and our sound evolved naturally together on stage. So, when we sat down to write this album, it didn't feel like a departure or a change." Anchored by the witchy spell of opener "Where the Seas Fall Silent," the rock-hardened groove of "Kill Switch," and the dimly lit power pop of "The Family," HOAXED upped the tempo, sawed the edges (Dimmick's raspy menace intimidates), and strengthened their ties to the golden gods of heavy metal. Indeed, cyclical riffs, dynamic rhythms, and bottom-heavy bass propel Death Knocks through its filmic, hard-nosed gloom, but Keo's sorcerous vocal hooks seal the deal. Often smartly paired with Dimmick's angels' n' demons, her performance effuses fragility and potency across the album's alluring expanse. HOAXED recorded Death Knocks at Falcon Recording Studios with producer/engineer Gabe Johnston (Unto Others, Vintersea) and enlisted Arthur Rizk (Power Trip, Kreator, and more,) for mixing and mastering. In total, the group spent eight days in February and March tracking Death Knocks. While most bands spend months ironing their metallic mettle, Hoaxed's expeditious time at Falcon engendered a polished, big-sounding force befitting their larger-than-life songs. Short: Portland, Oregon dark rock trio HOAXED return with their stunning new album Death Knocks. Three years in the making, the group—featuring vocalist/guitarist Kat Keo, drummer Kim Coffel, and new bassist/vocalist April Dimmick—have honed their stygian craft to perfection. FFO: Ghost, Tribulation, Bloody Hammers, Khemmis, Unto Others, GGGOLDDD, Katatonia. Pallbearer

A moonstone glow infuses Boy Golden’s Best of Our Possible Lives, an album that finds its flow state. A pensive, questioning collection, Best of Our Possible Lives is informed by the artist’s intuitive, observational worldview, beaming honesty and levity in its quest for emotional balance. Buoyant, smooth and disarming, the music of singer-songwriter/producer Boy Golden is charmingly undefinable, drawing lines from the Tulsa sound to North Carolina indie, New Jersey DIY to swampy New Orleans folk. From opening riff to swirling final notes, Best of Our Possible Lives ripples like sun on the lake, an invitation to seek each our own bliss. Produced by Robbie Lackritz (Feist, Bahamas, Weather Station), Best of Our Possible Lives brought Boy Golden to Lucy’s Meat Market in Los Angeles with Pino Palladino (D’Angelo), Gabe Noel (Father John Misty), Joseph Shabason (Destroyer) and Abe Rounds (Meshell Ndegeocello) alongside Church of Better Daze founding members FONTINE and Austin Parachoniak. RIYL - Mk.gee, Waxahatchee, MJ Lenderman, Plant & Krauss’ Raising Sand, Paul Simon

Kezia Gill hat sich schnell zu einer der renommiertesten Country-Künstlerinnen Großbritanniens entwickelt und wird für ihre kraftvolle Stimme sowie die Qualität und Ehrlichkeit ihrer Songtexte gefeiert. Sie ist bereits ausgiebig in ganz Großbritannien aufgetreten und hat bei Festivals in Europa, den USA und Australien gespielt. Dabei setzt sie weiterhin neue Maßstäbe und vertritt stolz die britische Country- und Roots-Musik auf der internationalen Bühne.

Allein im Jahr 2025 trat sie beim renommierten Country 2 Country Festival in London und Glasgow auf, gefolgt von weiteren großen Festivals (Splendour, The Long Road). Außerdem besuchte sie Frankreich, Dänemark und die Niederlande und war zuletzt Co-Headliner einer Tournee mit Imogen Clark in Australien. Die vorherige Single „Dublin's Outta Whiskey“ wurde von Bob Harris in der Country Show auf BBC Radio 2 vorgestellt und sofort bei Planet Rock und Absolute Radio Country in die A-Liste aufgenommen. Sie markierte auch den Beginn einer neuen Zusammenarbeit mit Snakefarm, der weltweiten Heimat von Marty Stuart, Mark Morton und Austin Meade und dem britischen Label für einige der größten Namen der Country-Musik in den USA und Kanada (Eric Church, Brothers Osborne, Darius Rucker, Josh Ross usw.). Die Single „If Heaven Has A Honkytonk”, eine von Kezia’s Lieblingskompositionen wurde von der US-Künstlerin Alyssa Bonagura mitgeschrieben, produziert und gemischt und ist eine von Herzen kommende Hommage an das reiche Erbe der Country-Musik. Kezia wird im Februar 2026 auch eine Headliner-Tournee durch Großbritannien starten, unterstützt von Bonagura.

