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Q.A.S.B.'s Debut Album Finally Released on LP!

Before the release of “The Mexican” (produced by RYUHEI THE MAN), Q.A.S.B.'s self-titled debut album "Q.A.S.B" was originally released in 2009 on CD only, during the late Deep Funk movement. Now, in 2025, as the band celebrates its 20th anniversary, the album is finally available on vinyl for the first time!

Recorded in a single take with no edits using analog tape to recreate the sound of the 1970s, the raw and vivid energy of the album remains intact even after 16 years.
This album captures the essence of Q.A.S.B., featuring passionate performances by the original members, including the first vocalist amy-A (at the time). Most of the tracks were composed by Rob.T, who is now known as the sound producer for Hannah Warm. The 7-inch single “The Key” received high praise both domestically and internationally. Its explosive power on the dance floor was undeniable. I was really looking forward to the full album release from Q.A.S.B., and honestly, it blew me away. This is not imitation or homage—this is authentic, homegrown Japanese soul and funk music.

— Yusuke Ogawa (universounds / Deep Jazz Reality)

Japan’s proud funk band Q.A.S.B. finally releases their long-awaited debut album! About six months after their sensational debut single “The Key” took the world by storm, this much-anticipated album is here! With uptempo danceable tracks, heavy mid-tempo grooves, and soulful tunes that evoke the golden era, the album showcases both musical depth and confidence. Vocalist amy-A’s passionate singing and the band’s rock-solid performance come together in a stunning fusion of future funk. This is the crystallization of music sung and played from the heart!
— Ryuhei The Man (universounds)

It’s finally coming out! I’ve been waiting!

Sometimes gentle, sometimes powerful—amy’s voice breathes life into each track. Singing really is a wonderful thing.
By the way, does Q.A.S.B. stand for something? Whisper it in my ear next time.

— Naoichi “Bobsan” Kobayashi (MOUNTAIN MOCHA KILIMANJARO)

Hellblaues Vinyl, limitiert auf 400 Exemplare. Dynamik, vielgestaltige Sounds und auch jede Menge Wumms: Das ist das Ding von Niels Hoffmann, Alex Fedorov und Johannes Rosswog. "Die Grenzen Deines Landes sind die Grenzen Deines Verstands" - hier mit markant-markigem Gesang ist ein forderndes Stück und, wie der Titelschon andeutet, auch ein dezidiert politisches. Und auch "Storno" treibt vehement nach vorne: ein unwiderstehlicher Beat aus Schlagzeug und Bass, störrische Gitarrenriffs, breite Soundflächen, Freejazz-Artiges vom Keyboard: Hier spielt eine Band, die mehr sein will, als ein nostalgischer Krautrock-Gedächtnisverein. Die Kunst wird hier nicht für die Kunst gemacht. Es geht um etwas. "Kein Schlussstrich" hält das schnelle Tempo - überhaupt ist "Energie" eine Highspeed-Platte, die nicht an Energie verliert. Im Gegenteil: Sie nimmt weiter Fahrt auf, verbindet reine Spiel-Energie mit der Lust am Experiment. Wie bei "Straßennamen", wo Einseinseins zeigen, wieviel Freude es machen kann, über einen interessanten Beat zu improvisieren.

The successor to 2022"s Bajascillators glides easily into frame, but once there, Inland See is deceptively immediate. It"s so dialed in, you hardly even feel how present the music (and you the listener) is. Time wharping"s always been a resident magic for Bitchin Bajas, as is flow, which is translucent like water here. That"s the Inland See vibe, unique unto itself. In turn, each of the four songs here are entirely within themselves, all together forming an essential whole. The coincision"ll cause yer breath to shorten, like an exciting and non-fatal kind of exercise! New freedoms, yet more molecular structure in each one. With every successive Bitchin Bajas release, we see that the real key for them is a sense of discovery, that tingle that comes when you feel something breakíing through. The sky opening up. The stuff that fills this Inland See holds you up powerfully, as if you"re floating, saltwater or helium-wise - effervescent, effortless, elemental.

The successor to 2022"s Bajascillators glides easily into frame, but once there, Inland See is deceptively immediate. It"s so dialed in, you hardly even feel how present the music (and you the listener) is. Time wharping"s always been a resident magic for Bitchin Bajas, as is flow, which is translucent like water here. That"s the Inland See vibe, unique unto itself. In turn, each of the four songs here are entirely within themselves, all together forming an essential whole. The coincision"ll cause yer breath to shorten, like an exciting and non-fatal kind of exercise! New freedoms, yet more molecular structure in each one. With every successive Bitchin Bajas release, we see that the real key for them is a sense of discovery, that tingle that comes when you feel something breakíing through. The sky opening up. The stuff that fills this Inland See holds you up powerfully, as if you"re floating, saltwater or helium-wise - effervescent, effortless, elemental.

Seit ihrer Gründung im Jahr 2013 in Metro Detroit, Michigan, hat die Metalcore/Post-Hardcore-Band I
Prevail eine Menge kritischer und kommerzieller Erfolge erzielt. Ihr erstes Album, „Lifelines“ von 2016,
erreichte sowohl in den USA als auch in Kanada Goldstatus, während „TRAUMA“ von 2019 diese Leistung
in Kanada wiederholte. Letzteres wurde bei den Grammys in dem Jahr für das beste Rockalbum nominiert,
die Single „Bow Down“ war zudem Anwärter für die beste Metal-Performance. Mit „TRUE POWER“ aus
dem Jahr 2022 ging die Band weiterhin ihren eigenen musikalischen Weg und weigerte sich, den Erwartungen des Genres zu entsprechen.
Jetzt, mit ihrem vierten Album „Violent Nature“, geht die Band eine Stufe weiter. Das Album wurde
in zwei Etappen in den Blackbird Studios in Nashville aufgenommen und unter der Leitung von Bassist
und Keyboarder Jon Eberhard selbst produziert. Außerdem handelt es sich um das erste Material, in dem
Vocalist Eric Vanlerberghe als einziger Sänger der Band sowohl cleanen als auch nicht cleanen Gesang
übernimmt. Es geht hart zur Sache. Die erste Single des Albums, der Titeltrack, ist möglicherweise der
brutalste, extremste und wildeste Song, den die Band je veröffentlicht hat. Doch nicht alles ist so brutal
und intensiv. Obwohl die Single „Rain“ alles andere als sanft ist, fühlt sich der kraftvolle, hymnische Refrain
des Songs im Vergleich dazu wie ein Schlaflied an, obwohl der Text Andeutungen derselben Wut und Pein
enthält. Nichtsdestotrotz veranschaulich

François and Sylvain Rabbath have turned six years of touring into a joint album that patiently and intensely distills a variety of musical flavors gathered from around the world.

Since the early 1960s, François Rabbath's double bass has resonated through enough landmark recordings to fill several shelves in a record collection. As an arranger, composer, and musician, his imprint on music goes far beyond his collaborations with Barbara, Paco Ibáñez, Charles Aznavour, or Édith Piaf. Aspiring double bassists owe him a groundbreaking method for learning the instrument. Born into a lush musical universe that quickly became his own, his son Sylvain first accompanied him on his travels before settling at the piano and sharing stages around the world at his side.

Those years of accumulating visas in their passports were put to good use by father and son. The continents, countries, and cities they passed through became a rich source of inspiration for composing Amall, the album by the Rabbath Electric Orchestra.

Long hours spent in the air or on the road, watching passing landscapes that never stayed the same, were transformed into compositions imbued with the atmospheres of the places they crossed or visited. Inspiration sometimes struck with force, like a green oasis appearing in a desert of stone—unexpectedly, as glowing red rocks suddenly dominated an otherwise open landscape with an endless horizon, while the mind wandered into a state between meditation and introspection.
Born from these travels, the pieces took on their final colors once brought into the studio, refined, and finally arranged to welcome the guitars of Keziah Jones and Matthieu Chedid, the piano of Laurent de Wilde, the bass of Victor Wooten, the saxophone of Raphaël Imbert, and the percussion of Minino Garay. Enhanced by the scale of the jazz-soul orchestrations, by the richness of arrangements bursting from strings, brass, rhythms, or keyboards, the epic breath of vast plains became ingrained. The urban tension of funk, echoing their movements, found its place—alongside more electric expressions or the ambience of a darkened room.
Melancholic and melodious, expressive and edgy, the bowed double bass—played in the high register where few dare to go—emerged as the musical guide. One that draws a path between Seville and Minneapolis, connects François Rabbath's native Syria to France, and bridges South America to Europe. It sets the tone to follow—the emotion that will carry the piece, and if not filled with light, will carry it there nonetheless.
Musical visions packed in luggage, transported in cargo holds, or imprinted in their minds just long enough to cover the distances to the next stop—father and son deepened their bond, beyond family and art. And their hands have never held each other more tightly.

François et Sylvain Rabbath ont fait fructifier six ans de tournées pour un album commun distillant patiemment et intensément la variété de parfums musicaux récoltés autour du monde.
Depuis le début des 60’s, la contrebasse de François Rabbath résonne dans assez de références pour combler plusieurs étagères d’une collection de disques. Arrangeur, compositeur, musicien, l'empreinte laissée dans la musique va bien au-delà de ses collaborations avec Barbara, Paco Ibanez, Charles Aznavour, ou Edith Piaf. C’est à lui que les
apprentis contrebassistes doivent une méthode novatrice pour apprendre l’instrument.

