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The long-awaited new full-length from legendary electronic pioneers THE ORB with cover design from iconic graphic wizards THE DESIGNERS REPUBLIC • A fascinating sonic journey over four epic tracks, constantly switching between psychedelic flourishes and beat-driven focus

Veritable pioneers of electronic music, iconic act THE ORB returns to Kompakt with the new full-length MOONBUILDING 2703 AD - another major slice of psychedelic synth bliss, obscure loops and deep ambient textures tossed in swinging breakbeats and powerful basslines. Installing a forward momentum rather unusual for a genre-defying project like this, the latest effort from masterminds Alex Paterson and Thomas Fehlmann follows their 2005 album success on Kompakt, the cheekily named "Okie Dokie It's The Orb On Kompakt" (KOMPAKT CD 45), as well as several contributions to our Speicher and Pop Ambient series - but more importantly, it finds the legendary duo at the peak of its creativity, ringing in another essential phase in what can only be called a ground-breaking career.

True to form, the new offering MOONBUILDING 2703 AD features a small track list, but turns each one of its four cuts into a mini epic in its own right. Opener GOD'S MIRRORBALL hits the ground floating, employing a handful of cozy statics to great effect before finally discharging into an intricate mosaic of atmospheric melodic sketches and gripping rhythms. With a hypnotic runtime of more than 14 minutes, it immediately establishes a blueprint for the other album tracks to follow, perfectly illustrating the vast extent of the artists' vision and their impressive skills in luring in listeners - welcome to THE ORB's sonic labyrinth, where nothing is what it seems and the unexpected waits just around the corner.

Likewise, follow-up track MOONSCAPES 2703 BC presents itself as a uniquely versatile affair sitting comfortably between ambient flourishes and beat-driven focus, holding as many twists and turns as a caper movie, but carefully grounding every single one of its cliffhangers in its impeccable flow. With a runtime of approximately 9 minutes, LUNAR CAVES is the shortest jam of the bunch - and also the most ethereal, keeping its rhythmic content to a bare, pulse-like minimum and opting for enticing, freewheeling synth textures instead. Album closer and title cut MOONBUILDING 2703 AD introduces a surprisingly jazzy vibe mingling rather well with the wealth of electronic tricks up its sleeve - even indulging in abrasive bass sweeps and a breathtaking multitude of different rhythm sections constantly switching places. It's a fitting closing act for a full-length as multifaceted as this, as idiosyncratic as possible and as muscling as needed.


• Das langerwartete neue Album der legendären Elektronikpioniere THE ORB mit einem Coverdesign der gefeierten Graphikschmiede THE DESIGNERS REBUBLIC • Eine faszinierende Klangreise über vier epische Tracks hinweg, permanent zwischen psychedelischen Schlüsselreizen und beatgetriebenem Fokus changierend

Mit THE ORB kehren echte Pioniere der elektronischen Musik zu Kompakt zurück - der Langspieler MOONBUILDING 2703 AD präsentiert erneut einen grossen Wurf in Richtung psychedelischen Synthie-Segens, obskurer Loops und porentiefer Ambient-Texturen, geschwenkt in schwungvollen Breakbeats und wirkmächtigen Basslines. Mit einem für genresprengende Projekte wie diesem hier eher unüblichen Vorwärtsdrang beerbt das neue Album von den Großmeistern Alex Paterson und Thomas Fehlmann ihren 2005er Erfolg auf Kompakt, das augenzwinkernd benannte "Okie Dokie It's The Orb On Kompakt" (KOMPAKT CD 45), sowie einige Beiträge zu unseren Speicher- und Pop-Ambient-Serien - viel wichtiger allerdings, daß wir das legendäre Duo auf der Höhe ihrer Schaffenskraft antreffen, eine neue wesentliche Phase einläutend in einer Laufbahn, die nur als bahnbrechend bezeichnet werden kann.

In bekannter Manier hat das neue Werk MOONBUILDING 2703 AD eine eher kleine Tracklist vorzuweisen, baut dafür aber jeden seiner vier Tracks zu Mini-Epen von eigenem Recht um. Der Eröffnungsakt GOD'S MIRRORBALL schwebt einem da vor Ohren, zuerst nur mit einer Handvoll gemütlichen Rauschens bewaffnet, später dann in ein feingliedriges Mosaik von atmosphärischen Melodieskizzen und mitreissenden Rhythmen explodierend. Mit einer hypnotisierenden Lauflänge von über 14 Minuten etabliert das Stück die Blaupause für die folgenden Ereignisse, perfekt die enorme Reichweite der künstlerischen Vision und ihre Fähigkeit zur massenhaften Verführung nichtsahnender Tänzer illustrierend - willkommen in THE ORB's Klanglabyrinth, wo nichts ist wie es scheint und das Unerwartete um jede Ecke lauert.

Ähnlich präsentiert sich der Folgetrack MOONSCAPES 2703 BC als einzigartig vielseitige Angelegenheit, bequem zwischen ambienten Ornamenten und beatgetriebenem Fokus sitzend und mit sovielen Drehungen und Wendungen wie ein Gaunerfilm - doch stets seine Cliffhanger im makellosen Flow erdend. Ein wenig über 9 Minuten lang, ist LUNAR CAVES der kürzeste Entwurf in der Gruppe - und auch der ätherischste, hält er doch die Rhythmusanteile auf einem puls-ähnlichem Minimum und optiert stattdessen für freilaufende Synthie-Texturen. Das letzte Kapitel des Albums schließlich ist auch der Titeltrack: MOONBUILDING 2703 AD besitzt eine überraschend jazzige Note, die sich ziemlich gut in den Reichtum an elektronischen Tricks einfügt, welche hier aus dem Ärmel geschüttelt werden - sogar in rauem Bass schwelgend und eine atemberaubende Vielfalt an Rhythmussektionen aufrufend, die ständig die Plätze tauschen. Es ist ein passender Abschluss für ein derart facettenreiches Album, so idiosynkratisch wie möglich und so anschiebend wie nötig.

A new full-length from THE ORB following last year's acclaimed album MOONBUILDING 2703 AD.

An expertly crafted ambient experience from two pioneers at the height of their creativity

180g standard vinyl version comes with download code of the full album

Being pioneers with a new album created in no more than 6 months, THE ORB are bound to be exposed to fan expectations running high, while quizzical questions about little fluffy clouds and the good old times take over. It's especially jarring as the duo of accomplished soundsmiths Alex Paterson and Thomas Fehlmann has become known for its genre-bending curiosity and surprising sonic detours, exploring experimental soundscapes as well as club-friendly beats.



The funny thing is, though, that whatever the context, you know a track from THE ORB when you hear it. Case in point: COW / CHILL OUT, WORLD!, their latest full-length offering - a masterful ambient album that branches out in many directions, but unmistakably sounds like THE ORB in either ear (and probably to your third ear, too).



"The idea was simply to make an ambient album", Dr Paterson explains, "we didn't look back and study earlier recordings, but wanted a more spontaneous approach, a focus on THE ORB today, our vibe in 2016."