„All On Red“ ist ein mutiger Neuanfang in der Karriere einer Künstlerin, die bereits Auszeichnungen und Nominierungen der British Country Music Association („Entertainer of the Year“ / „UK Female Artist of the Year“) erhalten hat und sich für ein Musikgenre einsetzt, das vor allem in Großbritannien stark im Kommen ist.

Als Alter Ego der Punkrock-Helden The Bronx verkörpert Mariachi El Bronx weiterhin denselben Ethos, der ihre Gründung inspirierte – kreative Grenzen zu erweitern und gleichzeitig die reiche hispanische Musik und Kultur zu würdigen, die sie in Los Angeles seit jeher umgibt.
Die Themen des Albums sind geprägt von widersprüchlichen Emotionen wie tiefem Verlust und überwältigender Liebe.
Mit drei gefeierten Alben hat die achtköpfige Band bereits mit den Foo Fighters und den Killers die Bühne geteilt, ist überall aufgetreten, von Letterman bis NPRs Tiny Desk, und hat Festivals von Coachella bis Glastonbury zum Kochen gebracht. Sie haben auch Titelsongs für Weeds („Little Boxes“) und Aqua Teen Hunger Force („Aqua Something You Know Whatever“) aufgenommen.

Trotz fast zwei Jahrzehnten Erfolg betrachten sich Mariachi El Bronx immer noch als lebenslange Schüler dieser Kunstform. Diese Ehrfurcht überträgt sich auch auf ihre ikonischen Charro-Anzüge, die oft fast genauso viel Aufmerksamkeit auf sich ziehen wie die Musik selbst.

Vijan, originally released in 2003 by I Grade Records, is a seminal release from the “golden era” of St. Croix roots reggae, now available for the first time on 12” vinyl courtesy of Before Zero Records.

Produced by the legendary combination of Vaughn Benjamin and Laurent “Tippy I” Alfred, Vijan balances the raw, spiritual intensity of Vaughn’s songwriting with the sophisticated, melodic arrangements that became the hallmark of the I Grade sound.

This album features an incredible lineup of musicians who helped shape the sound of Virgin Islands reggae. The production credits boast the textured guitar layers of Tuff Lion , the deep, driving bass of Kenyatta Itola , and the rhythmic precision of Dion “Bosie” Hopkins. Uniquely, this album also showcases Vaughn Benjamin’s versatility as a multi-instrumentalist, contributing drums, bass, and keys on standout tracks like “All Ye Naashan” and “Thanks for Life”.

Akae Beka’s inimitable style of rich, deep, multi-layered songwriting and uncompromising devotion to RasTafari is on full display here. At the point of his untimely passing in 2019, Vaughn Benjamin had released over 70 albums, solidifying his place as one of the most prolific reggae artists ever known. Vijan remains
a glowing highlight in this expansive catalogue, capturing a specific moment of creative brilliance in the early 2000s.

The vinyl reissue allows listeners to engage with the album’s analogue richness and features the striking original artwork by Marcus Wilson, presented here as a 12” square masterpiece.