Né dans un univers musical luxuriant qui est vite devenu aussi le sien, c’est d’abord dans ses voyages que son fils Sylvain l’a accompagné, avant de s’installer au piano, et parcourir les scènes du monde à ses côtés. Ces années où les visas se sont entassés sur leurs passeports, père et fils les ont mises à profit. Continents, pays, et villes qui se sont succédés sont devenues un gisement pour composer Amall, l’album du Rabbath Electric Orchestra.

Les longs moments passés dans les airs ou sur la route à contempler un paysage qui défile sans pour autant rester le même, se sont convertis en compositions habitées par les ambiances de ces endroits traversés ou visités. Là où l’inspiration s’est imposée parfois brutalement, sous
la forme d’un oasis de verdure surgissant au milieu d’un désert de pierres. Au hasard d’imposantes roches rougeoyantes s’invitant dans un paysage jusqu’alors dégagé sur un horizon sans fin, quand l’esprit se laisse aller à un mélange de méditation et d'introspection.

Nés de ces pérégrinations, les titres ont pris leurs couleurs définitives une fois ramenés en studio, peaufinés puis, enfin, pensés pour y inviter les guitares de Keziah Jones et de Matthieu Chedid, le piano de Laurent de Wilde, la basse de Victor Wooten, le saxophone de Raphaël Imbert, les percussions de Minino Garay. Sublimé par la dimension des orchestrations jazz-soul, par la richesse des arrangements jaillissant des cordes, des cuivres, des rythmiques ou des claviers, le souffle épique des plaines immenses s’est imprimé.
La nervosité citadine du funk rythmant les déplacements a trouvé sa place, non loin d’une expression plus électrique ou d’une atmosphère de salle obscure.

Mélancolique et mélodieuse, expressive et nerveuse, la contrebasse jouée à l’archet, dans les notes hautes du manche où peu s’aventurent, s’est érigée en guide musical. Celui qui trace le chemin entre Séville et Minneapolis, relie la Syrie natale de François Rabbath à la France,
réduit la distance entre l’Amérique du Sud et l’Europe. Donne la note à suivre, l’émotion qui traversera le morceau qui, s’il n’est pas habité par la lumière, le portera néanmoins jusque là.

Visions musicales mises dans le coffre, transportées en soute ou imprimées dans l’esprit le temps de couvrir les distances qui les mèneront aux prochaines, c’est côte à côte que père et fils ont prolongé leur lien par delà des seules limites familiales et artistiques. Et leurs mains ne se sont jamais serrées aussi fort.
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The songs of Louisiana's Francophone and Creole heritage have flowed through the bayous for centuries, shaped by African, Native American, French, and Caribbean influences. Combining a vinyl record and a bilingual book, Pasé Bél Tan: Francophonies and Creolities in Louisiana celebrates this cultural legacy. It pairs historical recordings with contemporary reflections, inviting artists and scholars to explore this ever-evolving soundscape. Bridging a vibrant present with a painful past, it creates a space for dialogue around identity, memory, and the ongoing transformation of Louisiana’s musical traditions.



The double vinyl compilation and its OBI strip features a staggering 34 songs, ranging from French ballads and Creole renditions to zydeco hooks and reinterpretations by a wide array of contemporary artists such as Madteo, Tanz Mein Herz, Radio Hito, Cyril Cyril, and Deafkids, among others. With archival recordings and contemporary creations side by side, it serves as a bridge across the vast bayou of Louisiana music.



The book is a 272-page bilingual (French/English) publication that seeks to encapsulate the far-reaching implications of Louisiana’s musical heritage within both Louisianan and American society. It explores how this culture has shaped—and been shaped by—its surroundings. With contributions from many key figures of the scene—musicians, researchers, club owners, and other vital witnesses—it aims to present the intricate and singular relationship that exists between Louisiana and its music.



The book only is not available through distribution but only as a bundle with the 2LP version.

The songs of Louisiana's Francophone and Creole heritage have flowed through the bayous for centuries, shaped by African, Native American, French, and Caribbean influences. Combining a vinyl record and a bilingual book, Pasé Bél Tan: Francophonies and Creolities in Louisiana celebrates this cultural legacy. It pairs historical recordings with contemporary reflections, inviting artists and scholars to explore this ever-evolving soundscape. Bridging a vibrant present with a painful past, it creates a space for dialogue around identity, memory, and the ongoing transformation of Louisiana’s musical traditions.



The double vinyl compilation and its OBI strip features a staggering 34 songs, ranging from French ballads and Creole renditions to zydeco hooks and reinterpretations by a wide array of contemporary artists such as Madteo, Tanz Mein Herz, Radio Hito, Cyril Cyril, and Deafkids, among others. With archival recordings and contemporary creations side by side, it serves as a bridge across the vast bayou of Louisiana music.



The book is a 272-page bilingual (French/English) publication that seeks to encapsulate the far-reaching implications of Louisiana’s musical heritage within both Louisianan and American society. It explores how this culture has shaped—and been shaped by—its surroundings. With contributions from many key figures of the scene—musicians, researchers, club owners, and other vital witnesses—it aims to present the intricate and singular relationship that exists between Louisiana and its music.



The book only is not available through distribution but only as a bundle with the 2LP version.

A1 - The Moon On The Moors
ASC opens the EP with a distinctive, purposeful and dancefloor-friendly piece, driven by an intensely memorable drum pattern that will have your head nodding instantly - that's before the deep, earthy room-filling bassline quakes below. Filtered metallic breakbeats join the mix periodically along with string melodies and a plethora of sci-fi effects and classic micro samples. Absolutely essential stuff from the atmospheric wizard that is ASC.

A2 - Persuasion
A measured approach introduces Persuasion, with light hats and a subtle bleepy melody gradually pulling us toward a stunningly crisp slice of breakbeat heaven. Impossibly detailed rapidfire snares dominate the mix with incredible clarity that just has to be heard to be believed. Light bongos and airy synthwork nestle beautifully alongside trademark old school high pitched female vocal hits to cap off another stunner.

AA1 - Time and Again
Setting the tone immediately with thunderous, deep Hot Pants breaks - finely crafted as ever - Time and Again sees ASC explore an other-worldly setting with an uneasy intrigue to the echoing keys, while rousing strings provide a suitably nervy backdrop to the mix. A mellow yet tense breakdown is quickly nudged aside with the crunching breaks and darkly bassline, while echoed vocal hits add further texture.

AA2 - Severance
A wonderfully old school slice of breakbeat action quickly unfolds as Severance sees ASC playfully experiment with varied break patterns riddled with delicious little details you will pick out with each repeated listen. Sublime intent is present throughout with a heavy undertone bassline, not to mention the excellent sampled quote from the show of the same name - eventually we all have to accept reality. If this is our reality, bring it on.

Words by Chris Hayes (Spatial / Red Mist)

DJ Support: Laurent Garnier, Archie Hamilton, Radio Slave, Mark Farina, Horse Meat Disco, Ilario Alicante, DJ Harvey, Harri, Ame, Inland Nights, Massimiliano Pagliara

The Netherlands Dennis Quin makes a welcome return to Kaoz Theory this September with ‘New York To Amsterdam’, featuring one collaboration with the legendary Mr. V and accompanied by remixes from Rotterdam’s underground royalty, Benny Rodrigues. Dutch house maestro Dennis Quin returns to Kerri Chandler’s Kaoz Theory imprint with a brand-new EP, reaffirming his position as one of Europe’s most consistent purveyors of groove-led, rhythm-driven house music. With a career spanning acclaimed releases on PIV, Beeyou, Dungeon Meat and on his own label Eardrums, Quin’s work seamlessly bridges deep house heritage with contemporary dancefloor energy.

Opening the EP, ‘New York Accent’ sets the tone with a classic New York house vibe—raw drums, choppy chords, and snippets of street-level vocal samples. ‘Hard Days Work’ dives deeper into house territory with shimmering piano keys, dreamy chord progressions, and crisp percussion layered with twitchy synths, sax flourishes, and soulful vocal hooks. Dennis Quin - New York to Amsterdam ft. Mr V (Incl. Benny Rodrigues Remix)

Next up, ‘My Amsterdam Legacy ft Mr. V’, Quin tells us “My Amsterdam legacy tells the story from hitting the clubs in the early ’90s as a House music loving teenager to rocking stages worldwide right now. Mr. V captures that journey in a track that’s as soulful as it is raw. It’s my past, present, and future all in one”. Rounding off the release, Benny Rodrigues reworks ‘New York Accent’, retaining its essence while injecting his signature rhythmic grit and intricate dynamism.