In contrast to their much-acclaimed previous full-length MOONBUILDING 2703 AD (KOMPAKT 330 CD 124) - which took years to prepare and finetune -, the new album was produced over the course of only five sessions in six months, directly following the like-minded ALPINE EP (KOMPAKT 339): "it got so spontaneous that a track like 9 ELMS OVER RIVER ENO (CHANNEL 9) consisted only of material collected at North Carolina's Moogfest in May - second-hand records from local stores, field recordings, live samples from gigs that we liked, and of course an excursion to the Eno River, which actually exists. This geographic intimacy and the spontaneity are among the top reasons why we love this album so much."


Herr Fehlmann sees the duo's relentless gigging schedule as a formative influence on the new album: "the countless performances we've played in the last years - probably up to 300 - have brought us closer as a musical unit. The spice of our concerts is improvisation - a fertile process that we've brought to the studio, where we operate with very simple rules of engagement (in this case "ambient") and go wherever the flow takes us." It's an approach that one might expect from traditional acoustic instrumentation, not necessarily an electronic set-up, but for THE ORB it works wonders: "we're quite happy and also a little bit proud that we've reached this level of unscripted levity with purely electronic means. We're finessing ourselves, sort of, always looking for the next sonic surprise that leaves us rubbing our eyes about how the heck we got there."


Once more, THE ORB's trademark playfulness is on full display on COW / CHILL OUT, WORLD!, and it doesn't limit itself to the multi-layered sampling and psychedelic sound composites that the duo has become known for - you'll find it in the album title as well. The simple invitation (or order) to chill out (relax Calm the eff down) is converted into an acronym - and the cow that you might expect to find on a Pink Floyd cover or with iconic UK chill-out/dance pranksters The KLF. It's not so much an obscure trope coming full circle as a perfect example for THE ORB's multitimbral approach to sound and meaning - a compelling, immersive journey to diverse places and impressions.



Each track title is a conceptual work in its own right, playing with multiple references, some of which remain highly personal and mysterious. But the greatest feat of THE ORB's latest outing might just be how all this semantic doodling never gets in the way of the actual listening, at all times directly relating the artists' sonic vitality and cheerful nosiness. Chill out world! and treat yourself to an outstanding new ambient experience from THE ORB.

Warrington-Runcorn New Town Development Plan's new album, Your Community Hub, compellingly continues his sonic exploration of the New Towns movement. The issues the councillors, planners, and architects set out to solve still resound and echo throughout society.

For the latest instalment in this unique project, Gordon Chapman-Fox turns his laser eye to focus on Community and the Community Centres that populated Warrington and Runcorn in order to provide all the facilities people needed within a five minute walk from their home. These planning ideas predated the current discussions of fifteen minute cities by fifty years.

Those 50 years have seen a decline in our community centres and services: handy access to a GP or dentist, Post Offices, youth clubs, local shops, banking and much more. Successive governments have undermined and eroded those basic services. The decline in community services has also been matched with a decline in community and shared experiences with a knock-on effect on the population's health and well-being. The disastrous austerity policies imposed over the last 15 years have exacerbated this long, slow reduction in available spaces for people to meet and communicate, with seemingly no recognition of the societal impact that causes. Short-termism at the expense of the community and how we live our lives.

Margaret Thatcher's statement that "there is no such thing as society" has been taken as a mission statement by successive Conservative governments who have aimed to remove as much support and communality from the citizens as possible. It continues now, the wrong-headed idea that everyone can be left to fend for themselves.

Chapman-Fox's latest album decries the cruelty of where we find ourselves in 2024 and his quiet incandescence about the loss of optimism for what communities should be and could be. It's his most powerful work, and as always, it will deeply resonate with those who tune in to his unique vision and unparalleled productions.

As ever, beautifully packaged and designed by Gordon, the album artwork features photographs from the archive of the architect Peter Garvin, which was kindly provided by his son Richard Garvin. The photographs show Peter's work on the Castlefield Community Centre, a sleek modernist structure clad in white ceramic tiles.

**Including 12-page booklet including liner notes and artwork made by Vormlust** Lush house, electronic and italo tracks ready for club use. A beautifully produced album with absolute floor killers and emotional set-enders. FIGI's debut album, "fig.1", is a meticulously crafted compilation of 11 tracks that have been made and woven together over a span of three years. The album delves into the intriguing realm of figures, both in the context of shapes and language, where they possess the unique ability to evoke emotions and connections without being the exact representation of those sentiments. Each track on "fig.1'' originated in moments of creativity, allowing the smallest of ideas to sprout and grow into full musical compositions. Drawing inspiration from the serene landscapes of the Jura in Pays de Gex and the energy of club nights in Amsterdam, Berlin, London and The Hague. Throughout the album, FIGI skillfully captures the essence of pure bliss in some tracks, while others ignite extreme dancefloor excitement. "fig.1" marks an exciting new chapter in FIGI's musical journey, serving as a blueprint for innovative approaches to music creation. It is a demonstration of the artist's dedication to crafting a rich and diverse sonic landscape that resonates deeply with the listener.

Was wird aus uns, wenn wir anfangen, über die Dinge zu schweigen, die wichtig sind?
Flash Forward sind seit Jahren nicht mehr aus der deutschen Musiklandschaft wegzudenken. Ausverkaufte Shows in ganz Deutschland, Support Touren mit (inter)nationalen Größen wie Enter Shikari, You Me At Six, Deaf Havana oder Emil Bulls und Slots auf den größten Deutschen Festivals wie dem Hurricane, Southside, Highfield oder dem Open Flair, zeichnen die Vita der Band.
Im neuen Album RENEGADE (VÖ: 31.01.2025) steckt viel. Viel Angst, viel Vertrauen, viel Wut, viel Hoffnung. Sich nicht zugehörig zu fühlen und sowohl den subjektiven als auch objektiven Transformationen und Herausforderungen zu stellen, bedeutet sich zu erheben, Blindheit abzulegen und die Augen zu öffnen. Selbstbestimmung, Gleichberechtigung, Toleranz und Nächstenliebe sind Werte, welche die Band nicht erst auf dem neuen Album, sondern seit jeher auf ihren Konzerten und mit ihrer Haltung vermittelt. Das Album ist also weniger ein neues Kapitel als vielmehr die Fortführung der essenziellen Tugenden von Flash Forward.
Genauso wie die Musik der Band, die sich durch ihre Vielseitigkeit auszeichnet und moderne Pop-Elemente mit harten Gitarren und intensiven Drums miteinander verschmilzt, ist das neue Album RENEGADE etwas für JEDE:N der sich mit diesen Werten identifiziert.

