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Late '90s, Naples, some guys never leave the room. DJ Balu brings raw, functional tracks moving with an icy, rhythmic intent. Structured as a biological reflex, defiant and repetitive.

Nach den kurz nacheinander erschienenen Alben ,Everything Must Go" und ,Chain Yer Dragon" im Jahr 2025 kehren Goose mit ,BIG MODERN!" zurück - einem energiegeladenen neuen Kapitel, das den charakteristischen Indie-Rock-Sound der Band um neonbeleuchtete Synthesizer, treibende Rhythmen und mitreißende, hymnische Hooks erweitert. Neue Tracks wie ,Good2B" und ,Good Times // End Times" erscheinen neben den Fan-Favoriten ,Big Modern" und ,Torero" und fangen den Abenteuergeist von Goose ein, während sie gleichzeitig einige ihrer bisher kühnsten und dynamischsten Studioaufnahmen liefern.

Born from a demo session originally recorded in 2011, “I Like” finally came to life when Daniele “Shield” Contrini and Piero Pirupa reunited in late 2025 to complete the track, transforming an early idea into a powerful new collaboration featuring two legendary voices of house music: The Egyptian Lover and Paris Brightledge.

Daniele “Shield” Contrini, founder and creative force behind Rebirth Records, joins forces with globally respected DJ and producer Piero Pirupa to deliver a record designed to fire any dancefloor.

Blending Italo disco influences, classic house grooves and a powerful bassline, “I Like” carries a warm, uplifting energy while paying tribute to the golden era of club music. The track is driven by the unmistakable vocal presence of The Egyptian Lover, the pioneering American artist, producer and DJ Greg Broussard. Widely recognized as one of the architects of West Coast electro and early hip-hop, he helped shape the sound of 1980s Los Angeles electronic music through his groundbreaking use of the Roland TR-808.

Adding further depth to the record is the distinctive voice of Chicago house legend Paris Brightledge, whose haunting and melodic tone became iconic through classics such as “It’s Alright” and “Paris Dub 1”. Over the years he has collaborated with some of the most important names in house music including Joe Smooth, Frankie Knuckles, Marshall Jefferson, Ron Hardy, Mike Dunn, Farley “Jackmaster” Funk and Byron Stingily, while also appearing on projects with Pet Shop Boys, Paranoid London and Groove Armada.

With its blend of electro heritage, Chicago house soul and contemporary club production, “I Like”connects different generations of dance music in a single record, a collaboration that bridges eras, styles and scenes. Set for an official release on 22nd May, the track marks another chapter in the label’s ongoing story and its commitment to celebrating the roots of club culture while pushing it forward.

Zwei wahre cineastische Juwelen auf einer 7"-Single. Eine Auskopplung aus der beliebten Vinyl-Compilation-Reihe "The Tape Masters", die laufend seltene Rare Groove-Schätze und unveröffentlichte Aufnahmen aus den Archiven des Filmkomponisten Peter Thomas zutage fördert. Exklusiv auf dieser Single – und überhaupt zum ersten Mal auf Vinyl erhältlich – ist die rare deutschsprachige Version des Tracks "Black Power", gesungen von einer gewissen Donna Gaines. Später natürlich weltberühmt geworden als Donna Summer, markiert dieser Song ihre allererste Aufnahme als Solokünstlerin im Alter von gerade einmal 20 Jahren. Zugleich war es ihr erster Auftritt vor der Kamera – prominent platziert im ZDF-Krimi-Dreiteiler "11 Uhr 20" (1969). Sowohl der Film als auch bisherige Sampler verwendeten die englischsprachige Version; der Mono-Mix der deutschen Fassung wurde erst vor Kurzem in Peter Thomas’ Bandarchiv wiederentdeckt. Ein weiteres vokales Highlight aus einer deutschen Krimi-Trilogie ist Senta Bergers frech-laszives "Vergiss mich, wenn du kannst" (aus dem ZDF-Krimi-Dreiteiler "Babeck", 1968). Das Lied basiert auf dem Titelthema der Serie und wird von der Sängerin in ihrer Rolle als geheimnisvolle, vamp-artige Barchefin interpretiert. Unter Liebhabern europäischer Filmmusik hat sich der Titel längst zum Kultstück entwickelt und wurde bereits mehrfach gecovert. Das Original feiert nun endlich hier seine Vinyl-Premiere. Achtung: Ein absoluter Doppelseiter!