Limitierte Loser Edition: "Coke-Bottle Clear & Orange Vinyl" 2LP // 30-jähriges Jubiläum der Neuauflage des Noise-Rock-Klassikers ,Severe Exposure" von Six Finger Satellite aus dem Jahr 1995 auf farbigem Vinyl, Doppel-LP, komplett remastered, inklusive der EP ,Machine Cuisine" von 1994 und einem Download mit 17 Bonustracks // Für Fans von The Jesus Lizard, Gang of Four, Devo, Shellac, LCD Soundsystem, Les Savy Fav. // Sub Pop feiert das 30-jährige Jubiläum von Six Finger Satellites zweitem Album ,Severe Exposure" mit einer erweiterten Doppel-LP-Edition des Albums. Zusätzlich zum Originalalbum enthält ,Severe Exposure: Deluxe Edition" eine Bonus-12"-EP mit der ,Machine Cuisine EP" von 1994 und einen Download mit 17 zusätzlichen Songs, darunter seltene Singles, Compilation-Tracks und unveröffentlichtes Material. Das gesamte Material wurde von JJ Golden neu gemastert und die Vinyl-Platten sind in einem schönen Slipcase mit individuellen Covern für jede LP verpackt. Six Finger Satellite wurde 1990 in Providence, Rhode Island, von J. Ryan (Gesang/Keyboards), John MacLean (Gitarre), Peter Phillips (Gitarre), Chris Dixon (Bass) und Rick Pelletier (Schlagzeug) gegründet und unterschrieb kurz darauf einen Vertrag bei Sub Pop für die EP ,Weapon". 1993 veröffentlichten sie ihr bahnbrechendes Debütalbum ,The Pigeon Is the Most Popular Bird" und 1995 ,Severe Exposure". ,Severe Exposure" war ein Vorbote des Post-Punk- und Synth-orientierten Rock-Revivals der frühen 2000er Jahre, indem es den bissigen, angespannten Post-Punk-Sound der Band um Synthesizer ergänzte. Damals schrieb Trouser Press: ,,Rabies (Baby's Got The)` und ,Simian Fever` sind animalisch aggressiv und chaotisch, während sie gleichzeitig die synthetische Digitone-Lust der New Wave teilen." Und die SF Weekly lobte es als ,ein Party-Album, das man genau dann auflegt, wenn man möchte, dass ,bestimmte Leute` nach Hause gehen." Und es ist das Lieblingsalbum von Seth Jabour von Les Savy Fav! In seinen Worten: ,Ich bin immer wieder überrascht, wie sehr ich es liebe und wie wichtig es für uns während unserer Entwicklung als Band war." Severe Exposure ist das meistverkaufte Album der Band und wurde von der Band in ihrem eigenen Studio, The Parlour, in Providence, Rhode Island, aufgenommen.

"Half Of It" ist ein Konzeptalbum, von Anfang bis Ende. Traurigkeit, Verlust und Trauer sind die Themen, die Jaimi aufgreift, durchdenkt, vertont und in eindringliche Worte packt. Er agiert dabei im Geiste von Ryan Adams" "Heartbreaker" oder Bon Ivers "For Emma, Forever Ago", Alben, die sich auf ihre Art mit den benannten Themen auseinandersetzen. "Meine Platte "Half Of It" ist genau das - eine Platte, auf der ich eine Bestandsaufnahme meiner Gefühle mache, mich mit ihnen auseinandersetze, sie verarbeite und schließlich über meine Erfahrungen schreibe. Es ist bei weitem das verletzlichste Album, das ich bisher gemacht habe, und dementsprechend war es für mich ein sehr kathartisches Album." ergänzt der Künstler. "Half of it" ist nichts für Zartbesaitete: Es ist ein intensives Hörerlebnis, das den Hörer auf eine sehr persönliche Reise einlädt. Jaimi trägt sein Herz auf der Zunge und gibt einen intimen Einblick in seine persönliche Reise. "Half of it" ist der perfekte Begleiter für jeden, der sich von einem geliebten Menschen verabschieden musste. Wie schon auf den Vorgängern Back Road und Allen Keys & Broken Bits spielt er versiert und eingängig mit Blues, Soul, Rock und Songwriter Versatzstücken. Und doch ist es diesmal anders, denn es ist ein sehr persönliches, reflektierendes Album, mit dem er die letzten Jahre aufarbeitet. Ein Album, das textlich tief in die Seele des Musikers blicken lässt.

Star Feminine Band, hardest working women in Beninese show business, are releasing their third album on Born Bad, who went all out for their first. Some get malaria at the sight of that sticky world label : rest assured, the world is all they deserve after nine years of hard work. These eight young women, from a village that even Beninese can't quite place, started out in hard mode.

They had to convince themselves that it was worth a shot, but also their family, their village and an entire continent.

André Balaguemon, composer, manager and lyricist, does a lot, while remaining in the background. He put the group together, included his three daughters, houses everyone with his wife Edwige who also manages dances and costumes. He gave them a musical training, and created the framework for them to continue school while rehearsing hard. From local heroes to UNICEF ambassadors, the group has made it. The very existence of this new album is a testament to the perseverance of Grâce, Anne, Urrice, Bénie, Angélique, Sandrine, Julienne and Ashley. The personnel of this family affair has changed a bit : two new women have joined the group, which conquered bigger stages (Glastonbury in the summer, the X-mas BBC special).



This new album brings simple joys : watching them grow from Benin's first girl band to a band in its own right. And never forgetting why they took to the stage in the first place. Star Feminine Band makes straightforward music, taking no detours to express what's missing in the country. When Grâce advocates for kids getting a chance to get to school it's because there's nothing else more important to say that day. Teachers, don’t leave the kids alone, after all.



As they said on their first album, « music is our job », let them be that : musicians having a lot of fun on this album. It wanders through the vast territory of the countless West African styles. They even make a quick foray into reggae to talk about marriage (with a little rap thrown in), and interweave their voices in multiple languages (Waama, Ditamari, Bariba, Fon, Yoruba). And boy do they have hits. To each is own, but “L'enfant c'est un don de Dieu » (Child is god’s gift) is a mighty steamroller, methodically smoothing out the ground for dancing together to its final chorus, singing « debout-les-en-fants / get up, kids ! » along.



Smoother than the first two albums, supported by fine arrangements, ambitious keyboard parts and more complex vocal harmonies without losing any of their spontaneity, this third opus quietly adds to Benin's musical heritage. As they make clear in « Jusqu'au bout du monde », clever little number that we can already hear swelling up on stage: « oui, c’est Star Feminine Band qui a gagné - o / Star Feminine Band won».

Vom "Klassik-Star der Gen Z" zum Pianisten der Stunde: Louis Philippson "My Way"Nur sieben Monate nach seinem Debüt "Exposition" beleuchtet "My Way" die rasante Entwicklung des jungen Pianisten, Social-Media-Stars und Moderators Louis Philippson vom "Klassik-Star der Gen Z" (Süddeutsche Zeitung) zu einem der Pianisten der Stunde. Vom britischen Sender Classic FM wurde Louis als einziger deutscher Künstler in die "Top 30 artists under 30 in 2025" aufgenommen, während BR-Klassik erklärte: "mit Louis Philippson hat die klassische Musik einen neuen Rockstar gefunden." Auch auf den 12 restlos ausverkauften Konzerten seiner Debüt-Tour im Mai 2025 und bei den Arena Shows der "Night of the Proms" im Winter 2024 begeisterte er tausende Menschen für die Klassik auf seine eigene Weise. Daran knüpft Louis Philippson mit seinem Album "My Way" an. Aufgenommen mit dem MDR Sinfonieorchester unter der Leitung von Dirigent Ben Palmer, verbindet es neue Originalkompositionen mit neuen Bearbeitungen bekannter Themen aus der Klassik oder Filmmusik für Solo Piano sowie Piano und Orchester. Zu den neuen Werken zählen unter anderem der virale Hit "Beethoven Virus" für Klavier und Orchester, "Show Waltz" für Klavier und Orchester, "Supernova" für Klavier, Sopran und Orchester, sowie mehrere Solostücke für Klavier. Unter den neu interpretierten Klassikern finden sich das mitreißende Medley "Dancing Bee" für Klavier und Orchester, "Cornfield Chase" für Klavier und kleines Ensemble, sowie eine Bearbeitung von Themen aus den Vierjahreszeiten mit dem Titel "Vivaldi Storm". Key Dates: • 6th June: German public broadcaster MDR broadcasting a studio concert featuring the MDR Radio Symphony Orchestra (reach 1 Mio)Pre-oder start and 1. Single "Für Elise"• 23rd July: German public broadcaster ARD "3nach9" talk show (reach 1 Mio)• 11th Sept: German public broadcaster TV gala ARD Deutscher Radiopreis - 2 performances live (reach 1 Mio +)• 12th Sept: German public broadcaster TV gala MDR Goldene Henne - Performance (reach 2 Mio)Album Release • September: pitch for ClassicFM Gala London • 26th Sept. German public broadcaster MDR Riverboat Talkshow (reach 2 Mio)• October - November: Concerts in GSA in venues up to 3,000 cap (e.g. Hamburg CCH / München Prinzregententheater / Düsseldorf Tonhalle etc.)• 6th Dec: German public broadcaster ARD charity show Ein Herz für Kinder (reach 3 Mio)• Dec: concert at Royal Albert Hall London • Spring 2026: Europa-Tour mit Konzerten in Paris, Benelux, Polen, Spanien usw.In the making: documentary about his life similar to Anastasia Kobekina

Limited first pressing on silver vinyl. Flying Horseman returns with their first new album in five years. Experience their renewed but signature sound with a fresh line-up.



Flying Horseman is back! After a five year hiatus and with a new line-up, the band is ready to once again captivate headphone junkies and live audiences alike with Anaesthesia, their seventh album. It's an urgent and passionate work of intelligent rock'n roll, hazy psychedelia and cosmic folk. Anaesthesia is brooding, angry and dark but at the same time full of life, wonder and sophistication. It's an invigorating, fascinating, electric brew.



Flying Horseman is still centered around the intensely personal song writing, singing and guitar playing of Bert Dockx. The band's line-up has changed,with Louis Evrard (Pruillip, Ottla, Grid Ravage) and Maximilian Dobbertin (Calicos, Frankie Fame) replacing drummer Alfredo Bravo and bassist Mattias Cré. Bravo and Cré were long-standing members, beloved by fans and fellow musicians alike, and they have played an important part in establishing Flying Horseman's musical identity. Today Evrard and Dobbertin are adding a fresh and personal twist to the idiosyncratic sound of Flying Horseman: their groove, their intuition and sensibility, their soul.