Weisses Vinyl
ltd. auf 250 Stück
Bedrucktes Innersleeve mit Lyrics
Hochwertiges LP-Jacket, Inside Out bedruckt

Mit ihrem Debütalbum, 'Portraits', aus dem Jahr 2015 und dem ebenso hochgelobten 'Kingdom In Colours' aus dem Jahr 2018 haben Maribou State die Weltbühne betreten und gefühlvolle Downtempo-Electronica für eine neue Generation neu definiert. Ihre Musik wurde von Medien wie Kulturnews, Beat, TV Spielfilm & TV Today, Piranha & Start und wurde beim Münchner Radiosender, egoFM, sogar das Album des Jahres! International gab es zudem Support von u.a. NME, Complex, GQ, Clash und Crack Magazine, Mixmag kürte Maribou State zu einem ihrer 'Künstler des Jahres' und BBC 6Music huldigte 'Kingdom In Colours`' als „Album des Tages“, während Annie Mac, Gilles Peterson, Pete Tong und viele andere die Band unterstützten, sowie US-Radioplay von KCRW & KEXP - wo sie auch eine spezielle Live-Session spielten. Außerdem gab es Welttourneen, Auftritte an majestätischen Orten wie der Sydney Opera sowie Auszeichnungen als Künstler des Jahres und mit „Feel Good“ auch eine äußerst erfolgreiche Single mit Khruangbin. Bei 'Hallucinating Love' hat sich das Warten jedenfalls definitiv gelohnt: es ist ehrgeizig, vollgepackt mit erhabenen Hymnen und gespickt mit rastloser Energie, schwebenden Streichern und umwerfendem Gastgesang von Holly Walker, mit der sie schon seit vielen Jahren zusammenarbeiten, und neuen Freund:innen, wie der MOBO-nominierten Künstlerin Andreya Triana. Es unterstreicht Maribou States sich entwickelnde Balance zwischen Intimität und Komplexität, sowie ihr Talent, epische Musik für Sonnenuntergänge zu machen. Die engere Zusammenarbeit mit anderen half auch dabei, musikalisches Gold zu schürfen, und zwar bei verschiedenen Aufnahmesitzungen in idyllischen Gegenden im ganzen Land. Liam und Chris luden Kollaborateur:innen wie den unglaublich talentierten Produzenten Jack Sibley und den Bassisten Jonjo Williams ein und schufen so überall, wo sie hinkamen, kleine provisorische Gemeinschaften. Das verlieh ihrer Musik eine neue Energie.

Mit ihrem Debütalbum, 'Portraits', aus dem Jahr 2015 und dem ebenso hochgelobten 'Kingdom In Colours' aus dem Jahr 2018 haben Maribou State die Weltbühne betreten und gefühlvolle Downtempo-Electronica für eine neue Generation neu definiert. Ihre Musik wurde von Medien wie Kulturnews, Beat, TV Spielfilm & TV Today, Piranha & Start und wurde beim Münchner Radiosender, egoFM, sogar das Album des Jahres! International gab es zudem Support von u.a. NME, Complex, GQ, Clash und Crack Magazine, Mixmag kürte Maribou State zu einem ihrer 'Künstler des Jahres' und BBC 6Music huldigte 'Kingdom In Colours`' als „Album des Tages“, während Annie Mac, Gilles Peterson, Pete Tong und viele andere die Band unterstützten, sowie US-Radioplay von KCRW & KEXP - wo sie auch eine spezielle Live-Session spielten. Außerdem gab es Welttourneen, Auftritte an majestätischen Orten wie der Sydney Opera sowie Auszeichnungen als Künstler des Jahres und mit „Feel Good“ auch eine äußerst erfolgreiche Single mit Khruangbin. Bei 'Hallucinating Love' hat sich das Warten jedenfalls definitiv gelohnt: es ist ehrgeizig, vollgepackt mit erhabenen Hymnen und gespickt mit rastloser Energie, schwebenden Streichern und umwerfendem Gastgesang von Holly Walker, mit der sie schon seit vielen Jahren zusammenarbeiten, und neuen Freund:innen, wie der MOBO-nominierten Künstlerin Andreya Triana. Es unterstreicht Maribou States sich entwickelnde Balance zwischen Intimität und Komplexität, sowie ihr Talent, epische Musik für Sonnenuntergänge zu machen. Die engere Zusammenarbeit mit anderen half auch dabei, musikalisches Gold zu schürfen, und zwar bei verschiedenen Aufnahmesitzungen in idyllischen Gegenden im ganzen Land. Liam und Chris luden Kollaborateur:innen wie den unglaublich talentierten Produzenten Jack Sibley und den Bassisten Jonjo Williams ein und schufen so überall, wo sie hinkamen, kleine provisorische Gemeinschaften. Das verlieh ihrer Musik eine neue Energie.

Ltd Edition!

Bonnie "Prince" Billy - Alias des Musikers Will Oldham - wird am 31. Januar 2025 sein neues Studioalbum mit dem Titel "The Purple Bird" veröffentlichen. "The Purple Bird" wurde in Nashville mit dem Produzenten David "Ferg" Ferguson und einem Ensemble erstklassiger Session-Musiker aufgenommen. Es könnte als "eine richtige Nashville-Platte" bezeichnet werden, die aus einer Sammlung von Songs besteht, die hauptsächlich am Küchentisch von Ferg entstanden sind.

Auf "The Purple Bird" arbeitet Bonnie "Prince" Billy erst zum zweiten Mal in seiner illustren Karriere mit einem Produzenten zusammen. Seine Beziehung zu Ferg reicht mehr als zwei Jahrzehnte zurück bis zu den Sessions für das Johnny Cash-Album American III mit Rick Rubin, bei denen Ferg als Tontechniker fungierte und bei denen Cash eine Coverversion des BPB-Tracks "I See A Darkness" aufnahm. Die beiden haben im Laufe der Jahre an zahlreichen Projekten zusammengearbeitet, aber an keinem so intensiv wie an "The Purple Bird". Was bedeutet "eine richtige Nashville"-Platte für den rätselhaften Bonnie "Prince" Billy? Zu Beginn der Sessions hatte Ferg zu Oldham gesagt : "Ich will keine Country-Platte machen, mach einfach deinen Scheiß, Will."
Und in der Tat haben Oldham und Ferg, zusammen mit ihren Mitstreitern, ein beeindruckendes Album eingespielt und somit einen neuen Höhepunkt im umfangreichen Katalog von Bonnie 'Prince' Billy geschaffen.

‘Dua Lipa Live From The Royal Albert Hall’ offers a thrilling new way to experience Dua Lipa’s greatest hits reimagined with The Heritage Orchestra, a fourteen person choir and a seven piece band. The album features a medley of fan favourites, from the infectious pop hits “Levitating” and “Cold Heart” with the incredible Elton John, alongside the bold new sounds of Radical Optimism, from ‘Training Season’ to ‘These Walls’. vinyl on December 13th, this highly anticipated live album captures the magic of Dua's unforgettable performance at one of the world's most iconic venues.

Getting to perform at The Royal Albert Hall was unlike anything I’ve ever done,” Dua shares. “For the longest time, I’ve had this idea to reimagine my music with an orchestra, and when I was making Radical Optimism, I was constantly thinking about the live element and how these songs would transform on stage, so when The Royal Albert Hall show came up, it presented itself as the perfect opportunity to not only reconstruct these songs, but also celebrate them in such a beautiful and intimate way. The experience was entirely thrilling and equally rewarding. It was a dream come true, and something I’ll always take with me.”