[a] a1: Black Power (German version) [feat. Donna Summer]

Irgendwann um das Jahr 2024 tauchte Vorhex Angel scheinbar aus dem Nichts auf: keine Social-Media-Präsenz, keine Identitäten, lediglich ihr Name tauchte hier und da auf einem Flyer in Nashville oder New Orleans auf. Wer neugierig genug war, um ihre Live-Show zu besuchen, konnte mit einer Vielzahl unerwarteter Dinge konfrontiert werden, die die Sinne anregten: aufwendige Bühnenbilder, Stroboskoplichter (oder alternativ völlige Dunkelheit), brennende Gegenstände, vor dem Auftritt eingenommene Rauschmittel. Die Musik bei diesen Auftritten passte zu dem Mysterium. Sie war laut, unberechenbar und verdammt viszeral. Wenn die beiden Live-Veröffentlichungen der Gruppe und ihr Debüt ,Heavenly" tatsächlich viszeral sind (Raven Sings the Blues nannte sie ja ,Erben des Strudels von High Rise"), dann ist der Nachfolger ,Drain" sicherlich ihr intellektuelles Werk. Seine sieben Tracks führen den Hörer vom Morgen bis zur Nacht, ein weitläufiges experimentelles Doppelalbum mit überlebensgroßen Gitarrensoli, spacigen Drone-Exkursionen und Momenten von kraftvoller Intensität durch das gesamte Werk. Zum ersten Mal sehen wir, wie Vorhex Angel ihren hämmernden Klangangriff gegen stimmungsvolle und dramatischere Gefilde eintauschen. Die Band - bestehend aus den Brüdern Jake und Jamin Orrall von JEFF the Brotherhood und Kunal Prakash von Silver Synthetic - erweitert die Grenzen des Vorhex-Angel-Konzepts, lädt neue Musiker in ihren Kreis ein, geht mehr Risiken ein und erntet dafür umso mehr. ,Drain ist keine Musik, die man im Hintergrund beim Kochen laufen lässt", warnt Kunal, bevor er zwinkert: ,Vielleicht ist sie etwas für besonders abenteuerlustige Köche." Vorhex Angel verspricht, dass noch mehr kommen wird. Mehr Jams, mehr unerwartete Wendungen - allein in diesem Jahr können wir mindestens eine Tour und mindestens zwei (!) weitere Alben erwarten. Vorerst gibt es ,Drain" zu feiern, sich damit auseinanderzusetzen, damit der Hörer wie die Musik selbst ein- und ausatmen kann, mit reichlich Raum für gedankliche Kontemplation. SPA Sometime around 2024, Vorhex Angel emerged seemingly out of the ether: no social media presence, no identities, simply their name popping up in Nashville or New Orleans on a flyer here and there. Those with enough curiosity to attend their live show could be met with any number of unexpected things to spike the senses: elaborate stage dressing, strobe lights (alternatively, complete darkness), burning things, pre-performance ingestibles. The music at those functions matched the mystery. They were loud, unhinged, and visceral as all hell. If the group's two live releases and debut Heavenly are indeed visceral (Raven Sings the Blues did name them "heirs to the maelstrom of High Rise"), then followup Drain is surely their cerebral offering. Its seven tracks guide the listener from morning to night, a sprawling experimental double album with larger than life guitar solos, spaced-out drone excursions, and moments of potent intensity throughout. For the first time, we see Vorhex Angel trade their pummeling sonic onslaught for moody and more dramatic pastures. The band-revealed to be brothers Jake and Jamin Orrall of JEFF the Brotherhood and Silver Synthetic's Kunal Prakash-push the parameters of the Vorhex Angel concept outward, inviting new players into their circle, adding more risk and generating more reward. "Drain is not in-the-background cooking-type music," warns Kunal, before winking: "Maybe it is for particularly adventurous chefs." Vorhex Angel promises there will be more. More jams, more left turns-just this year, we can expect at least one tour and at least two (!) more albums. For now, there is Drain to celebrate, to sit and chew on, to allow the listener to breathe out and in like the music does, with ample room for cerebral contemplation.

Originally released by Time Capsule in 2021 and long out of print, Stories From Another Time 1982-1988 returns in an upgraded edition following years of demand and rising collector prices on the secondhand market. Widely regarded as a modern cult classic, Mário Rui Silva’s visionary recordings blend acoustic folk, cinematic soul, spiritual jazz and saudade-filled Lusophone rhythm into a deeply timeless and universal work that transcends genre and geography.