Then there's Loesje and Martha Maieu, who have been part of the group for almost as long as its frontman has, and who offer essential ingredients to bring about Flying Horseman's signature flavour, their haunting vocals and atmospheric electronics contrasting beautifully with Dockx' more earthy vocal delivery and his restless, fiery plucking of the guitar strings.



The whole record is fiery, alternately smouldering and violently burning. These are musical sounds capable of setting the listener's heart and mind ablaze. Anaesthesia is very consciously, a political record born out of Dockx and his friends' bafflement at the state of the world, the new rise of fascism, the onslaught of injustice, barbarism and stupidity which we, inhabitants of planet earth, are witnessing day in day out.



How to guard one's sanity in such a crazy world? How to maintain one's dignity? How to feel useful and joyful when surrounded by confusion and hate? These are the questions Flying Horseman is struggling with, as are so many of us today. But there is joy and purpose in the asking; in the struggling; in staying critical of dominant systems of oppression; in thinking or saying: "I don't agree, this is not how it's supposed to be"; in coming together and connecting, sharing, mourning and dreaming. Joy and purpose; questions and confusion; burning hearts and tarnished dreams: it's allhere, in the transportive sound world of Flying Horseman.



Anaesthesia was recorded in Antwerp by Joris Caluwaerts (keyboardist of the inimitable avant-jazz group .STUFF) and mixed by Yves De Mey (one of Belgium's most prominent & avant-garde electronic wizards), two experienced collaborators who know a thing or two about capturing sound and transforming it into a rewarding listening experience. With their help, Flying Horseman has crafted a tight collection of eight art-rock tunes with a clear identity, a rich sound, an original vision and a joyful purpose in the face of encroaching sinister forces.

The song sets the tone of this album. A simple structure, over which a web of rhythm is woven using an instrumentation of old drum machines in dialogue with live drums and percussion. Lots of sax, tenor and baritone! A pumping bass. A frisky pizzicato violin. And some classic keyboards: the Fender Rhodes, the Hohner Clavinette D6, the L-100 Hammond organ. And lots of analogue synthesisers: a rippling Juno-106 marks the path to follow, which is crossed with phrases from other museum pieces: Crumar's Stratus, Farfisa's Synthorchestra, Sequential's Prophet-10. Or still the Casio Club M-100, which is basically a toy, but has been subtly colouring SKC's songs for years!

SKC has often dived deep into the repertoire of artists he holds in high esteem, looking for pearls, forgotten or not, to work on. Likewise on this album with versions of songs by Prince, Dez Mona, Alain Bashung…

Renowned DJ, Producer and House music aficionado, Giles Smith, returns to Eglo Records with his highly anticipated ‘I Can Change Your Life’ EP. A deep and soulful outing, that nods to the classic House sounds of Chicago, New York and Detroit. Evoking the spirit of late-night underground parties, the record captures the essence of House music’s soulful pulse.
Title track - I Can Change Your Life - features the immaculate tones of singer LaAriel. Who elevates the track into a bouncing, soul filled, bop, certified to get your dance floor moving correctly. Smith also delivers a deeper, teckier, jazzed out dub mix on the flip, alongside Paulo’s Keys, a prescription style instrumental track that mixes the rough with the smooth.
Previously known as one half the legendary Secretsundaze, this EP marks a new chapter for Giles Smith. Already a highly respected figure, his expansive knowledge, paired with his deep passion for DJ’ing and love of clubland make him an ever more important figure within dance music culture. His evolution, passion and dedication is evident and can be heard in the fabric of this essential EP.

Als er 2011 von Scion angesprochen wurde, um ein Album für die Musik-Promotion-Abteilung der Automarke aufzunehmen, konnte sich Reigning Sound Frontmann Greg Cartwright nicht weigern - trotz oder geraden wegen der prekären Existenz seiner Band zu dieser Zeit. "Mehrere Besetzungswechsel hatten sich ergeben. Die Ursprungsbesetzung, das "Memphis-Quartett", war längst aufgelöst, und ich dachte über die Möglichkeit nach den Namen Reigning Sound zurückzulassen", so Cartwright. "Ich hatte beschlossen eine Pause einzulegen, um an Produktionen für andere Leute zu arbeiten und Songs zu schreiben für The Parting Gifts, meine Zusammenarbeit mit Coco Hames." Aber plötzlich hatte Reigning Sound dieses Toyota Angebot auf dem Tisch, und es gab keine Band. Neben Cartwright war die eine Konstante der letzten drei Reigning Sound Jahre Keyboarder Dave Amels, der ansonsten in der Brooklyn-Soul-Combo The Jay Vons Schwarzarbeit machte. Etwa zur gleichen Zeit war Dan Auerbach von den Black Keys nach Nashville gezogen und kümmerte sich dort in seinem Privatstudio darum, dem Gitarrensound der Parting Gifts Platte den letzten Schliff zu verpassen. "Dan war begierig darauf, etwas im neuen Studio zur Vorbereitung auf eine bevorstehende Sitzung mit Dr. John zu tun, und bot er mir etwas Studiozeit sowie seine Produktionsunterstützung an. Da saß ich nun ohne Band in einem Nashville-Studio, die Uhr tickte. Ich rief in Brooklyn an und The Jay Vons sagten ja. Ich rief Scion an und bat um drei Flugtickets und Hotelzimmer. In wenigen Stunden war die Band auf dem Weg nach Nashville. In zwei Tagen nahmen wir fünf Songs auf. Ich habe diese fünf mit drei Outtakes der vorherigen Reigning Sound LP "Love and Curses" mit Lance Wille am Schlagzeug und Dave Gay am Bass kombiniert.", erzählt Cartwright und fügt hinzu: "Greg + The Jay Vons ist die bis heute gültige Reigning Sound Besetzung." Nach der Veröffentlichung von "Abdication...." brachten Reigning Sound 2014 die beliebte "Shattered" LP raus. Cartwright war zudem seitdem ausgiebig mit den reformierten Oblivians auf Tour.

Back from the undead in the fresh (because we believe in upgrades & afterlifes!) is this new pressing of the first of all Gastr del Sol records, The Serpentine Similar. It is one of several distinct initiators of a definitive musical drift in the 1990s, and a drift all of its own, to boot! At the time, this album was largely heard within an underground whose boundaries were clearly defined - but if today"s sound-pool of "commercial" music is deeper and wider than it was back then, it is without a doubt due to the cracking open of certain doors of perception by Gastr del Sol, alongside their esteemed others. The year was 1992. After a bruising run of tour dates the year before, the final lineup of Bastro, a power-trio of David Grubbs, Ken (Bundy) Brown and John McEntire, retired, exhausted. Shortly thereafter, they were rebirthed, sans drums, via a new set of ideas composed in the cut-down configuration of Grubbs on guitars, keyboards and vocals and Brown on bass. Playing in duo format opened up sound and intention, leaving the need for speed (and the stock in rock) out, while letting in an expanse of brooding, droning acoustic space that highlighted the songs" serpentine shapes. This was something so radically different as to require a new calling card: henceforth, Gastr del Sol. Signing to Teen Beat, Gastr del Sol completed The Serpentine Similar in late 1992 for release the following year (the DC reissue came in "97). In the final rendering, Serpentine"s roof-rent, white-sky execution was attenuated with several percussion appearances from the prodigal John McEntire. Over the next five years, his cameo presence was a constant in Gastr del Sol"s steadily-evolving tradition of significant breaks from tradition at every turn. There would be an even more significant tradition-breaker onboard for all this; following the release of The Serpentine Similar, Jim O"Rourke joined Grubbs in Gastr as Brown exited (to focus on Tortoise, with McEntire et al). For the new Gastr duo, a world of new directions in music awaited, the future became the past, and the music of Gastr del Sol emerged from the thin air, then returned there. Now, The Serpentine Similar has been returned to vinyl from the temporal streams of contemporary music listening, a glorious rematerializing of all its spatial details on LP for the first time in 20 years.

Ruben Rada played a pivotal role in the development of Uruguayan music. By blending Afro-Uruguayan traditions with rock, soul, jazz, and funk, he paved a new musical path that began in the 1960s and continues to evolve today. Throughout his career, he has consistently been surrounded by talented musicians who have been integral to his sound. This was especially true with Daniel "Lobito" Lagarde, bassist and founding member of the iconic band Totem in the early 1970s; Ricardo Nolé, keyboardist, arranger, and musical director of Rada's band in Argentina during the 1980s; and Nelson Cedréz, the drummer who has been by Rada's side since the 1990s. In 2016, these three musicians reunited to form Rada's Old Boys, releasing an album of jazz-infused reinterpretations of Rada's songs that earned rave reviews. Now, they return with Manos, a bold new album that reimagines Rada's works from every phase of his career, featuring deeply personal renditions and a special guest appearance from Rada himself on one track.

Wishbone Ash reigned supreme through the 1970s — centered on inspired musicianship, joyful spirit and inventive songs. Their concerts were uplifting and their recorded work sublime. Argus remains a stunning high point in the band's startling repertoire. Argus was a 1972 tour de force, a hard-rocking masterpiece that has gone on to have a huge impact on rock bands moving forward. If you've never heard Argus, you've surely heard music that it inspired.

The British quartet's trademark harmony guitars became a touchstone for many: Thin Lizzy, Iron Maiden, Opeth, and Lynyrd Skynyrd have all acknowledged an Ash influence, and tracks such as Lizzy's "The Boys Are Back in Town," Maiden's "The Trooper," and even Steely Dan's "Reeling in the Years" all have twin-guitar moments that hark back to Argus. But Wishbone Ash were different from the start. They were never strictly a hard rock band; their soaring vocal harmonies and musical grandeur placed them close to progressive rock.