Celebrate two decades of lyrical genius and innovative sound with this 20th anniversary re-press of Eyedea & Abilities' seminal album, E&A. Originally released in 2004, this album is a masterclass in expressive ingenuity and sonic experimentation. Eyedea's profound storytelling and introspective themes resonate deeply, inviting listeners on a journey through the complexities of identity, existence, and the human experience. Paired with DJ Abilities' exceptional production and turntablism, E&A creates a soundscape that is both rich and original, making it a standout in the genre. Critically acclaimed upon its release, E&A garnered praise for its unique blend of styles and thought-provoking lyrics. Tracks like "Now" showcase the technical precision of each artist_with Eyedea's reflective depth complemented by Abilities' infectious rhythms and razor sharp cuts. Together, the pair masterfully blend introspection and energy, making "Now" a powerful anthem for anyone seeking to navigate life's complexities. Meanwhile, "Paradise" is a mesmerizing exploration of the pursuit of happiness and the nuances of human desire. The song balances vulnerability with an impactful message about the human condition, evoking a wide range of emotions and making it both relatable and impactful. E&A stands out as a highlight in the duo's discography, showcasing their unique ability to blend profound lyrical content with inventive production, and solidifying Eyedea & Abilities' place as innovators in the hip-hop genre. A must-have for anyone who appreciates the art of storytelling and the power of music_grab your copy of E&A and join the celebration!

Die Idee zu dieser Platte war schon sehr alt. Oft haben wir damals beim Proben ganz frühe Werke von uns ausgegraben und wir hatten immer vor die ollen Kamellen mal zu recorden, denn es gab von den meisten Stücken nie Aufnahmen. Zunächst wollten wir die Songs nur für uns aufnehmen - so als Erinnerung - doch dann haben wir uns entschlossen, sie doch zu veröffentlichen. Da wir mit Dritte Wahl im Jahre 1999 elfjähriges Bühnenjubiläum feierten (1988 - 1999), wurde die Delikat Platte auch eine Jubiläumsscheibe. Sie gehört im Plattenregal vor die Fasching in Bonn, dann stimmt"s!

Louisville, Kentucky-based musician and artist Evan Patterson never planned for JAYE JAYLE to blossom from a stripped-down solo project into the otherworldly, full-band sonic experience that it is today. In the beginning, the songs were short and lighthearted, written on acoustic guitar with no intention of releasing them or even performing them publicly. Time, however, is a fickle thing. `After Alter' is an astounding collection of musical memories and emotional fragments, all drawn together from previous recording sessions and previous lives in order to chart a cathartic creative course into new, unknown territories. At once volatile, gut wrenching and serene; expect the unexpected. Raw remnants and lingering refrains from these pivotal moments are reframed to form a powerful reminder of what Jaye Jayle is and always has been: an unadulterated, unfiltered outlet for the sounds that pour out of Patterson's mind at any given time or place. `After Alter' is a document of the indecipherable, of feeting feelings dragged once again to the surface. Lead single and opening track `Father Fiction', for example, dives headlong into the fables and factious ideologies of organised religion with a hardened gaze and a wry smile as rolling drums and repetitive discordant guitar refrains spiral ever down into the labyrinth of meaning and misinterpretation. Elsewhere, `Fear Is Here' sees Jaye Jayle facing up to day-to-day examples of how terrifying everything around us can become within an instant as the song's truncated blues piano hook is pushed ever further, distorted over time into something strange and hideous whilst the crawling post-hardcore dirge of `A Blackout' serves as a searing critique of the American Dream; a nameless, homeless protagonist worships the alluring glow of billboard ads from their bed in the dirt on the side of the highway. Simultaneously both tracks five and eight though, the arresting `Bloody Me' is Jaye Jayle's dichotic, janiform identity made manifest. Written even before the band's debut album was released, track five's `Bloody Me' is a bolshy, bass-driven punk rock retaliation to dressing up for Halloween because Patterson is always dressed for Halloween. Track eight's `Bloody Me' however, is a tender solo acoustic recording cut straight to wax at Third Man Records in Nashville, mere hours before Patterson saw Bob Dylan perform for the first time. Two sides of the same coin; one ferocious and snarling, the other plaintive and bare but both unapologetically Jaye Jayle. By creatively exorcising these poignant moments, Jaye Jayle have opened themselves to even more inspiration. FOR FANS OF Leonard Cohen fronting Spiritualized, Spacemen 3, JJ Cale, Lungfish, Angels of Light, Young Widows The very limited Help Edition is single colour purple vinyl!

Die Idee zu dieser Platte war schon sehr alt. Oft haben wir damals beim Proben ganz frühe Werke von uns ausgegraben und wir hatten immer vor die ollen Kamellen mal zu recorden, denn es gab von den meisten Stücken nie Aufnahmen. Zunächst wollten wir die Songs nur für uns aufnehmen - so als Erinnerung - doch dann haben wir uns entschlossen, sie doch zu veröffentlichen. Da wir mit Dritte Wahl im Jahre 1999 elfjähriges Bühnenjubiläum feierten (1988 - 1999), wurde die Delikat Platte auch eine Jubiläumsscheibe. Sie gehört im Plattenregal vor die Fasching in Bonn, dann stimmt"s!

‘In Session’ is the new album from platinum selling & MOJO Awards winning artist Rumer. Having moved to the USA for a period of time, Rumer began working on a studio project to celebrate the work of Joni Mitchell. It was then that she first collaborated with London based, funk band Redtenbacher’s Funkestra, the original and mostly instrumental wall-to-wall Jazz Funk Collective of world class players who have previously collaborated with esteemed musicians such as Brand New Heavies, Cory Wong (Vulfpeck) and Andy Snitzer (Paul Simon).

Through new arrangements of music that emerged during their work together, the idea of presenting an ‘In Session’ record was born. Coming together at James Welch’s Masterlink Studios, the songs that made her a worldwide million-seller like soulful singles “Slow” and “Aretha,” have been re-recorded here with Redtenbacher’s
Funkestra to offer a timeless collection for the seasoned fan and newcomer alike.

‘In Session’ is the new album from platinum selling & MOJO Awards winning artist Rumer. Having moved to the USA for a period of time, Rumer began working on a studio project to celebrate the work of Joni Mitchell. It was then that she first collaborated with London based, funk band Redtenbacher’s Funkestra, the original and mostly instrumental wall-to-wall Jazz Funk Collective of world class players who have previously collaborated with esteemed musicians such as Brand New Heavies, Cory Wong (Vulfpeck) and Andy Snitzer (Paul Simon).

Through new arrangements of music that emerged during their work together, the idea of presenting an ‘In Session’ record was born. Coming together at James Welch’s Masterlink Studios, the songs that made her a worldwide million-seller like soulful singles “Slow” and “Aretha,” have been re-recorded here with Redtenbacher’s
Funkestra to offer a timeless collection for the seasoned fan and newcomer alike.