This new edition features half-speed mastering cut at Metropolis alongside an expanded 4-page insert with a tribute essay and unseen photographs following Silva’s passing in 2024.

Double LP + 4-page insert

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The roots of Angolan popular music explored in the meticulous guitar studies of Mário Rui Silva. For fans of Naná Vasconcelos, John Hassell’s Fourth World ambient, Eduardo Mateo’s psychedelic folk and Cameroonian electronic music visionary Francis Bebey.

Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mário Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing.Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mário released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation. It is united by a sense of low-key beauty, whether on the chugging opener ‘Kazum-zum-zum’, the jazz-funk keys of ‘Lembrança Dum Velho’, or the twinkling, late-night poly-rhythms of ‘Kizomba Kya Kisanji’.

Born in Luanda, Angola in 1953, Mário dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanjé, record the seminal album Angola ’72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell.

It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mário gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and ‘50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the country’s push for independence in the process.

What might sound like the intonations of Brazilian influence are what Mário attributes to the “African rhythms taken by the slaves which gave rise to other musical cultures” around the globe. Instead, this music emerged from a collective instinct to assert a cosmopolitan Angolan identity free from the patronising falsehoods of Lusotropicalism.

“There was a need within me to contribute in doing new things,” Mário describes. “In the sense of solidifying the music of Angola that was the result of the meeting of two cultures, and wanting to value the Angolan part whenever possible.”A selection from Mário’s three 1980s albums, Sung’Ali (1982), Tunapenda Afrika (1985) and Koizas dum Outru Tempu (1988) have been compiled here as a 2xLP release by Time Capsule’s Sam Jacob and Kay Suzuki. Together, they provide a snapshot of one man’s journey to the core of his nation’s music, charged with the search for a culture uprooted by colonialism

What changed between Av. General Roçadas and Junkeira? Seven years in people's lives — yet the team's commitment remains untouched, and the steady hand on the plumb line that keeps dance music (still) upright holds firm. Years of sustained research and field work from both producers, with their own records, mutually independent and independent too in how they brought them to life. Moreno Ácido has been navigating detours through a conceptual yet grounded underground — in sound and in format (two self-released cassettes since 2019) — while keeping one eye on the floor. His post pandemic reawakening carries a clear message: Call to Action is the label that in 2023 put the still-in-demand Trash/Treasure out on vinyl. Diogo keeps Discos Extendes as his shelter, gathering talent and retreating into it. At the same time, a disseminating vocation — that talent turned outward, on a mission to champion the different sensibilities that can converge in music made for dancing.

Junkeira is direct. It hides nothing in its intent, nor does it conceal the origin of its love, nor the way it exercises its fascination with the source. Geography can define movements, described and echoed countless times outside and then inside the net. The signifiers are known to all — it's a matter of applying them with respect and flow. Perhaps the craft in this production really does come down to love, when it comes to it. What is "WTF" if not a declaration of love — at the very least of closeness — to the sonic essence of the English rave? The piano stab, the breaks defining that hardcore state of mind, the string bed lifting feet off the floor. Closing out the EP, "Freak" gathers different emotions — eyes still shut, body in comedown while still moving. Chill. Everything rounded. Bassline, vibes, vocals woven into the rhythm.

Rewinding, the opening track "100 Planos" is a throwback to Roçadas (2019) — harder on the ground, with a 4/4 beat broken up by claps, a circular structure built for DJs, with mix-friendly entry and exit points. Then "Turbo Love" puts the keys in control, foregrounding them, letting a car alarm ring out and balance the beat — a reverential nod to UK Garage felt as raw material, already part of the lineage that has been the continuous evolution from Disco onwards: an evolution that traces a line and its branches, from which you can isolate any chronological point since at least 1977 and combine whatever elements form a personality. The spirit lives, as summer kicks in.

Shimmering Xhosa traditions and deep electronic futures vibrate as South African sonic poet and composer Dumama unveils her groundbreaking debut solo album, Towards An Expanse. Sometimes gospel, sometimes electro-psychedelic space travel, Towards An Expanse unfurls from a languid lament into an ever-expanding sonic universe. Dumama defies conventional genre boundaries while excavating deep personal and cultural histories in this concise but boundaryless collection, recorded between New York, Johannesburg and Berlin. Dumama first gained international attention with her acclaimed 2020 collaborative album, Buffering Juju, created with fellow South African musician and artist Kechou, and lauded as Global Album of the Month by The Guardian. Her new solo work draws on a rich lineage of South African voices. Gugulethu Duma (aka Dumama) is a musician / composer / sonic poet / creative producer from the Eastern Cape Province of South Africa. Dumama is one of the few uhadi players in the world. Her use of the traditional Xhosa bowed instrument guides her profound story-telling, blending ancestral roots into an urgent electro-acoustic palette. The album was born out of sessions with acclaimed musician and producer Shahzad Ismaily in New York and South African powerhouse Nandi Ndlovu in Johannesburg.