But they weren't strictly prog either: They had no keyboards, no real classical influence and weren't into side-long suites. Their roots were in the blues, and their calling card was twin lead guitars in harmony (played in the original lineup by Ted Turner and Andy Powell). Even the hardest Ash rockers — like "Blowin' Free," the most famous track from Argus — had an ethereal touch. They could rock the big stages, but they did it with subtlety and grace. This is reflected perfectly in the classic album sleeve by prog-associated designers Hipgnosis: The front cover shows a Greek sentry — the "argus" of the title — staring off into the distance. It's a mythic, old-world kind of image until you look closely at the back cover, and see that he's heralding the arrival (or perhaps watching the departure) of a spaceship.

Two worlds colliding. Exactly what the band and album were all about. By the time of Argus, Wishbone Ash were stars in England and cult heroes among Anglophiles in the US. What made Argus a step forward was its flow of moods. The songs don't run together, but there's an emotional connecting thread from the album's somber beginning to its heroic end. The band insisted at the time that lyrics were something of an afterthought: Shortly after its release, main lyricist Martin Turner told NME that he wrote them mainly to fit the mood of the music: "The music that was coming out was very English, very medieval, and the lyrics had to reflect that." Added Powell at the time, "The expression comes out in the guitars. We wouldn't play it if it didn't express something." Now, Analogue Productions has applied all of its vaunted craft and technical expertise to make this epic album shine! Two 45 RPM LPs pressed on virtually silent 180-gram vinyl at Quality Record Pressings make the remastered audio sparkle. Quieter lyrical sentiments and softer musical passages are rendered precisely, while majestic riffs and fist-waving anthems fully reveal the energy of the music! Argus isn't just another rock record — it's a journey through a sonic landscape rich with depth, emotion and technical prowess. It's the album that solidified Wishbone Ash as masters of twin guitar harmony. Discerning audiophiles will find Argus an essential addition to their record collection. It's a masterclass in sound engineering that fully captures the intricate interplay of dual guitars with pristine clarity and a warmth that only analog recordings can provide.

LA-based composer/arranger E. Lundquist (aka Eric Borders) returns with ‘Art Between Minds’. Having cut his teeth in the LA hip-hop and beats scene and explored realms of cosmic-funk under previous monikers, E. Lundquist’s music displays a rich tapestry of influences including the cinematic & experimental jazz-infused library music that influenced his previous LP ‘Multiple Images’. Now he is back with another ample helping of his hallucinogenic sonics, utilizing a bevy of vintage gear to replicate that warm glow of ’70s jazz-funk. From the Fender Rhodes MKI to the ARP Odyssey, to the Mellotron, the keys and synths he employs on these tracks display a genuine appreciation for the groove-driven music of The ‘Me” Decade.

The album plays like the score to a cult classic B-movie. The sun-drenched haze of “Soliloquy” could easily be what you hear during the calm before the storm in a Blaxploitation flick and the laidback crawl of “Euphoria” seems ripped right out of a fuzzy ‘70s blue movie. But there is a certain sophistication here, like the way the horn section, slinky guitar, and trippy synths combine on “Escape” to sound like liquid one moment and like a summer breeze the next.

While E. Lundquist’s artistry will eventually take him to new plateaus of sound, where he is right now is undoubtedly a high watermark in his career. He has become a torchbearer for jazz-funk in a new jazz revolution, updating the sub-genre with his delicate balance of digital and analog elements that will easily appeal to fans of Kamaal Williams, Surprise Chef, BADBADNOTGOOD, Khurangbin, Robohands and similar.

Black Vinyl LP with insert (including the story behind the album and lyrics with English translation)

After their first LP, in 1987, Pedro gathered his usual band, Carlos Sousa on keyboard, Bulimundo on drums, Nuno Santos and Zézé on lead and rhythm guitars, Augusto Rasta on bass, Daló on sax and finally Dalú on percussions, for yet another project, one that carried both their names: Jacinta Sanches - Pedro Ramos. Eight days, no more, that’s all Pedro Ramos and Jacinta Sanches needed inside the Estúdios Musicorde. The process was natural, as with all their music, memories recollected and arranged by Pedro on café napkins, rehearsed and perfected at home with Jacinta. Together they imagined music where Cape Verdean saudade could dance together with Kingston’s skank, two island hearts beating inside European concrete.

His name is Pedro Correia Ramos Varela, born in Praia, Santiago, Cabo Verde on April 6th 1954; her name is Jacinta Lopes Veiga Varela, born in Cidade Velha, Santiago, Cabo Verde on January 22nd 1959. The two met in Praia, where a few exchanged words turned into long evening conversations; conversations into friendship; friendship into love; and love into six wonderful children. After the independence of Cabo Verde, they got married in 1978 and moved to Portugal, where Pedro started working as a welder for Lisnave and playing the guitar in a band in Ramada. Trading shipyard sparks by day for the after-hours pulse of Cova da Moura, his love for music proved harder than steel. And in 1982, after seeing Bob Marley and Peter Tosh in Rotterdam, he opened his own Dancing Bar just below their house, a pioneering space for the promotion of reggae music in Portugal.

Their Dancing Bar kept its doors open from 1982 to 1994, seeing the release of two albums and more singles. To this day, Pedro and Jacinta are still making music, one the inspiration of the other. They define themselves as simple people, living happy without prejudice, friends with the world.

"Songs in the Key of Yikes" ist ein typisches Superchunk-Album: viszeral und zeitlos und verdammt eingängig - ein kathartischer Balsam für diese bedrückenden Zeiten. "Bruised Lung" - "No Hope" - "Care Less" - "Climb the Walls" - "Everybody Dies". Wenn man die Trackliste von "Songs in the Key of Yikes" überfliegt, fragt man sich unweigerlich: Sind Superchunk okay? In einer Welt, die wohl düsterer ist als die, die "Wild Loneliness" (2022) oder "What a Time to Be Alive" (2018) begrüßte, geht es uns da überhaupt noch gut? "Es war schon immer so, dass jeder etwas durchmacht, von dem man vielleicht nichts weiß", bemerkt Mac McCaughan. "Das gilt derzeit mehr denn je - aber es ist auch so, dass wir alle gemeinsam etwas durchmachen. Angesichts dessen, was nützt Kunst und wo findet man Glück? (Spoiler-Alarm: Ich weiß es nicht.)" Auf der Suche nach einer Antwort entfesselt "Songs in the Key of Yikes" einen Sound, der triumphierend und hell in der Dunkelheit ist, "Majesty Shredding" im Overdrive. Die Lead-Single ,Is It Making You Feel Something" gibt früh den Ton an, wobei die Band - McCaughan, Laura Ballance, Jim Wilbur und Laura King - aus dem Potenzial für Freude eine Hymne baut und in schlammverschmutzte Gewässer taucht und mit einer Perle wieder hochkommt. "No Hope" ist ähnlich widerstandsfähig, McCaughans Texte zeichnen ein niederschmetterndes Bild, bevor sie in den titelgebenden Refrain übergehen. Er wiederholt den Satz neun Mal, macht eine Pause und verwandelt die Stimmung vollständig, indem er den Gesang mit der Zeile "and here we are singing" unterbricht. Der Text ist scharf, gleichzeitig eine einfache Beobachtung und eine tiefgründige Aussage über das Sein, die erdrückenden Nächte und endlosen Tage, aber McCaughans Stimme findet eine gewisse Süße darin, durchgehalten zu haben und dies auch weiterhin zu tun. Paradoxerweise grenzt die Energie von "Songs in the Key of Yikes" an Euphorie und bricht manchmal sogar in sie aus, wie in "Stuck in a Dream", das wie eine oasenartige Fata Morgana zwischen "Everybody Dies" und "Train on Fire" auftaucht, ein voller Sprint, der die Menge begeistert und sich zum Pogen im Pit eignet. "Care Less" ist ein düsterer, komischer Spiegel dieser Energie, ein Garage-Jam, in dem ein scharfzüngiger McCaughan Zuflucht vor dem Sturm sucht, indem er so tut, als würde er nicht direkt vor seiner Tür toben. Diese Strategie funktioniert nicht. Natürlich funktioniert sie nicht. Es ist ein Song auf einem Superchunk-Album, und Superchunk-Alben sind Argumente gegen Engstirnigkeit und für Partys, die groß genug sind, um alle zu beherbergen. Dieses Album begrüßt nicht nur Laura King nach zwei Jahren als Tour-Schlagzeugerin in der Band, sondern enthält auch Beiträge von Rosali Middleman ("Bruised Lung" und "Everybody Dies"), Bella Quinlan und Holly Thomas von Quivers ("Cue") und der Tour-Bassistin Betsy Wright ("Care Less"). Das Album wurde von Paul Voran (The Menzingers, Hurray for the Riff Raff) und Eli Webb produziert und von Mike Montgomery (The Breeders, Protomartyr) gemischt. Gemeinsam kommen sie zu keinem Ergebnis darüber, was gute Kunst in Krisenzeiten ausmacht und schaffen gleichzeitig großartige Kunst.