For the 6th release in the 303 Pattern series, we're revealing the artists identities for the first time!
Expect a dynamic blend of hard-hitting, hypnotic and atmospheric acid techno, with the iconic 303 taking center stage.

Alien Rain makes his debut on Zodiak Commune Records with the explosive track Holosexual, featuring raw, pounding drums, a distorted 303, and an irresistibly catchy vocal guaranteed to make the crowd lose control.

Akkaelle brings the heat with Acid Mood, a hard-hitting yet atmospheric track that pushes forward with relentless energy.

Sour returns to Zodiak Commune Records with another explosive bomb in his signature hard, hypnotic style truly unstoppable!

To close the release in style, Dima Gastroller drops a hypnotic, heart-pounding acid techno track that will accelerate your heartbeat.

Ten years on, Joana Gama and Luís Fernandes show no signs of slowing down. Over the past decade, the duo has released five albums, composed soundtracks for film and television, and created pieces for performing arts. With “Strata”, they embark on a bold exploration of their musical identity, breaking new ground by seeking the primordial, the raw, and forging a deeper creative synergy. This evolution makes their music feel less like a conversation and more like a unified, introspective monologue.

Until now, their work has largely been defined by dialogue - a dynamic exchange of ideas evident in their earlier records. However, in their relentless drive to push boundaries, they now turn inward, embracing a monologue as a pathway for growth, innovation, and celebration of their journey so far. Two key elements shape this transition: Joana’s growing affinity for synthesizers over piano, a direction initiated in “There’s no knowing”, and her integration of field recordings gathered from diverse locations around the world. Rather than stepping into each other’s domain, the duo finds common ground, creating music that thrives on harmony and introspection.

“Strata” stands as Joana and Luís's quieter and most cohesive record to date. It reflects their desire to craft music that resonates with the natural world, unfolding as a seamless stream of sound that enhances their connection and invites the listener into their creative process. While their previous works were compelling, they often felt distant, as if the listener was observing from the sidelines. “Strata”, by contrast, draws the listener in, encouraging them to fill the spaces and find their own place within the duo’s monologue.

This process climaxes in the closing track, "Geode," where the subtle sounds of debris underscore the tightly woven structure of “Strata”. It’s a testament to the duo's commitment to evolution and their ability to surprise both themselves and their audience. A decade into their collaboration, “Strata” reaffirms Joana and Luís's creative vitality, offering a record that feels both fresh and deeply rooted in their artistic vision.

SAINT SINNER ist das Debüt der kenianisch-australischen Rapperin/Songwriterin Elsy Wameyo, einer chamäleonartigen Künstlerin, die Lektionen und Erfahrungen des Lebens in dynamische Kunstwerke verwandelt. Wohnhaft im Adelaide, Australien, gewann Elsy bereits Preiskategorien wie Young Kenyan Of The Year 2018 und People's Choice Best Hip Hop bei den South Australian Music Awards 2019. SAINT SINNER ist ein kraftvolles Dppelalbum zwischen Rap, R&B und Afrobeat mit Indie-Spirit und beschäftigt sich mit Themen wie Identität, Spiritualität und dem ständigen Kampf einer schwarzen Frau in der modernen Welt.

Balli - Marraffa - Balli - Marraffa - Balli... is the new code to tune in to the 8 bit-jazz revolution, dial it on every device you might have to start its ringtone made of sax solos counterpointed by Game-Boy melodies. Once inside the Balli - Marraffa - Balli TRIO the trick wil be to identify the many videogames soundtracks hidden in this free-chiptune ep between the wildest reeds butchery and the Game-Boy gabba. Of course 'Super Mario Supreme', 'Grand Theft Auto Jazz Club', 'A kind of Arashi' and more to be detected inside "8 bit-Jazz Furlough" 10" vinyl digital.

Since the late 90"s, Jakob "Dino" Dinesen has become a stalwart of the Danish jazz scene, performing with nearly everyone of note in the country as well as internationally celebrated names such as Kurt Rosenwinkel, Jeff "Tain" Watts, Jakob Bro and Paul Motian. Finding joy and inspiration in the building of bridges between genre boundaries, his career in music has seen him travel and perform all over the world, enriching his sound and soul with every new experience. His new record seeks to convey his dream of a future world at peace with itself. "Slow Flow" is set to release on January 25th on April Records. "I envision a world where people from every corner of the globe come together, dancing, sharing meals, and finding joy through my music. My children are a blend of Africa and Denmark, and I hope they"ll carry the traditions and wisdom of both their mother and father as they navigate their path. I would love for music like this to be the soundtrack to their journey through life." Rooted in the playful live sound of an atypical quintet featuring cello and djembe, Slow Flow sits in a unique space somewhere between earthy, simplistic, and acoustic and contemporary, electronic, and unexpected. The record"s sound is soft spoken and full of compassion-a dark-timbred music where the intimate, warm breath of his tenor saxophone intertwines with the crisp, organic tones of the cello. Together, they float over smooth, analog synths and electronic loops, while the carefully crafted lines of the bass and the gentle rhythm of hands on drum skins carry the music forward. Occasional erratic, quirky bursts from an affected keyboard and weaving improvisations offer moments of energy and contrast. Each of the album"s nine original compositions paint musical pictures of contentment that are dear to Dino, as well as offering musical tributes to four of his heroes in Yusef Lateef, Wayne Shorter, Coleman Hawkins and Eddie "Lockjaw" Davis". Drawing on modern European jazz, African rhythms, Italian circus music, and reggae, Slow Flow plays as a deeply personal exploration of Dino"s identity, whilst providing a dream-like message of global peace that promises to resonate with like-minded people all around the world..

Denmark"s leading outlet for jazz April Records presents their first debut of 2025 from a brand new quintet of some of the country"s most well known and respected young musicians - collectively called Oh People. Inspired by the works of Duke Ellington in the 20"s and combining them with sounds that came to life over half a Century later with a palpable sense of joy and love, "Part-Time Elegance" is set to release on January 17th on April Records. Exploring the idioms and tropes of the golden age of jazz, the record is built from deep pocket swing, lovesick ballads, percolating latin grooves, and upbeat melodies that can"t help but bring a smile to one"s face. With undertones of contentment and playfulness, each song evokes a sound and style of some of the 20th"s Century"s greatest jazz composers before evolving into passages of animated improvisation from Denmark"s finest new-generation soloists. Anyone who has been keeping up to date with Denmark"s prolific scene will recognize the members of "Oh People" from their solo projects and contributions to many of the nation"s leading jazz innovations. Jonas Due"s trumpet can be heard in the DR Big Band, and popular modern outfit OTOOTO. Andreas Toftemark cut his teeth working and learning as a musician in New York, before returning to Denmark to establish himself with two releases under his own name, receive the prestigious Bent Jædig Prize, and become one of the country"s busiest artists. Casper Christensen"s deep roots in the jazz tradition and Brazilian, coupled with the warm, acoustic sound of his guitar have seen him perform with the likes of Nana Rashid, Jesper Lodval and his own quartet. Lasse Morck has released three albums under his own name, drawing on South American musical traditions as well as literature and mythology. Henrik Holst has spent over a decade contributing his talents to Danish outfits like the Kathrine Windfeld Big Band and Jeppe Zacho Quintet, as well as international jazz legends Mike Stern, Gilad Hekselman and Immanuel Wilkins.