Kr!z steps up for his sixth label contribution with four chilling cuts, pushing his sound into bolder territory than ever. 'Inferno' could mean many things, but at first listen it could be interpreted as a homage to the unforgiving nature of the club experience. Stripped down to the bare essentials, these tracks showcase the efficiency of simple ideas spoken with authority.

Paul Weller releases Weller At The BBC (Vol.2) on Friday 24th April.

This second BBC outing gathers live session and live in concert performances, including intimate stripped back acoustic versions and re-workings of tracks across The Jam, The Style Council and Paul’s extensive solo career.

From timeless classics such as Start!, Shout To The Top and Wild Wood, to deep cuts and covers, like The Zombies’ Time Of The Season and Billie Eilish’s What Was I Made For?

The album also features some beautifully orchestrated tracks with the London Metropolitan Orchestra, arranged and conducted by Hannah Peel, including Aspects, Boy About Town and Have You Ever Had It Blue.

If there is one track that perfectly embodies the explosive transion between the late '80s and the
dawn of early '90s rave culture, it’s "Just Get Up And Dance." Today, this immortal anthem returns
to the decks in an exclusive visual form: a limited edi.on Picture Disc that serves as a true visual
and sonic tribute to the legend of Afrika Bambaataa.
Originally released in 1991, the track is a killer mix of Hip-House, techno-tribal rhythms, and that
unmistakable charisma that only the founder of the Zulu Na.on could provide. That vocal
command — "Just get up and dance!" — remains one of the most powerful calls to acon ever
heard on a dancefloor.
Forget the standard black vinyl. This Picture Disc version transforms the record into a work of art.
The meculous graphic detail makes it perfect not only for a DJ set but also for framing and
displaying as a genuine piece of dance music history.

Dieses Album braucht keinen Anlauf und keine Vorrede. Von Sekunde eins an ist es da. Es türmt sich auf, überlebensgroß und mit einer nahezu existenziellen Dringlichkeit. "Einmal mehr mit Dir gegen die Furcht" ist das sechste Studiowerk der Berliner Band Klez.e. Es ist von der düsteren Ahnung getrieben, dass da draußen gerade etwas kippt, und es setzt dieser Bedrohungslage etwas entgegen. Klez.e, das sind fast 25 Jahre nach der Bandgründung: Tobias Siebert (Gesang, Gitarre), Daniel Moheit (Synthesizer, Bass) und Filip Pampuch (Schlagzeug, Percussion). Waren die Vorgänger "Erregung" (2023) und "Desintegration" (2017) von einer grimmigen Düsterheit geprägt, ist diese Trostlosigkeit einer bislang ungehörten musikalischen Luftigkeit gewichen. Und es ist, als habe sich die Band beim Schreiben der Songs auch erstmals bewusst gegen die Furcht vor dem Erzählen gestemmt. An die Stelle früherer Verklausulierung ist eine neue textliche Klarheit getreten. Musikalisch ist "Einmal mehr mit Dir gegen die Furcht" eine Kathedrale von einem Album: akustisch weit, mit glatten, kühlen Oberflächen, atmosphärisch dicht und verhallt. Das Licht, das durch die Fenster hereinfällt, verdrängt die Dunkelheit und malt hier und da tanzende Flecken auf den Boden und an die Wände. Klez.e den schmerzhaften persönlichen Erfahrungen in einer sich verdüsternden Welt ein drängendes und bestürzend schönes Album abgetrotzt. Eines, das die Antwort auf die bange Frage gibt: "Was tun, wenn alles zusammenbricht?" Sie lautet: näher zusammenrücken. Gemeinsam gegen die Furcht. CD, LP klassisch schwarz sowie LP farbig.