"Songs in the Key of Yikes" ist ein typisches Superchunk-Album: viszeral und zeitlos und verdammt eingängig - ein kathartischer Balsam für diese bedrückenden Zeiten. "Bruised Lung" - "No Hope" - "Care Less" - "Climb the Walls" - "Everybody Dies". Wenn man die Trackliste von "Songs in the Key of Yikes" überfliegt, fragt man sich unweigerlich: Sind Superchunk okay? In einer Welt, die wohl düsterer ist als die, die "Wild Loneliness" (2022) oder "What a Time to Be Alive" (2018) begrüßte, geht es uns da überhaupt noch gut? "Es war schon immer so, dass jeder etwas durchmacht, von dem man vielleicht nichts weiß", bemerkt Mac McCaughan. "Das gilt derzeit mehr denn je - aber es ist auch so, dass wir alle gemeinsam etwas durchmachen. Angesichts dessen, was nützt Kunst und wo findet man Glück? (Spoiler-Alarm: Ich weiß es nicht.)" Auf der Suche nach einer Antwort entfesselt "Songs in the Key of Yikes" einen Sound, der triumphierend und hell in der Dunkelheit ist, "Majesty Shredding" im Overdrive. Die Lead-Single ,Is It Making You Feel Something" gibt früh den Ton an, wobei die Band - McCaughan, Laura Ballance, Jim Wilbur und Laura King - aus dem Potenzial für Freude eine Hymne baut und in schlammverschmutzte Gewässer taucht und mit einer Perle wieder hochkommt. "No Hope" ist ähnlich widerstandsfähig, McCaughans Texte zeichnen ein niederschmetterndes Bild, bevor sie in den titelgebenden Refrain übergehen. Er wiederholt den Satz neun Mal, macht eine Pause und verwandelt die Stimmung vollständig, indem er den Gesang mit der Zeile "and here we are singing" unterbricht. Der Text ist scharf, gleichzeitig eine einfache Beobachtung und eine tiefgründige Aussage über das Sein, die erdrückenden Nächte und endlosen Tage, aber McCaughans Stimme findet eine gewisse Süße darin, durchgehalten zu haben und dies auch weiterhin zu tun. Paradoxerweise grenzt die Energie von "Songs in the Key of Yikes" an Euphorie und bricht manchmal sogar in sie aus, wie in "Stuck in a Dream", das wie eine oasenartige Fata Morgana zwischen "Everybody Dies" und "Train on Fire" auftaucht, ein voller Sprint, der die Menge begeistert und sich zum Pogen im Pit eignet. "Care Less" ist ein düsterer, komischer Spiegel dieser Energie, ein Garage-Jam, in dem ein scharfzüngiger McCaughan Zuflucht vor dem Sturm sucht, indem er so tut, als würde er nicht direkt vor seiner Tür toben. Diese Strategie funktioniert nicht. Natürlich funktioniert sie nicht. Es ist ein Song auf einem Superchunk-Album, und Superchunk-Alben sind Argumente gegen Engstirnigkeit und für Partys, die groß genug sind, um alle zu beherbergen. Dieses Album begrüßt nicht nur Laura King nach zwei Jahren als Tour-Schlagzeugerin in der Band, sondern enthält auch Beiträge von Rosali Middleman ("Bruised Lung" und "Everybody Dies"), Bella Quinlan und Holly Thomas von Quivers ("Cue") und der Tour-Bassistin Betsy Wright ("Care Less"). Das Album wurde von Paul Voran (The Menzingers, Hurray for the Riff Raff) und Eli Webb produziert und von Mike Montgomery (The Breeders, Protomartyr) gemischt. Gemeinsam kommen sie zu keinem Ergebnis darüber, was gute Kunst in Krisenzeiten ausmacht und schaffen gleichzeitig großartige Kunst.

"Songs in the Key of Yikes" ist ein typisches Superchunk-Album: viszeral und zeitlos und verdammt eingängig - ein kathartischer Balsam für diese bedrückenden Zeiten. "Bruised Lung" - "No Hope" - "Care Less" - "Climb the Walls" - "Everybody Dies". Wenn man die Trackliste von "Songs in the Key of Yikes" überfliegt, fragt man sich unweigerlich: Sind Superchunk okay? In einer Welt, die wohl düsterer ist als die, die "Wild Loneliness" (2022) oder "What a Time to Be Alive" (2018) begrüßte, geht es uns da überhaupt noch gut? "Es war schon immer so, dass jeder etwas durchmacht, von dem man vielleicht nichts weiß", bemerkt Mac McCaughan. "Das gilt derzeit mehr denn je - aber es ist auch so, dass wir alle gemeinsam etwas durchmachen. Angesichts dessen, was nützt Kunst und wo findet man Glück? (Spoiler-Alarm: Ich weiß es nicht.)" Auf der Suche nach einer Antwort entfesselt "Songs in the Key of Yikes" einen Sound, der triumphierend und hell in der Dunkelheit ist, "Majesty Shredding" im Overdrive. Die Lead-Single ,Is It Making You Feel Something" gibt früh den Ton an, wobei die Band - McCaughan, Laura Ballance, Jim Wilbur und Laura King - aus dem Potenzial für Freude eine Hymne baut und in schlammverschmutzte Gewässer taucht und mit einer Perle wieder hochkommt. "No Hope" ist ähnlich widerstandsfähig, McCaughans Texte zeichnen ein niederschmetterndes Bild, bevor sie in den titelgebenden Refrain übergehen. Er wiederholt den Satz neun Mal, macht eine Pause und verwandelt die Stimmung vollständig, indem er den Gesang mit der Zeile "and here we are singing" unterbricht. Der Text ist scharf, gleichzeitig eine einfache Beobachtung und eine tiefgründige Aussage über das Sein, die erdrückenden Nächte und endlosen Tage, aber McCaughans Stimme findet eine gewisse Süße darin, durchgehalten zu haben und dies auch weiterhin zu tun. Paradoxerweise grenzt die Energie von "Songs in the Key of Yikes" an Euphorie und bricht manchmal sogar in sie aus, wie in "Stuck in a Dream", das wie eine oasenartige Fata Morgana zwischen "Everybody Dies" und "Train on Fire" auftaucht, ein voller Sprint, der die Menge begeistert und sich zum Pogen im Pit eignet. "Care Less" ist ein düsterer, komischer Spiegel dieser Energie, ein Garage-Jam, in dem ein scharfzüngiger McCaughan Zuflucht vor dem Sturm sucht, indem er so tut, als würde er nicht direkt vor seiner Tür toben. Diese Strategie funktioniert nicht. Natürlich funktioniert sie nicht. Es ist ein Song auf einem Superchunk-Album, und Superchunk-Alben sind Argumente gegen Engstirnigkeit und für Partys, die groß genug sind, um alle zu beherbergen. Dieses Album begrüßt nicht nur Laura King nach zwei Jahren als Tour-Schlagzeugerin in der Band, sondern enthält auch Beiträge von Rosali Middleman ("Bruised Lung" und "Everybody Dies"), Bella Quinlan und Holly Thomas von Quivers ("Cue") und der Tour-Bassistin Betsy Wright ("Care Less"). Das Album wurde von Paul Voran (The Menzingers, Hurray for the Riff Raff) und Eli Webb produziert und von Mike Montgomery (The Breeders, Protomartyr) gemischt. Gemeinsam kommen sie zu keinem Ergebnis darüber, was gute Kunst in Krisenzeiten ausmacht und schaffen gleichzeitig großartige Kunst.

TOPS - die Musiker David Carriere, Jane Penny, Marta Cikojevic und Riley Fleck - schreiben zeitlose Musik, die zuverlässig Unmittelbarkeit und Tiefe miteinander verbindet. "Bury the Key", ihr erstes komplettes Album seit 2020, erscheint auf ihrem neuen Label Ghostly International und ist eine fesselnde Wiedereinführung für die Band aus Montréal: immer verfeinert, zweifellos Meister ihres melodischen Handwerks, aber ohne Angst, sich weiterzuentwickeln und sich an anderen, manchmal dunkleren Tönen zu versuchen. Das Album stellt sich den Gefühlen, die einst unter Verschluss gehalten wurden, beschäftigt sich mit dem Hin und Her zwischen Glück, Hedonismus und Selbstzerstörung. Während oft von fiktiven Figuren bevölkert, schöpfen ihre leuchtenden, groovenden, selbstproduzierten Songs aus persönlichen Beobachtungen: Intimität (sowohl innerhalb als auch außerhalb der Band), toxisches Verhalten, Drogenkonsum und apokalyptische Angst. Als die Aufnahmen begannen, bemerkten sie eine Verschiebung und lehnten sich an etwas, das sie scherzhaft als "böse TOPS" bezeichnen, so Penny. "Wir werden immer als weiche Band gesehen oder wie naiv oder freundlich auf eine kanadische Art, aber wir haben es zu einer Herausforderung gemacht, die Welt um uns herum wirklich zu kanalisieren." Durch die Linse einer sich abzeichnenden Epoche und der Klarheit, die mit dem Alter kommt, tauchen TOPS mit "Bury the Key" in eine düsterere Disco-Welt ein und geben ihrem weichen Sophisti-Pop eine schärfere Kante.

Absolutely ESSENTIAL record right here - The Underground Solution aka The 'S' Man aka the legendary Roger Sanchez is a name that you should all be familiar with by now, and his 1990 ANTHEM 'Luv Dancin' is an NYC deep house benchmark. That's right, this originally came out in 1990. That's a heck of a long time ago. Thing is, this record, when played at the right time will still cause maximum damage in the club. Riffing on disco classic 'Is it all over my face' and with elements of 'The bottle' interspersed with a deep, rolling garage bassline and dreamy keys and pads Sanchez crafted a solid gold cut, a timeless piece of dance music that still inspires today and is often imitated yet obviously never bettered! The flipside cuts 'Deep in my mind' and 'Afterthought' are also sublime exercises in the deepness, The 'S' Man's trademark eerie pads, bleeps and dope drum programming evident throughout, making these tracks huge hits from NYC to Sheffield and beyond! This whole EP is flawless and if you dig the deeper side of this stuff then you're in for a treat - Now's your chance to bag a bonafide, hands down classic record!
'Luv Dancin' has been skilfully remastered from all original master sources and fully licensed and reissued officially for 2017.