Ushering in a new era, Berlin based, New Zealand heavy psych duo Earth Tongue lower the castle gates on their third album Dungeon Vision, a trove of fuzz-drenched anthems produced by garage rock luminary Ty Segall in Los Angeles. Guitarist Gussie Larkin and drummer Ezra Simons spent the Berlin winter of 2025 refining the album’s twelve tracks in their self-described “windowless cave” rehearsal space, crafting a record that channels both isolation and the duo’s live intensity. With the songs finally taking shape and a studio deadline looming, they flew to Los Angeles to turn their hard-won ideas into the real thing. Once there, the band and Ty captured lightning in a bottle, recording and mixing Dungeon Vision in just ten days at Altamira Sound. Tracked live to tape, Dungeon Vision pulses with human energy, fuzz guitars, bone-battering drums, and hauntingly tuneful vocals. Ty Segall’s influence is all over the record with Ty choosing the best takes based on feel rather than technical perfection. The “king of fuzzy guitar tones” pushed the duo to find new sonic textures while championing their raw chemistry. “Ty’s been a big driving force,” says Ezra. “We supported him in New Zealand back in 2023, and he’s backed us ever since even bringing us on tour through Europe and the UK in 2024.” Since their emergence in 2016, Earth Tongue’s world-building, visuals, and relentless touring have earned them global attention and a cult-like following. Their 2024 album Great Haunting, also released on In The Red Records, received a Taite Music Prize nomination and saw them win Best Group at the 2025 Aotearoa Music Awards. They’ve toured extensively, sharing stages with the likes of Queens of the Stone Age, IDLES, Acid King, Brant Bjork and Kikagaku Moyo. With Dungeon Vision, Earth Tongue deliver their most immersive work yet, a richly human, fuzz-soaked journey that bottles the magic of their live show and cements their reputation as one of the most exciting psych rock acts on the planet.

Originally released in 1985, the debut EP by The Mice still stands as one of the finer song-oriented rock records of that era. Drawing inspiration from both mid 1960s British Invasion groups and the energy of punk, For Almost Ever is about as scorching as an essentially pop record can be. Although vocalist / guitarist Bill Fox would go on to release several much-loved mostly acoustic solo records, here he is joined by his younger brother Tommy, a veritable monster on the drum kit, bashing away with both finesse and the manic energy of a high school kid. And let’s talk about the song “Not Proud of the USA.” Conceived as an answer to The Clash’s “I’m So Bored with the USA,” this track is packed with such overwhelming hooks, righteousness, and adrenaline that it’s irresistible. During the war in Iraq, it took on a new life on college radio and online when it was reissued on CD. And with this vinyl reissue, it would seem the timing is sadly spot-on once again. Mastered by John Golden, this new pressing crackles with The Mice’s spirit, reproduced in big 45 rpm sound for deeper low end and greater definition than the original, which has been commanding a steep price for quite a while now. We’ve also been able to restore the colors of the handcolored cover photograph to their original vibrancy.

Turner Cody first collaborated with Nicolas Michaux and the Soldiers of Love (Clément Nourry, Ted Clark, and Morgan Vigilante) on his album Friends in High Places (2021). This album marked a turning point for Turner Cody, in which he started to incorporate country influences to his songwriting. But that was only the beginning, and Out For Blood is without question a country album. This new album offers the perfect canvas for him to express his poetic lyricism, and to paint portraits inspired by American mythologies. The songs explore such themes as freedom, individualism, destiny, sin and redemption. Rooted in traditional narratives yet resonating with our times, these songs are to be seen as parables: imaginary characters faced with the dichotomy of good and evil. In the vein of Kris Kristofferson, Townes Van Zandt, or John Prine, Out For Blood stands as a major contribution to the great repertoire of American song. ut For Blood bears witness to a transformation in Turner Cody"s life. While his songwriting already hinted at a certain Americana, it primarily reflected his twenty years spent in New York and the legacy of the anti-folk scene-closer to the Velvet Underground than to Hank Williams. Then came the move: Cody and his family left New York to settle in St. Louis, on the banks of the Mississippi. This change of scenery and perspective fueleda new way of writing. The challenge was clear: maintaining the subtlety and textural work characteristic of his previous works while integrating the country heritage of the new songs. The collaboration between Turner Cody and Nicolas Michaux signs the perfect communion between an artist who writes in the language of poetry and another who crafts sound and textures. The Soldiers of Love, far more than a backing band, have influences ranging from jazz to fusion, from pop to Congolese rhythms. Their subtle, atmospheric sound merges with Turner Cody"s "three chords and the truth" to create this unique magic!