Dieses Album braucht keinen Anlauf und keine Vorrede. Von Sekunde eins an ist es da. Es türmt sich auf, überlebensgroß und mit einer nahezu existenziellen Dringlichkeit. "Einmal mehr mit Dir gegen die Furcht" ist das sechste Studiowerk der Berliner Band Klez.e. Es ist von der düsteren Ahnung getrieben, dass da draußen gerade etwas kippt, und es setzt dieser Bedrohungslage etwas entgegen. Klez.e, das sind fast 25 Jahre nach der Bandgründung: Tobias Siebert (Gesang, Gitarre), Daniel Moheit (Synthesizer, Bass) und Filip Pampuch (Schlagzeug, Percussion). Waren die Vorgänger "Erregung" (2023) und "Desintegration" (2017) von einer grimmigen Düsterheit geprägt, ist diese Trostlosigkeit einer bislang ungehörten musikalischen Luftigkeit gewichen. Und es ist, als habe sich die Band beim Schreiben der Songs auch erstmals bewusst gegen die Furcht vor dem Erzählen gestemmt. An die Stelle früherer Verklausulierung ist eine neue textliche Klarheit getreten. Musikalisch ist "Einmal mehr mit Dir gegen die Furcht" eine Kathedrale von einem Album: akustisch weit, mit glatten, kühlen Oberflächen, atmosphärisch dicht und verhallt. Das Licht, das durch die Fenster hereinfällt, verdrängt die Dunkelheit und malt hier und da tanzende Flecken auf den Boden und an die Wände. Klez.e den schmerzhaften persönlichen Erfahrungen in einer sich verdüsternden Welt ein drängendes und bestürzend schönes Album abgetrotzt. Eines, das die Antwort auf die bange Frage gibt: "Was tun, wenn alles zusammenbricht?" Sie lautet: näher zusammenrücken. Gemeinsam gegen die Furcht. CD, LP klassisch schwarz sowie LP farbig.

Step into the golden era of soul-jazz with the long-awaited vinyl reissue of “Vibrations” by Roy Ayers Ubiquity — a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers’ sound at its peak.

Originally released in 1976, “Vibrations” stands as a cornerstone in Ayers’ catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide.

Roy Ayers was a pioneering vibraphonist, composer, and producer whose influence stretches far beyond jazz into R&B, neo-soul, and hip-hop. Often referred to as the “Godfather of Neo Soul,” Ayers crafted a sound that feels both timeless and forward-thinking, pairing silky vocals with hypnotic grooves and rich instrumental arrangements. His work throughout the 1970s helped shape the sonic DNA of modern Black music, and “Vibrations” is one of its purest expressions.

The album flows effortlessly between moods: from the jazz-inflected elegance of ‘Searching’ to the irresistible funk pulse of ‘The Memory,’ the dancefloor-ready ‘One Sweet Love to Remember,’ and the laid-back, atmospheric title track ‘Vibrations.’ Each track showcases a masterful balance between musicianship and groove, brought to life by a stellar ensemble of collaborators who elevate every moment.

Beyond its original impact, “Vibrations” has taken on a second life through hip-hop. Its grooves, breaks, and melodies have been extensively sampled by generations of producers and artists, becoming a foundational source for crate diggers and beatmakers alike. Tracks from the album have been reinterpreted and flipped by influential names such as A Tribe Called Quest, J Dilla, Dr. Dre, and Common, cementing its legacy as a vital bridge between 1970s soul-jazz and contemporary hip-hop culture.

After almost two decades out of print, we are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers’ career. Whether you’re discovering it for the first time or returning to a beloved classic, this album remains an essential piece of musical history. Pressed on 180g vinyl.

Für Ihre politischen und gesellschaftlichen Entscheidungen von gestern, heute und morgen gibt es nun einen neuen, verlässlichen Anbieter. Wir kündigen zum nächstmöglichen Zeitpunkt den Wechsel zu der FLINTA-geführten Institution DIE BEHÖRDE aus Bremen an. Als erster amtlicher Schritt wird die Musikproduktion mit dem Titel DER LETZTE ARBEITGEBER erscheinen. Darin enthalten: acht exklusive Stücke mit einer flüchtigen Spielzeit von knapp 20 Minuten. Düster, punkig, relevant und mit dem nötigen Bremer Ernst vorgetragen. Textlich wird der sich erhärtende Verdacht, im falschen Leben zu sein, mit wütender Ehrlichkeit von der Straße gesammelt. Unbewältigt stehen Themen wie Diskriminierung, patriarchale Dominanz und Migrationsfeindlichkeit auf der Tagesordnung. Eiskalte, angriffslustige und hallende Gitarren prallen auf mäandernde Basslinien und pointiert-scharfes Drumming, während der Gesang in aller Dringlichkeit verwüstet, zerstört und wieder heilt. Die Anmut der hier vorgetragenen dienstlichen Beschwerde liegt in der Hoffnung, dass die Lösung nur ein paar Straßenbahnhaltestellen entfernt liegt. Ausführung und Qualität erinnern an Musikgruppen wie Berlin 2.0, Rauchen, Pogendroblem oder Frustwut. Damit ist DIE BEHÖRDE unabdingbarer Bestandteil des derzeit verfügbaren, hochwertigen und notwendigen Bildungsangebots. Ausrufezeichen!