Recorded from late 1996 through early 1997, Hold Onto I.D., The Shadow Ring's fourth album, marks the apogee of the trio's experimental rock epoch - their last record clinging to their factitious bandness before they let all song and structure go awash in sonic malaise for their final run of releases on Swill Radio. The surrealist dreams of City Lights and Put the Music in Its Coffin give way to pseudo-expressionistic lyrics mired in the banality and bleakness of the everyday, set against the backdrop of the Coombe House (as pictured on the album's cover). While Hold Onto I.D. is the group's most overtly autobiographical release to date, Lambkin's lyrics obfuscate his expressionist tendencies filtering them through the codes and languages of officialdom, linking the "inner self" with documents of the state_identification cards, National Insurance numbers, and British passport numbers. Having moved out of their parents' homes and into the top floor of the famed Coombe House, Graham Lambkin and Darren Harris set out to rework material drafted over the previous year, aided by Tim Goss, still safely in residence at the "Valebrook Inn." While the familiar sounds of Harris's deadpan recitation and Lambkin's electric guitar, amateurishly strummed, dominate the album, the emotive interludes of Goss's keyboards populate the record along with of home-cooked tape experiments and dime-store concrète. Originally released on CD and supported by a US tour with friends Scott Foust and Karla Borecky's Idea Fire Company, Hold Onto I.D. is perhaps the band's best-known and most accessible album. (The Shadow Ring's sole representative on a streaming platform, it was once acknowledged by the Guardian as one of "the 101 strangest records on Spotify.") Offered here for the first time on vinyl, Hold Onto I.D. is an essential album for both completists and the uninitiated alike. Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning in 2023 with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions has been conducting a systematic retrospective of the storied group. Wax-Work Echoes and Hold Onto I.D. are the latest releases in a multiyear reissue effort that includes several LPs, a comprehensive CD box set, and a nearly five-hundred-page book.

Kerala Dusts großartiges neues Album 'An Echo of Love' ist ein Paradebeispiel dafür, niemals stillzustehen. Im Mittelpunkt seiner musikalischen Hybridität - wo Artrock auf innovative Elektronik trifft und die warme Umarmung der Tanzfläche Raum für weite Ausblicke auf Americana, Wüstenblues und dämmrige Fahrten durch eine neonbeleuchtete Stadt lässt - steht ein Album, das die Möglichkeiten des ständigen Wandels lebt.

Es ist ein wunderbar wandelbares Album; eine rastlose Fusion, deren Bedeutung eher in Fragmenten als in etwas Festem oder Statischem liegt. Kurz gesagt: Es dreht sich alles um Dynamik. Dieses Gefühl der ständigen Bewegung spiegelt sich nicht nur in der wechselnden Besetzung der Band wieder - Keyboarder Tim Gardner und Schlagzeuger Pascal Karier sind Neuzugänge und gesellen sich zu den langjährigen Mitgliedern Edmund Kenny (Gesang und Elektronik) und Lawrence Howarth (Gitarre) -, sondern auch in den Orten, an denen das Album geschrieben und aufgenommen wurde. Die Sessions fanden in der Toskana, Austin, Berlin, Zürich und schließlich Rom statt. Für Sänger Edmund "existiert das Album in gewisser Weise an all diesen Orten". Im Oktober und September ist die Band auf GSA-Tour!

First-ever double vinyl release of TARIKAT, featuring 16 tracks recorded between 1986 and 1989, originally released on the now out-of-print 1997 double CD (Daft Records) and innitial 1991 cassette. This release features 16 tracks, remastered for this edition, showcasing E.G.'s unique sound from the eighties, reminiscent of other albums like Arispejal Astisaró, Nador, and Sheikh Aljama. This is a period especially appreciated by E.G. fans, where they developed their original and unique style that influenced many later groups and artists of industrial music and even certain forms of techno. Rough, primitive and minimalist, the tracks are constructed on distorted and noise rhythms, sometimes industrial, sometimes with tribal and African influences using synthesizers and analog electronic instruments. Gabriel Riaza, founding member of E.G. until 1991, worked in Melilla (North Africa) during those years, and this influenced the conception of many of Tarikat's tracks. The images used in this release are by Andrés Noarbe, who was responsible for Esplendor Geométrico's graphic design during the eighties and also served as the band's manager. The overall design is by Alonso Urbanos. Recorded by Arturo Lanz and Gabriel Riaza in Madrid and Melilla (North Africa) between 1986 and 1989. Tarikat is available as a limited edition double LP, a key release for fans of E.G., capturing their innovative and influential style that shaped industrial music and techno.

For Fans Of: New Mastersounds, Soulive, Jimmy Smith, Khruangbin. Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, DLO3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans. Third full-length LP. Their KEXP video has over 8 million views and no other KEXP upload in the last three years has more views 60k followers on Spotify. Previous studio album entered at #1 on Billboard Jazz charts. “An obvious mastery of their craft….” MOJO // “keyboard cool recalling bygone times…” UNCUT // “…purveyors of the snappiest grooves…” SHINDIG

"Tonky" ist Lonnie Holleys fünftes Studioalbum und enthält Gastauftritte von Isaac Brock, Angel Bat Dawid, Billy Woods, Alabaster de Plume, Mary Lattimore und anderen. Bei der Leadsingle "Protest With Love" ist Jacknife Lee, der auch das gefeierte Vorgängeralbum "Oh Me Oh My" produziert hat, als Bassist, Keyboarder, Synthesizer, Schlagzeuger, Programmierer, Flötist, Percussionist und Sänger zu hören. Weitere Mitwirkende sind The Legendary Ingramettes am Gesang, Kelly Pratt an den Bläsern und Flöten, Jordan Katz an den Bläsern und natürlich Holley am Gesang. Holley fordert die Zuhörer auf, "mit Liebe zu protestieren" und "die Liebe zu deiner Waffe zu machen". Es gibt Dichter wie die große Mary Oliver, die vorschlagen, dass die Hauptfunktion des Menschen, wenn er sich durch die Welt bewegt, solange er Leben und die Fähigkeit hat, sich durch die Welt zu bewegen, darin besteht, dem Aufmerksamkeit zu schenken, was andere törichterweise als klein oder alltäglich bezeichnen mögen. Das Gehirn und das Herz sind beides Gefäße, die so viel Platz haben, wie man ihnen zugestehen möchte, und zu leben bedeutet, Sammlungen von gefundenen Zuneigungen zu schaffen. Die Geräusche der geliebten und vertrauten Häuser, die Bewegungen der Bäume und der Menschen unter ihnen, die Art und Weise, wie jemand, den man verehrt, einen ein paar Sekunden lang umarmt, bevor er sich aus der Umarmung löst und in einer überfüllten Fußgängerzone verschwindet. Wenn wir unser Leben, unser Schaffen und unsere Liebe auf diese Weise betrachten, bedeutet das, dass wir, zumindest für einige von uns, durch die Aussicht auf das, was als Nächstes kommt, vorwärts getrieben werden können. Welchen Moment wir festhalten und in unsere überquellenden Taschen stecken können. Die Arbeit von Lonnie Holley ist ein Werk dieser Art von Anhäufung und genauer Aufmerksamkeit. Das Vergnügen, einen Klang zu finden und ihn gegen einen anderen gefundenen Klang und einen weiteren zu pressen, bis der Hörer, bevor er es merkt, von einer Klangsinfonie überflutet wird, die sich anfühlt, als würde sie sich zusammenfügen, während sie über einen hinwegspült. "Tonky" ist ein Album, das seinen Namen von einem Spitznamen aus der Kindheit hat, der Holley anhaftete, als er einen Teil seiner Kindheit in einem Honky Tonk verbrachte. Lonnie Holleys Leben des Überlebens und der Ausdauer erforderte - und erfordert zweifellos immer noch - eine Art Erfindung. Eine Erfindung, die auch in Holleys Liedern reichhaltig und präsent ist, die auf "Tonky" voll und eindringlich sind, einem Album, das mit seinem längsten Lied beginnt, einem neunminütigen, erschöpfenden Marathon eines Stücks namens "Seeds", das mit einem einzigen spärlichen Klang beginnt und sich dann ausdehnt. Gesänge, schwache Tasten, Streicher und als Krönung Holleys Stimme, die nicht singt, sondern klar und deutlich von der Arbeit auf der Erde erzählt, als er jung war, und von der Gewalt, die er dabei ertragen musste, als er blutig und mit Schmerzen von Schlägen ins Bett ging. Der Song weitet sich zu einer Metapher über den Ort aus, über das Versagen des Zuhauses oder eines Ortes, der einen beschützen soll, der nicht das hält, was er zu sein vorgibt, selbst wenn man unermüdlich daran arbeitet, daran arbeitet, daran arbeitet, etwas Sinnvolles daraus zu machen. "Seeds" gibt nicht nur den Ton für ein Album an, das sich um Wiedergeburt, Erneuerung und die Grenzen von Hoffnung und Glaube dreht, sondern unterstreicht auch, was Holleys größte Stärke als Musiker ist, nämlich sein Engagement für Fülle und Großzügigkeit. Er ist ein unglaublich begabter Geschichtenerzähler, der sich der mündlichen Tradition verschrieben hat, so dass viele Hörer völlig zufrieden wären, wenn sie zu Füßen einer Lonnie-Holley-Platte säßen und seinen robusten, ausladenden Erzählungen lauschen könnten. Aber "Tonky" ist ein Album, das sowohl klanglich als auch in Bezug auf die vielen verschiedenen Künstler, die auf dem Album vertreten sind, einen Platz bietet, an dem sie sich zu Hause fühlen können, ganz gleich, wie sie die Zeit verbringen, die sie für einen Song brauchen.