Adam Green"s new album is a flamboyant synthesis of his recent creative work, compiling the three EPs he released exclusively digitally over the last three years. Houseface University, Magic Spells / Vending Machine, and Falling Around finally unite into a single, coherent project: a singular work of incisive songwriting, lo-fi psychedelic pop, and poeticirony. A key figure in the New York anti-folk scene, the singer-songwriter, visual artist, filmmaker, and poet Adam Green has influenced an entire generation since The Moldy Peaches. His songs have been covered by Regina Spektor, The Libertines, Carla Bruni, and Will Oldham; his films and installations have been exhibited at the Beyeler Foundation and acclaimedby the international press. In 2023, the tribute album Moping In Style: A Tribute to Adam Green (featuring Father John Misty, Devendra Banhart, Sean Ono Lennon, and others) confirmed his enduring influence on the global indie and alternative music scene. With this new album, Adam Green continues his unique trajectory: an instantly recognisable visual and musical universe, somewhere between quirky pop and minimalist folk. One of his most accessible and accomplished albums.

Wewantsounds is delighted to announce the reissue of Music By Lee Mason, the cult classic from the Chappell Recorded Music Library, originally released in the UK in 1971. Credited to Lee Mason & His Orchestra, the album is in fact the work of renowned British composer and arranger Pete Moore - best known for producing the iconic "Asteroid" theme in 1968 for the Pearl & Dean cinema advertising company. One of the funkiest library albums of its era, blending cinematic tension, funky grooves, and jazzy undertones, Music By Lee Mason features the track "Shady Blues," famously sampled by Madlib. Newly remastered and featuring liner notes by Kevin Le Gendre, this long-overdue reissue brings a lost classic back to vinyl for the first time since 1971.

Sie bevorzugen Ihren Lo-Fi-Dreamgaze so, wie Sie Ihre Partner bevorzugen: geboren in den 90er Jahren und mit ihrer College-Freundin in einem Schlafzimmer in einem Vorort zusammenlebend. Hier erstmals zusammengestellt: Shoulds Debütalbum ,Feed Like Fishes" aus dem Jahr 1998 plus 10 Bonus-Tracks aus dieser Zeit, zum ersten Mal auf Vinyl erhältlich. Es klingt, als würde man den Kopf aus dem Autofenster hängen, während man drei Stunden nach der Ausgangssperre an einem Schultag mit hoher Geschwindigkeit eine Landstraße entlangfährt. Bitte schalten Sie die Scheinwerfer aus.

STORY OF THE YEAR have been influential in shaping the post-hardcore scene since their debut album “Page Avenue” – one of the first of its kind to sell a million copies back in 2003, and the St. Louis quartet have only grown even more impressive throughout the years.

Fans have seen the band hit the road with LINKIN PARK, MY CHEMICAL ROMANCE, and DEFTONES, as well as tear up Warped Tour Stages and festival performances at When We Were Young, and more. The band’s 2023 album “Tear Me To Pieces” was their first with SharpTone, and we couldn’t be more thrilled to reveal “A.R.S.O.N.” to the world!

The Byrds' Greatest Hits is the first greatest hits album by American rock band The Byrds and was released in August 1967. It is the top-selling album in The Byrds' catalogue as it provides a summary of The Byrds' history during Gene Clark and David Crosby's tenure with the band and also functions as a survey of the group's hit singles from 1965 to 1967, a period when the band had its greatest amount of success on the singles chart. From classics such as “Mr. Tambourine Man”, “Turn! Turn! Turn! (To Everything There Is A Season)” and “Eight Miles High” these are chiming timeless songs that will fill your heart with warmth.
The Byrd's Greatest Hits is part of the Groove Classics collection and now available against a fair, budget-friendly price.

Jaco Pastorius was widely acknowledged for his skills as an electric bass player. This self-titled album was Pastorius' solo debut and was originally released in 1976. Featuring H. Hancock, W. Shorter, Sam & Dave, D. Sanborn & M. Brecker a.o.