Any Young Mechanic positioniert sich als einer der vielversprechendsten Newcomer im Bereich Modern Alternative Rock und kombiniert hymnische Hooks mit einer druckvollen Produktion, die sowohl im Radio als auch in der Independent-Szene überzeugt.
Ihr Sound zeichnet sich durch ein vielschichtiges Storytelling und eine außergewöhnliche Instrumentierung aus, die traditionelle Folk-Elemente mit zeitgenössischer Indie-Dynamik verwebt. Nach viralen Erfolgen ihrer ersten Singles und internationaler Aufmerksamkeit durch Auftritte auf renommierten Festivals wie dem Reeperbahn Festival, dem INmusic oder Rock for People, steht nun ihr mit Spannung erwartetes Debütalbum an.

Nach fast 30 Jahren kehren die Legenden von Sublime am 12. Juni mit ihrem neuen Album „Until the Sun Explodes“ zurück, erstmals mit Jakob Nowell als Frontmann. Das bei Atlantic Records erscheinende Werk kombiniert den klassischen Sound der Band mit neuen Einflüssen und featured namhafte Gäste wie H.R. von den Bad Brains oder Fletcher Dragge von Pennywise. Die gleichnamige Lead-Single ist eine bewegende Hommage Jakobs an seinen verstorbenen Vater Bradley Nowell.

"Imagine a classic singer/songwriter record loaded with the intimacy and grit reminiscent of Alex Chilton or Nikki Sudden." Shindig

Los Angeles singer-songwriter Tracy Bryant returns with his new album The Well, which is his first release since 2019’s critically acclaimed Hush. His fourth solo album, The Well marks a striking new chapter, trading his signature guitar-driven sound for piano-led songwriting that took root during the pandemic. The album was born out of one of the most turbulent periods of his life, written in the wake of his father’s sudden passing and birth of his first child. It was produced by longtime friend and compatriot Joo-Joo Ashworth at Studio 22 in Cypress Park, CA, and mastered by Dave Cooley at Elysian Masters. The nine songs are filled with raw emotion and driving motorik rhythm, telling tales of loss and love, relationships beginning and ending.
 
When the pandemic upended Bryant’s promotion for Hush and brought his 2019 European tour to a halt, he found himself at home rediscovering his musical roots at the piano, listening to Vince Guaraldi and Arthur Russell to take inspiration for the song structures. Without a band around, Bryant used the instrument to create both rhythm and melody, which resulted in a repetitive and precise backbeat, which was elevated when he began working with drummer Carmeron Gartung to rehearse the new songs. This different approach would define the style of The Well, creating an amalgamation of sounds with classic songwriting structures blended with post-punk, 90s indie, krautrock and psychedelia.
 
To produce the record, Bryant turned to Joo-Joo Ashworth, who share a friendship stretching back to 2011 (when Joo Joo was only 18) when both of their bands, Corners and Froth, were at the forefront of the bourgeoning Los Angeles/Echo Park music scene of the time and embarked on their first national tours together. Ashworth, who has since become one of underground music’s most respected producers, recorded the album throughout 2024/2025 on half inch tape at Studio 22 in Cypress Park, California, giving The Well a warm, considered sound that matches the weight of its subject matter.
 
The album’s emotional core was forged by two significant life events arriving in close succession. In January 2022, Bryant’s father passed away unexpectedly at the age of 67. Just three months later, Tracy and his wife welcomed their first child. The Well is a direct result of those experiences, a songwriter processing grief and joy, endings and beginnings in real time. 
 
The nine songs take the listener on a meticulously crafted journey through the nooks and crannies of Bryant’s mind. Spanning 37 minutes, the album is an exploration of classic songwriting elements moving fluidly between driving beat punk, like “Weight” and “Widow”, and more melancholic tracks like “Halfway” and “Danny”. Album opener “Cold Floor” sets the tone immediately, Bryant’s lyrics confronting the day of his father’s death with unflinching directness – the breezy California piano sound is in direct contrast to the heavy theme. The Bowie-esque title track is perhaps the album’s most expansive moment – a fully realised epic composed with a dynamic flare. 
 