24,110 is the debut full-length from Philadelphia based ambient drone ensemble Soporus and is now available on vinyl. The group continues and expands nuclear power plant themes established on their Atomove Elektrarne ep with layered shimmering ambient guitar washes, droning bass, and lush keyboards. Features Matthew Stone and William Stichter from Saxon Shore and a guest guitar appearance from James Vella of Yndi Halda.

Detroit's Marcellus Pittman is one of house music's most unpredictable characters. He was a key member of the legendary 3 Chairs collective but his solo work is arguably even more essential. Here he delivers a standout track from the long sold-out 'The Eastside' EP on Adeen Records. 'I'm Gonna Be the Everything' captures the essence of Detroit deep house with its sparse, driving drums and a thumping bassline and it is rightly given a whole side here for maximum volume. Flip it over for Adeen's in-house live jazz ensemble, A Band of Brothers, rework with lush vibraphone layers and soothing saxophone melodies.

Italian techno force Alarico makes a striking debut on KEY Vinyl with 'Sweaty Techniques', a seven-track LP that encapsulates his signature style: groove-centric, stomping and irresistibly danceable. Known for his prolific output, the Berlin-based artist delivers a fast-paced and energetic sound, interwoven by the thematic thread of the whole release: a sweaty encounter.

From the opening pulse of 'Cradle to the Grave', rhythm takes center stage-percussion-driven and primed for peak-time occasions. Snipped vocals and bouncy baselines carve out some sort of hypnotic patterns, while deep, rolling low ends keep the momentum locked in. Gritty textures collide with fragmented modulations, twisting into distorted, high-energy productions. Across the LP, tightly coiled bleeps and moaning snippets emerge, lending a sinister yet seductive edge.

Then there's 'Dammelo'-Italian for 'give it to me'-which subsumes the album's thematic essence into pure physicality, embracing its vocal motif with a knowing smirk. As the record progresses, Alarico shifts between functional, stripped-back rhythms and more tension-driven moments, culminating in 'Touch My Heart', where sharper drum programming meets hypnotic vocal loops. Closing on a high, 'Jamira' encapsulates the album's crisp percussive edge, rounding off a release that is as relentless as it is intoxicating.
With 'Sweaty Techniques', Alarico solidifies his place as one of techno's most electrifying new voices-an LP made of steel, but definitely built to move.

Cradle was a late-60s/early-70s Detroit rock band that evolved from the groundbreaking all woman rock group The Pleasure Seekers, led by the Quatro sisters-Patti, Nancy, Suzi, and Arlene, By the final lineup of The Pleasure Seekers, Nancy Rogers had joined as drummer, bringing a new thunderous presence with her double bass drum kit and playing a key role in the group's transfornation into their heavier sound under the new moniker, Cradle. With raw, intricate instrumentation and powerful dual vocals-Suzi's Joplin-esque edge and Nancy Quatro's Robert Plant-like wail-the band delivered socially relevant hard rock with grit and attitude. Touring extensively, they shared stages with legends like Mountain. Ten Years After, Jeff Beck, Santana, and Jefferson Airplane, cementing their place in Detroit's hard rock movement. Despite theit undeniable talent and determination. Cradle faced industry roadblocks, disbanding in 1973. But today, their music sounds better than, ever-and their legacy serves as an important chapter! in music history, helping pave the way for women in heavy rock.

SIDE B returns with the second installment of its newly established label, this time with Rill at the helm. Staying true to effect, the young German producer has honed his percussively forward style with a string of steady releases and performances over the past three years. In his EP 'Friss', Rill delivers three highly concentrated club tracks with a Beste Hira remix closing out the project, assembling a record destined for unforgiving sound systems and frenzied dance floors.

Driving and mental, Rill brews up a viscous first track 'Silky Stones' to make his intentions clear. Shooting through a bubbling lead with percussive stabs wide in the stereo field, the producer uses the element of surprise by sharpening the edge with a sharp key sequence, doubling down on tension to an already hypnotic cut. With no time to waste, the needle slides to 'Rakija', with an imposing groove and quick, dry hats. Characteristically, a dystopian melody warbles over a robust rhythm to ensure maximum movement. Two tracks in and Rill already proves to balance his tools with attitude. Taking a turn on the record flip, the B1 ups the audacity with the title track 'Friss'. Techno usually prioritising kicks is a rule that Rill sweeps aside in exchange for an intimidating bassline with an ecosystem of high frequency ambiance. A testament to balance and spatial definition, the German adopts in fitting chord stabs in the second half to up the ante in a contained manner. To conclude, celebrated Beste Hira puts her spin on the latter for a drum forward eye roller, versatile for almost any dancefloor. Reconceptualizing the rhythmic identity of 'Friss', Beste Hira is able to weather the far off atmospheres while maintaining an emphasized festivity. Combining the best of groove-focused club music with a touch of niche psychedelia, Rill and SIDE B prove that techno is very much alive no matter what side of Europe you search for it.

Words by Noah Hocker

Editrix is a Massachusetts-rooted trio known for their wild, gnarly take on experimental rock. Blending jagged guitar riffs, unpredictable rhythms, and bursts of cartoonish eccentricity, the band creates a sound that's both chaotic and compelling. Composed of singer and guitarist Wendy Eisenberg, drummer Josh Daniel, and bassist Steve Cameron, Editrix thrives on musical risk-taking, often veering into noise-rock territory with a playful edge. On their latest release, The Big E, Editrix unleashes their fangs, resulting in a demonic wall of scuzz. But for as intense as Editrix sounds, the act is convivial and easygoing _ ingrained in deep friendships and speedy, yet jovial recording sessions. Editrix's most pummeling moments seem to be founded on a heartfelt connection, adding emotional resonance to their most feral noise. In the three years since their second LP Editrix II, Eisenberg, Daniel, and Cameron have thrived in individual states of motion _ in and away from music. New York City-based Eisenberg is an accomplished solo artist in the avant-garde realm, receiving recent acclaim for their album Viewfinder (released by American Dreams in 2024). They are also a prolific collaborator, performing in a handful of projects alongside the likes of romantic partner more eaze, Bill Orcutt, David Grubbs, and others. Cameron relocated from Massachusetts to New York City around the same time Editrix II came out, taking a slight step away from music to return to school. Daniel is the only member of Editrix left living in Massachusetts, and performs with the eclectic bands Landowner, Hot Dirt, and The Leafies. Due to Editrix being scattered, the band's new album, The Big E, found them toying with a fresh process. Editrix was quick to write off the idea of collaborating remotely, as the act relishes the warmth of happy accidents that only happen in person. The Big E sparked with Eisenberg, Daniel, and Cameron compiling a list of albums they each admire to establish a self-professed "vibe" up front. King Crimson, My Disco, and Horse Lords were a few key touchstones that shine through, their grounded grooviness balancing erraticism. Eisenberg also found themself infatuated with `70s outlaw country and Van Dyke Parks production. The Big E is titled after a comedic bit between band members, sharing its name with a prominent regional fair in Western Massachusetts, although the title-track aptly features massive E chords. When held up alongside Editrix II _ which found the act toying with Finnish death metal and harsh noise _ The Big E feels settled in its skin. Editrix recorded The Big E with legendary tech death producer Colin Marston (Krallice, Behold_, Dysrhythmia) at his soon-to-be-shuttered studio in Queens. Though these tracks sound toiled over and technical, they are very spontaneous. The majority of The Big E was captured live, with a handful of overdubs added after the fact and came to life over the course of four focused, but rewarding days. Eisenberg uses zen words like "meditative" and "evocative" to describe Editrix's methods, but the end result is crunchy, intricate, and impressively baffling. Easygoing as the band's operation may be, The Big E is a strong jump forward for Editrix inching them towards the center of the avant-rock constellation.

Pink Butter’s debut EP is a bold fusion of jazz, R&B, hip-hop, and indie, blending structured composition with raw improvisation. Rooted in deep grooves and spontaneous creativity, the project channels influences like J Dilla, D’Angelo, and Robert Glasper while carving out a sound uniquely their own.

With live instrumentation at its core, the band brings an organic, dynamic energy that bridges classic and contemporary influences. Collaborations with legendary artists like T3 of Slum Village and Jermaine Holmes (D’Angelo) add an undeniable depth, reinforcing their vision of modern soul-jazz innovation. This release isn’t just a collection of songs—it’s an experience where musical chemistry and fearless creativity take centre stage.
Pink Butter is a Scandinavian collective of four musicians—Oskar Bettinsoli (guitar), Björn Lehnert (keys), Malte Bergman (bass), and John Bjurström (drums)—dedicated to the art of live performance and improvisation. Merging jazz’s freeform energy with the rhythmic pulse of hip-hop and the soulful depth of R&B, the band’s sound is both timeless and forward-thinking. Their approach embraces the rawness of live musicianship, creating a fresh sonic landscape that resonates with the essence of legends like J Dilla and D’Angelo. With a deep respect for both classic and modern influences, Pink Butter is not just making music—they’re redefining the space where jazz, soul, and hip-hop converge.