Picking up where "Máquina de Vénus" (Blacksea Não Maya) left off, this is now 100% DJ Kolt at the controls. Slow, grinding power tools working their way across the complex web of ideas the producer lays down. Truly a next level thing, taking elements from recognized styles such as tarraxo, EDM, even trap, bending their accepted signifiers to suit his own creative mind instead of the crowd pleasing monster that constantly haunts Dance Music. Here we find a wonderful, twisted approach to the dancefloor, one heavy on brain activity, fantastically moody, showcasing music that we long ago quit trying to define.

"Despertar" (again) changes the game, adding secret doors and pathways previously unheard and unthought of. This right here is the mark of a unique producer. You'll have a hard time trying to compare Kolt with any other artist on Príncipe, much less on the outside world. A keen sense of groove filters through all tracks, the dance is never forgotten but you know there are certain demands - you can't just expect a straight line to "a good night out", there's an effort required, you'll have to reach out as well so you can let loose and connect with the universal Master Plan.

The album is all made up of liquid transitions as much as rock-hard foundations, perfectly capable of being explicit when honouring the roots but so committed to a new stance that one may feel thrown off balance by the sheer genius of

In 2016, the Norwegian pianist and composer Espen Berg was commissioned to write for the Trondheim Jazz Orchestra. With the opportunity to hand-pick a line-up consisting of 14 of Scandinavia’s most creative and prolific jazz artists, Espen grasped this opportunity with both hands and a mind bursting with ideas. MAETRIX premiered at Molde Int’l Jazz Festival in 2017 to a standing ovation, making the audience shake their head in awe. However, MAETRIX isn’t just an impressive feat, it’s also incredibly beautiful music.

With MAETRIX, Espen has solidified his call to explore a kind of music where complex rhythms are paired with strong, heartfelt melodies. The name itself combines the 1999 blockbuster movie title The Matrix, with metrics. Similar to the movie, the listener can choose which reality to listen to, either intellectually by diving into the mechanical and the conceptual, or emotionally by getting carried away by the melodies and the music as a whole.

The Trondheim Jazz Orchestra demonstrates yet again to inherit a flexibility and agility more commonly associated with smaller bands. Every musician add their personal rendition to the scores, transcending the music and make it come alive. MAETRIX has been performed at seven festivals and venues in Norway and Sweden, and it was recorded in Rainbow Studio, Oslo in May 2021 by Martin Abrahamsen. For Espen it has been a defining project, and many of the songs have lived on in his trio. It also laid the groundwork for Water Fabric, which was released in November 2023. As an «about time»-moment, MAETRIX will finally be available on Odin Records on Aug 30.

With I recognize you from my sketches, Tabbal further refines his signature sound, delving into the spaces between memory, identity, and personal growth. This album is a meditation on the emotional disconnect between who we aspire to be and the person we ultimately become, captured through a minimalist and emotionally charged sonic landscape

TERMINATor, the Seattle and New York based trio, are made up of albie, Lauren Rodriguez, and Veronica Dye. The group sits on the edge of no wave, punk, noise, and sweeping experimental.
TERMINATor united in 2017 under the mission of undermining traditional sound aesthetics and expectations. Consequently, part of the emergence of TERMINATor’s superbly unusual approach was the fact that each member learned their instruments as the project developed.
After releasing singles and the visual EP, “Rat (Hopefully the Boy),” TERMINATor has finally debuted their full length album. “Placate Boring Flesh” emphasizes musical texture over traditional melodies.
Even through growth and refinement of their sound, TERMINATor stays ever consistent in beginner’s mind within their idiosyncratic approach to composition. Discordant, angular, and atonal, TERMINATor weaves in and through itself. The group shines in their live performances, inviting their audience into a beautiful auditory disorientation of roaring textural bravado. TERMINATor sits on your temple in a balance of angular and sweeping shapes moving through coarse soundscapes.
Bottom line, TERMINATor is truly here to destroy.
“An instinctual curiosity guides their songs into unusual and interesting places, as is evident on Placate Boring Flesh. TERMINATor affectionately sucker-punch your expectations about how young modern women rock.” - The Stranger
“Placate Boring Flesh stands as one of the most exciting rock records to come out of the city in a while” - KEXP
“This Seattle-based trio’s record is an experimental, floating world of sound. Dreamlike (but not dreamy) in the most darkly surrealist way—like translating a Leonora Carrington or Miro painting to music.” - Maximum Rock N Roll"

Heather Maloney’s new album, Exploding Star was never intended to be released. Written after the death of her father, the songs were the most vulnerable body of work she had ever created - meant and written only for her. The idea of releasing an album went against her instincts to keep this art close. Luckily for us, her family convinced her otherwise. Maloney was able to track for 2 days in her childhood home - recording songs, backing vocals, the crickets in the yard and even percussion played directly on the walls and floors of the house itself. Maloney also played her father’s guitar and a keyboard that she had since she was a child. The result is raw and exquisitely personal, a collection of twelve songs urgently written at the time to help ease the “greatest heartbreak” of Maloney’s life but are thankfully and transcendentally now ours as well.

The drums, bass, guitar and organ on this riddim featuring vocals and lyrics by Cornell Campbell were recorded live at A-Lone Ark Muzik Studio, with all the musicians together in the same room with just a few ribbon mics. The idea was to recreate the sound of the golden age of rocksteady when all the musicians shared the same room for a recording. According to this idea, the room was not 100% dry and most of the microphones were ribbon mics which gave the recording a unique atmosphere. Additionally, the session was recorded 100% analogue, using an eight track A80 reel to reel multitrack recorder (1 inch).

Born and raised in the outskirt of Milan, Ferrari began playing drums in post.-punk bands at a young age. Meanwhile, he also started his career as a DJ and producer, ending up releasing tracks on some important labels and playing in various parties all over Italy and Europe. He’s the resident of Milan’s finest party ‘’Anna Molly’’ and affiliated with BSR crew. Ferrari’s project embodies all his influences: from rare Disco gems to House with hints of Detroit Techno

The next chapter in Axis Expressionist Series, A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project aswell as new unreleased works.

Imperfections are a natural part of the world, and they can make us beautiful and unique:
Nothing and everything is perfect.
We can be contorted, bent in weird ways, and still we're beautiful.".
A Star Child is the idea that a person can be incomplete and not self-aware, yet accept their imperfections. still direct their influence despite the arrangements of periodic and trending consequence.
It can also mean that imperfections can make admirable qualities stand out more clearly.

The Star Child reveals.

Vibes Addikt kicks off 2025 with an explosive first release: the new single from Samuel Sanders, "One D". A track that pays tribute to the sounds of 90s raves while infusing a resolutely modern and impactful energy.