 The Well feels like an arrival. Dramatic and expansive, it is a true, visceral reflection of the life changing events that altered the course of Bryant’s life. Fans will be surprised by the heavy focus on piano but they will welcome the change as a bold turning point for an artist who has lived long enough to know exactly what he wants to say. 

Some previous press:

"feels like a slice of California, down to its ringing post-surf guitars and bright melodies, but cross-cut with a folk sensibility more aligned to the work of Elliot Smith or, on occasions, Conor Oberst." Uncut - lead album review

"…sees the Los Angeles rocker confront both the finer and uglier aspects of love and life, combining classic rock with psychedelic tinges and catchy melodies." Evening Standard 4*s

Der mehrfach preisgekrönte Londoner Jazz-Saxofonist startet mit seinerm neuen Soloalbum sein eigenes Label.

Multiinstrumentalist, Produzent und Künstler Shabaka (Hutchings) veröffentlicht mit "Of The Earth" sein drittes Soloalbum, das gleichzeitig das erste ist, das über sein eigenes Label Shabaka Records erscheint und komplett von ihm selbst geschrieben und produziert wurde. Auf "Of The Earth" kehrt Shabaka zu seinem charakteristischen Saxophonklang zurück, ergänzt durch ausgefeilte Elektronik und Produktion sowie traditionelle Holzblasinstrumente und Perkussion aus aller Welt. Diese Kombination unterstreicht sein vielseitiges Talent und prägt den Gesamtklang des Albums. Hutchings genießt hohes Ansehen für seine Arbeit mit The Comet Is Coming, Sons Of Kemet, Shabaka And The Ancestors sowie für die beiden jüngsten Soloprojekte "Perceive Its Beauty, Acknowledge Its Grace" (2024) und "Afrikan Culture" (2023). Als Musiker arbeitete er bereits mit einer Vielzahl namhafter Künstler zusammen, darunter Andre 3000, Floating Points, Mulatu Astatke, The Sun Ra Arkestra, Lianne La Havas, Saul Williams und viele mehr. "Of The Earth" erscheint als schwarze Vinyl-LP, als limitierte kornblumenblaue Vinyl-Edition und als CD. Beide Vinyl-Formate enthalten ein Booklet mit Hutchings' eigenem Artwork.

Focus Track: Bear Hill Album Description: Raekwon’s The Emperor’s New Clothes is a sharp return to form, showcasing the Wu-Tang veteran’s lyrical precision and timeless street wisdom. The album is powerful with equal parts - high-quality bars and carefully sculpted production. Raekwon recruits a stacked lineup of guests, including Nas, Griselda, Method Man, Inspectah Deck, and Ghostface Killah, injecting the project with gritty energy and legacy chemistry. Marsha Ambrosius and Stacy Barthe provide smooth, soulful hooks, adding emotional layers to the hard-edged verses. Production comes courtesy of Nottz, Swizz Beatz J.U.S.T.I.C.E League and more. The LP is a reminder of Raekwon’s enduring power as a lyricist and curator. A veteran artist showing that mastery doesn’t need excess. The Emperor’s New Clothes is regal, streetwise, and sharply tailored for those who value craft.

A founding member of the legendary Wu-Tang Clan, Ghostface Killah is Hip Hop’s masked poet — known for his cinematic storytelling, gritty slang, and razor-sharp delivery. With classic albums like Supreme Clientele and Fishscale, Ghostface carved his name into rap history as one of the most original and consistent voices in the game. The Wait is Over. Supreme Clientele 2 is FINALLY here. The highly anticipated album is a vivid- late-night noir where every bar brought Ghost’s inner thoughts to life. From Staten Island to sold out stages worldwide.

Hip Hop icon and one of the genre’s most distinctive voices, Big L returns with 'Harlem's Finest: Return Of The King', the latest release in Mass Appeal's 'Legend Has It...' series.