Of the 200+ collaborations Hifiklub has created since its debut album in 2007, the one with Alain Johannes remains the most significant and recurring in the Toulon-based band's rich discography. Founding member of Eleven, Alain Johannes is known for his solo career and his work with Queens of the Stone Age, Them Crooked Vultures, Mark Lanegan, and PJ Harvey. This 25th Hifiklub album, with its more ambient aesthetic, celebrates nearly 20 years of a fruitful musical friendship.

For over a decade, Hyunhye Seo a core member of Xiu Xiu, in her solo work navigates the precarious edges where composition dissolves into pure gesture. Through ecstatic piano improvisations, restless percussive attacks and an expansive use of acoustic space, she constructs layered sonic environments that move across the boundaries of noise, avant-garde jazz, ambient and contemporary classical music. Her performances reveal an unfiltered process of listening and creation - a practice in which thinking becomes the enemy, and surrender the only viable strategy.

Continuation captures one such surrender. Recorded live at MAO - Museo d'Arte Orientale in Turin during the exhibition Rabbit Inhabits the Moon – The Art of Nam June Paik in the Mirror of Time, this cascading piano improvisation unfolds as a dialogue between performer, space and the particular acoustics of a museum built to house contemplative objects. Jamie Stewart processes the sound in real time; Giuseppe Ielasi shapes the final mix. What emerges is a work of charged immediacy - restless gestures giving way to passages of unexpected tenderness, noise and silence trading places in continuous exchange. The title is precise: this is music that refuses conclusion, that exists in a state of perpetual becoming. On Side B, Continuous Extension offers an unprecedented response. Phew - the pioneering figure of Japanese avant-garde music since the late 1970s - was invited by curators Chiara Lee and Freddie Murphy to reinterpret Seo's performance. Working with synthesizer and subtle processing, Phew distills the resonances of Continuation into a new electronic landscape - waves of abstraction that echo like reflections in sound, tracing the harmonic tensions of Seo's playing into territories she herself did not visit.

The accompanying booklet includes an essay by Bruno Lo Turco exploring the deep connections between improvisation and Buddhist thought, and a written reflection by Seo on her own practice of surrender and listening.

Continuation is released on Ubi Kū, the record label of the Unione Buddhista Italiana. The cover reproduces Avalokitesvara "Water and Moon" from the Museo d'Arte Orientale "E. Chiossone" in Genoa - the bodhisattva of compassion gazing at the reflection of the moon in water. Like that reflection, this music exists fully in the present, complete and unrepeatable.

Never Sleep charity tape series ends up in Thornton Heath, London for the grimiest of bedroom work outs.

Early Fruity Loops philosopher Plasticman aka Plastician teams up with fellow trailblazers DJ Suicide & N Double A crew for a prompt internet radio set of prototype Grime. Rugged, raw and filled with the occasional KAOS Pad trigger / gunfinger FX; the devilish miscreants bring the lyrical vehemence.

Broadcasting from his parents place and utilising early productions Plasticman keeps the fibre optical momentum burning with early production, laser precision polyphonic instrumentals and quantified eski.

N Double A crew have so many quotables but its a "pass the mic" affair as limited equipment fort his bedroom bedlam. L Man spits certified gold on demand whilst Narstie echoes his signature cadence, Typah goes in hard with the colder than waiting in a queue outside Plastic People flow and Uzi destroys the stream with typical flair.

A landmark moment in innovation, internet radio was a key player in the growth of Grime and Dubstep. Helping build profile, connections and galvanize the online community.

NA ZAROT opens a portal into a universe of darkness, chaos and spiritual upheaval. The sound is raw, jagged like cold iron and radically unpolished-an antithesis to any romanticized or völkisch fantasy, firmly rooted in an anti-fascist stance. NA ZAROT shapes lo-fi black metal infused with traces of punk as a counter-space: a place where archaic directness meets a dense, spiritually charged atmosphere that unfolds a hypnotic pull even within the noise. The production remains deliberately fragmented and unrefined-a kind of emotional excavation protocol that exposes the core of the genre without glorifying it. Lyrically, the tracks revolve around death, decay, isolation, spiritual disintegration and those threshold moments in which the abyss releases a strangely unsettling calm. Musically, sawing guitars, brutal screams, driving drums, sickly strings, ghostly voices and a distorted piano collide. Above it all lies a weight of leaden sorrow, until sudden ruptures drag the pieces without warning into even deeper darkness. Side A presents the tracks from the On Death and Dying tape, where literary spaces intersect with personal experiences. The lyrics brush against literary references such as Mallarmé's death poems, the legend of La Llorona or motifs from Romain Gary's The Dance of Genghis Cohn.Side B offers new, previously unreleased material titled "Alpensterben." The four songs preserve those unheard screams that would otherwise vanish into nothingness. Alpensterben becomes a blood-marked journey through the final hours of an existence scraping against its own ending-an intense, haunting echo of lived despair. Comes with printed 28page 10" magazine!