Samuel Sanders, known for his incisive productions and contributions to prestigious labels like Ghoststyle, Invasion, and Kevlar, makes his grand return with a track that hits hard. "One D" draws direct inspiration from the old-school rave vibes, featuring deep basslines, acid synths, and a hypnotic atmosphere that sweeps the listener into an energetic, danceable spiral.



As a bonus, N.O.B.A. offers a remix that completely reinvents the track, amplifying its immersive and impactful dimension, perfect for energizing the most intense sets. His remix enhances the hypnotic aspect of "One D", while adding the brutal and modern touch that is N.O.B.A.'s signature.



The EP continues with "Azekor" (B2), a track that will literally take over the dancefloors. Designed for the peak moments of a night, "Azekor" is a hypnotic techno track with an unrelenting groove, ideal for those high-energy club moments.

With this first release on Vibes Addikt, Samuel Sanders makes a bold entrance into 2025. "One D" and "Azekor" are must-hear tracks, true anthems for fans of raw, hypnotic techno capable of taking over the dancefloors.

Early support from Dave Davis, Youri Parker, Furax, DJ HS, Franky Kloeck, Tom Leclercq…

With lyrics that "give a voice to the feelings of people who often get left out of
popular discourse and pop culture" (NPR), Oliver Anthony became the first artist
in history to debut at No. One on the Billboard charts without previously having a
song on the charts with his hit song "Rich Men North of Richmond." The song has
been streamed more than 153 million times on YouTube and has tallied more
than 433 million across all streaming platforms. He is the first living male
songwriter to chart 13 songs simultaneously in Billboard's Top 50 Digital Song
Sales. Five of his other songs have made iTunes' Top 10, including "Ain't Got a
Dollar," which also claimed the No.One spot on Spotify's Viral 50 list.
In April, he released his first studio album, Hymnal Of A Troubled Man's Mind; the
dynamic 11-song collection "hits on an emotional, nostalgic musing of childhood
joy compared to adulthood strife. These ideas expound on facets of human
existence untouched by the political realm, no matter which camp you find
yourself on" (American Songwriter). Produced by Grammy winner Dave Cobb, the
album was praised by fans and critics for its "homespun sound" that shines light
on "his grainy, soulful vocal with acoustic guitars, bass and fiddle" (Billboard).
"Helmed by Nashville super- producer Dave Cobb, the 18- track collection is rife
with stories of addiction, depression, faith, and fury as Anthony documents the
decade leading up to his unexpected rise to stardom (it also features eight Bible
verses as interludes). A stark departure from "Richmond" in some ways and
others not, the album is proof that his viral moment wasn't a fluke." -
"This album represents the most pure and transparent view inside my heart and
soul that I could offer. While Richmond was the song that got my name out in the
public, these songs represent the true foundation of the music that got me
through life up until now" - Oliver Anthony Music

Taking our time has become a sort of ESP modus operandi, often proving that when variables are left to cook long enough—relationships, styles, politics, moments in culture—we may collectively yield a more considered result. Once in a 'Blue Moon', we set sights on a record that conducts some strange voodoo, some rare combination of elements that commands our entire being. Entering our atmosphere with a concise 6-track debut, dub technician Brendon Moeller has brought us exactly that. Although we’ve long been admirers Brendon’s work, separated by only a few degrees—he and ESP’s Lovefingers are the same age and shared a decade of salad days in New York City—it took another decade before enough courage was mustered to suggest we actually work together. Our reticence has seen Brendon’s aesthetic and palette evolve over the years, and the label has simultaneously sculpted a tone of its own, but now we’re more than proud to finally marry his highly refined output with our, let’s say, “deliberate” appetite. 'Blue Moon' touches everywhere Brendon has been as an artist—from the obtuse corners of ambient to IDM, dub techno to liquid drones and bass—yet the vocabulary is honed and succinct, relying on a very intentional handful of expressions. This is almost an exercise in restraint, all 6 tracks are delivered from a disciplined and committed point-of-view, but what we find most captivating is the exploration that this allows in terms of depth, texture, fluidity and pacing. There is a complexity hidden in plain sight that begs to be studied, a comfort that allows us to slip inside like a warm bath, an addictive tingling sensation that we must prolong indefinitely. Even as we write this testimonial, the album is going on a fourth repeat and we languish the intervening silence between tracks. This is being under the spell of Brendon’s 'Blue Moon'.

It's fair to say this label, this producer has had more than their fair share of hits over the years.
Hitting you straight in the heart (and hips) sometimes and occasionally (and that's all your own fault) going over-your-head.

Regardless.
Whether rummaging around the sonic fringes or incanting pure dancefloor moments like this, Bitter End always, always deliver.
Adjustment->Love is the best thing we've heard this year.
The rest of the EP 'filler' is also better than anything else you're likely to encounter on a 12" this side of 2025.
Don't be an idiot - while everyone else if toeing the line, try your best to colour outside of it.

With Human Drift, TUKAN continues to explore human connections through music. This album marks a new phase in their journey, after years of performing on international stages and resonating with an ever more diverse audience. Human Drift embodies this collective movement, this human drift where the individual is swept away by a force larger than themselves.

In a world leaning towards isolation and individualism, Human Drift is a celebration of connection. Each track blends electronic grooves with instrumental melodies to highlight how music can transcend language and create authentic bonds between people. They want their audience to feel, through every note, the raw and organic energy they experience on stage.

Echoing their music, the visual universe of this album also focuses on the human element. It's all about bodies in motion, imperfections that reveal the authenticity of the moment. Just like on stage, they aim to capture sweat, emotions, and communion. Every detail matters: wrinkles, smiles, flashes of light in the dark. They seek to show the beauty of disorder and the unexpected.

Human Drift was composed with the idea of what music can provoke in a collective space: transformation. It's an album that encourages letting go, immediate connection, where each sound is an invitation to surrender and drift together towards unforeseen horizons.

Human Drift is a human experience, an album that embodies the spirit of community, celebration, and sharing. They hope that, like them, you'll let yourself be carried away by the drift.

PINHEAD ist mehr als eine Band. Dahinter steht ein eigenwilliges und einzigartiges Kunstprojekt, dessen alleiniges Mitglied Multiinstrumentalist,
Produzent, Songwriter & Sänger Ilja John Lappin ist. PINHEAD ist ein Ventil für seine Gefühls- und Gedankenwelt. Dunkle Sehnsüchte manifestieren
sich so in atmosphärischem Progressive Metal und melancholischen, sehr persönlichen Texten. PINHEAD – schon der Name lässt Raum für
Interpretationen und Phantasie. Die bekannte Filmfigur aus „Hellraiser“ gilt für manche als Inkarnation des Bösen, anderen erscheint sie als
Heilsbringer. Für Lappin wurde sie zur Identifikationsfigur bei der Realisierung seiner musikalischen Ideen, vor allem aber bei der gnadenlosen
Auseinandersetzung mit dem schönen und schrecklichen Prozess der menschlichen Individuation – insbesondere seiner eigenen. Ein Sinnbild. Für die Aufspaltung des Selbst, welches vor den Schaudergottheiten bestehen muss. Für das Wettrennen mit dem eigenen Schatten um den ersehnten
Seelenfrieden. Diese Dissonanz prägt das Debutalbum „Egomessiah“. Es besteht eben nicht nur aus dämonischen Schreien und Growls, aggressiven
und treibenden Metalriffs, sondern auch aus sanften, eingängigen Melodien und klaren, hingebungsvollen Gesängen. Akustische Klangwelten,
umwoben von Synth-Elementen, die einen mellow Gothic Vibe erzeugen, machen jedes Stück unvorhersehbar. Es entsteht ein experimentelles
Wechselspiel zwischen den Genres. Die Kompositionen stecken voller Harmonien, Symbiosen und durchlaufen komplexe, aber am Ende doch
nachvollziehbare sich auflösende Entwicklungen.

Straight from the bustling scene of Brussels comes Nous'klaer Audio's latest signing: an effervescent debut album by the young Belgian-Japanese producer, live-performer, pianist and DJ Gaiko. Gaiko (real name Kaito) bursts onto the scene with a nine-track full-length album that highlights the rich and diverse output of this emerging talent. His first offering spans left-field electronics, IDM and DnB, blending intricate drum-programming with lush synths and contemporary, contrasting piano pieces. The long player has been shaped into a push-and-pull dynamic of tempo and mood, a flow of quests that gradually grow into their entirety. From atmospheric textures to tight, propulsive beats, Gaiko builds layers that ripple into each subsequent track. This contrasting yet complementary energy flows from the tender "Millennium" into the unassuming highs of "Setagaya," while the floating electronica of IDM-leaning tracks "Subdued" and "Ever's Lullaby" build up to standout tracks "Martyr" and "Crush." Gaiko's self-titled debut balances euphoria with introspection through an unusually sophisticated playfulness, a rare quality that makes this vivid young artist all the more promising. The 180g vinyl comes in a heavyweight sleeve with artwork by Loe Duval (aka Barwouf) and includes a download card.

Following the huge acclaim of Matt Berry’s 2021 album The Blue Elephant (“A sonic odyssey” – Uncut) – as well as last year’s one-off album of library music collaboration with the KPM label (“another string to Berry’s impressive bow” – Prog magazine) – we present Heard Noises, Matt’s eighth studio album with Acid Jazz, out 24 January.

We’re hugely excited to offer a beautiful label-exclusive gatefold edition on Psychedelic Swirl colour vinyl, alongside the standard version Sky Blue LP, as well as corresponding soft-pack CD and retro Cassette.

Out now, lead single ‘I Gotta Limit’ finds Matt trading lines with Kitty Liv (Kitty, Daisy and Lewis) as a man after a second chance with a woman impatient with his pleading. With a song structure inspired by Sly Stone, in a little over three minutes ‘I Gotta Limit’ crams in a plethora of musical ideas on an instantly catchy song which is part Northern Soul, part psych.

In contrast to The Blue Elephant’s dizzying trip through an idiosyncratic love of British Psych, Freakbeat, Acid Rock and late ‘60s pop, Heard Noises finds Matt heading for a looser, Californian psychedelia through his love of the trippier sounds of space pop and rock, and his ear for an eerie, haunting melody.

Once again, the album is testament to Matt’s exceptional musicianship, production skills and songwriting prowess. Almost every instrument is played by Matt including guitars, bass, a variety of keyboards (acoustic and Wurlitzer pianos), synthesizers and organs (including Moogs, Vox, Farfisa, Gibson, Eminent organs) and Mellotron.

He is joined by long-time collaborator, neo-progressive drummer Craig Blundell, and guests including Pokerface’s Natasha Lyonne and back with Matt is The Shins/Fruit Bats’ Eric D. Johnson (acoustic guitar, autoharp and backing vocals on ‘Why On Fire?’, ‘To Live For What Once Was’ and ‘Snakes That Slide’), Phil Scraggs (lap steel guitar on ‘To Live For What Once Was’ and ‘Snakes That Slide’), Rosie McDermott (vocals on ‘Sky High’) and the S. Club 60s Choir (featuring Matt’s mum).

In many ways Heard Noises could be considered the perfect distillation of the extraordinary breadth of musical ideas across Matt’s albums to date.

Mad Cannabeatz and Tuse have taken things to the next level. In addition to collaborating with MC Sabot and Cheeba, they’ve brought on board some incredible talent, including IDA World Champion DJ Ride (Portugal) and DJ Damndanny (Philippines).

The album's flagship track is the official anthem of the 2024 IDA World Finals, adding to its prestige and impact.

The project also boasts guest appearances from an impressive lineup of artists: DJ Pac1, DJ Falcon 1, DJ Steez, DJ LAB (Fat Ape), PZG, and JWP.
Mix & Master: Audio Aminals (London).

Adding to the artistic flair, the vinyl cover was masterfully designed by Riam One and Tuse.

"Never Exhale" ist der Sound einer Band, die keine Atempause einlegt. DITZ sind seit der Veröffentlichung ihres ersten Albums "The Great Regression" (2023) unermüdlich auf Tour. Die Songs ihres neuesten Angebots wurden in ganz Europa geschrieben, oft an freien Tagen und in geliehenen Proberäumen. Man könnte sagen, dass die Band das Aufnehmen und Veröffentlichen von Musik als nachträglichen Einfall betrachtet. Oft spielen sie Songs Jahre vor der Veröffentlichung live und optimieren sie dabei. Die Songs auf der endgültigen Platte können sich ändern, bevor sie jemals als Teil des Albums zu hören sind.

"Never Exhale" wurde grösstenteils in den Holy Mountain Studios in London während eines eiskalten Januars aufgenommen. Der Prozess war voller Hindernisse, da der ursprüngliche Plan, in Rhode Island aufzunehmen, durch das Angebot einer Support-Tour mit IDLES aufgegeben wurde, obwohl das Album immer noch vom ursprünglich vorgesehenen Toningenieur Seth Manchester (Model/Actriz, Lingua Ignota, Big Brave) gemischt wurde. Das Ergebnis ist ein Werk, das durch den Druck seiner eigenen Entstehung gehärtet wurde. Mühsam, aber nicht geliebt.

Die Themen der LP offenbaren sich beim wiederholten Anhören. Von der Erkundung dessen, wie es wäre, seinen Einfluss auf die Welt abzuwägen, dem heiligen Petrus, unnötigem Hass und Spaltung, Altern, der Trennung des Physischen von der Realität. Es ist politisch, aber letztendlich persönlich. Mehr Genet oder Kafka als Orwell oder Huxley. Soundtechnisch hat "Never Exhale" seine Wurzeln in den üblichen DITZ-Einflüssen, klassischem Noise-Rock wie The Jesus Lizard oder Shellac oder dem stumpfen Post-Punk von The Fall, bringt aber auch frische Einflüsse ein. Der letzte Track "Britney" könnte mit Radiohead oder Mogwai verglichen werden. Insgesamt ist das neue Album eine klare Weiterentwicklung ihres Debüts. Und ein Zeichen der Dinge, die kommen werden.