NA ZAROT opens a portal into a universe of darkness, chaos and spiritual upheaval. The sound is raw, jagged like cold iron and radically unpolished-an antithesis to any romanticized or völkisch fantasy, firmly rooted in an anti-fascist stance. NA ZAROT shapes lo-fi black metal infused with traces of punk as a counter-space: a place where archaic directness meets a dense, spiritually charged atmosphere that unfolds a hypnotic pull even within the noise. The production remains deliberately fragmented and unrefined-a kind of emotional excavation protocol that exposes the core of the genre without glorifying it. Lyrically, the tracks revolve around death, decay, isolation, spiritual disintegration and those threshold moments in which the abyss releases a strangely unsettling calm. Musically, sawing guitars, brutal screams, driving drums, sickly strings, ghostly voices and a distorted piano collide. Above it all lies a weight of leaden sorrow, until sudden ruptures drag the pieces without warning into even deeper darkness. Side A presents the tracks from the On Death and Dying tape, where literary spaces intersect with personal experiences. The lyrics brush against literary references such as Mallarmé's death poems, the legend of La Llorona or motifs from Romain Gary's The Dance of Genghis Cohn.Side B offers new, previously unreleased material titled "Alpensterben." The four songs preserve those unheard screams that would otherwise vanish into nothingness. Alpensterben becomes a blood-marked journey through the final hours of an existence scraping against its own ending-an intense, haunting echo of lived despair. Comes with printed 28page 10" magazine!

Me vs Me, Vol. 1 is the debut album by Joe Allotta, a drummer, singer, and multi-instrumentalist active as a session musician for various
artists (Davide Shorty, Johnny Marsiglia, Funk Shui Project, Mario Biondi, Nick The Nightfly, etc.). The album was conceived in London,
Trapani, and Bologna and features performances by various musicians Joe has worked with in recent years.
The EP embodies a sound rich with emotion, expressed through four tracks that blend jazz with cutting-edge urban rhythms, with drums as
the central element of his compositions.
The four tracks on the EP thus have distinct personalities inspired by soul, breakbeat, and funk, souls that coexist in the artist's emotional
experience: the song "Lullaby" is a hip-hop beat with a funk flavor, while "The Mess You Left" moves through dreamlike sounds that crystallize
into a drum 'n' bass storm. House Party is very reminiscent of UK club sounds, it is full of synths and with a square drumming, it closes the
EP She Sad, a sort of skit that leaves room for an improvisation of guitar and drums.

Born in East London to Jamaican parents, 28 year old Tiana Major9 was immersed in music from an early age, influenced by jazz, praise and worship, and the neo-soul sounds of Erykah Badu and Lauryn Hill. Their journey into music saw debut releases establishing their soulful voice as one of the UK's most enticing, featuring with Stormzy, Bryson Tiller, Smino and Unknown T, support slots with Victoria Monet, Jazmine Sullivan and Adele as well as a GRAMMY nomination for "Collide" from the Queen & Slim soundtrack. After two years of self-discovery, Tiana is set to release their long-awaited debut album in 2025; a rich tapestry of love, loss, and growth, recorded in LA, the UK, and Jamaica, filled with luxurious melodies, featherlight floating production and raw, grounded storytelling. As a queer Black femme artist, Tiana reclaims the term "diva" on the project, embracing it with pride in the spirit of icons like Beyoncé and Whitney Houston, and approaches this next chapter with a focus on classic artistry, longevity, and self-expression