Features guest appearances from Nas, JAY Z, Mac Miller, Joey Bada$$, Method Man and more

With their fourth full-length album Signal Fire, GENGHIS TRON awaken us from the post-apocalyptic daydreams of their previous work with a violent—and most welcome—shove. This time, the distant-future reveries we first heard on Board Up The House give way to an unsettling awareness of the present we’re actually living, as our circumstances grow too pressing to try and escape. “Signal Fire envisions a Kojima-esque dystopia of endless proxy warfare,” says vocalist and lyricist Tony Wolski (The Armed), “where the deluge of available information has outmoded the human ability to parse it. A world where those amoral, shameless and cunning enough can literally reshape reality at their whim through sheer insistence." Having roared onto the scene in 2004 with a uniquely demented blend of extreme metal, synthesizer textures, and drum-machine madness, GENGHIS TRON are no strangers to making a forceful impression. But Signal Fire marks the first time bandleaders Michael Sochynsky and Hamilton Jordan –joined again by Wolski and Nick Yacyshyn (SUMAC) on drums, plus newcomer Kenny Szymanski (The Armed) on bass–has captured this level of urgency with such visceral precision. “This album is very much rooted in the now,” confirms Jordan. Album opener “I Am All” sets the table with a chest-throbbing synth pulse as Wolski declares “I’m on a tear, I’m on a tear,” over swirling industrial rhythms and creeping synthlines. “Nothing Blooms in the Hollow” grafts desert-rock swagger onto interlocking layers of dizzying riffs and chants before Wolski steers the band into full-on sonic burnout, like a spaceship careening into the sun. “Born Prey” navigates deftly through Genghis Tron’s classic sonic touchpoints: furious blastbeats, electronic breaks, haunting vocal earworms, and a towering synth-pop crescendo. Meditative interludes like “Like Fotocrom” and “Without Form” deliver shimmering, ominous beauty. And “New Gods” invokes Rabies-era Skinny Puppy to bring the album to a bludgeoning, anthemic finale, as Wolski screams on repeat: “New gods to bleed me out / No new peace / Bleed me out / I love it.” Twenty years into their career, having proven their ability to forge common ground between Ministry and Aphex Twin, between Brutal Truth and Boards Of Canada, between Cluster and Converge, ugly-beautiful new genre hybrids from GENGHIS TRON no longer come as a surprise. What’s remarkable, however, is how Sochynsky and Jordan have taken a project that started in 2004 as a dorm-room genre-pastiche experiment —”a chaotic, wild amalgamation of all our favorite stuff, literally slammed together,” says Jordan—and refined their songwriting craft to deliver a sound that is unmistakably their own.

Mission of Mercy, the fourth full length album from celebrated guitarist and songwriter Mike Campbell (Tom Petty and The Heartbreakers, Fleetwood Mac) and his band The Dirty Knobs, is due June 12 via Soundly Music/Thirty Tigers. The album features appearances from the B-52s’ Kate Pierson and Morgane Stapleton alongside the Dirty Knobs’ Chris Holt (guitars, keys), Lance Morrison (bass) and Campbell’s fellow Heartbreaker Steve Ferrone (drums, percussion). Mission of Mercy displays Campbell’s full songwriting range, with tracks ranging from the unbridled rock & roll of “I Remember” to the Americana ballad “More Than Gold” and even the Brian Wilson-inspired psychedelia of the title track. Campbell states that “Mission Of Mercy is an action-packed collection of tunes that continue the vibe we established as well as some new directions in the songwriting. It’s full-throttle Knobs from start to finish and we look forward to playing these live this year.” Last year saw the release of Campbell’s New York Times Best Selling memoir Heartbreaker, which Rolling Stone hailed as “essential…a vividly told new autobiography,” while the Los Angeles Times praised its “tale of endurance and patience rewarded” and No Depression proclaimed it “does what the best music memoirs do: encourage readers to listen once again, or for the first time, to Tom Petty and the Heartbreakers and to Campbell’s solo works.” The Dirty Knobs (named after tech slang for a broken amp dial) were founded in 2000 by Campbell as a writing and club-date project outside the Heartbreakers. The group finally got on record with 2020's Wreckless Abandon and 2022's External Combustion. Those LPs, Campbell says, were the Knobs “trying to find our way as a rock & roll band.” “Now it’s down to great songs,” adds Campbell, “the depth in the lyrics and chords.” He recalls something Petty once told him: “Tom said, ‘I love the English language. There’s so much you can do with it.’ I'm discovering that, too. Looking for rhyme schemes, the right word. At first it was a struggle. Now that door has opened,” Campbell says. “I’ve turned a corner.” The Dirty Knobs are “still a rock band but growing into different feels.”

„Immer noch hier“ singen die Sportfreunde Stiller gleich zu Beginn von „Happy Birthday!“, ihrem Album
zum 30-jährigen Band-Geburtstag. Ein pragmatischer, ein geradezu logischer und deshalb auch ein höchst
gelungener Einstieg. Nicht, dass man explizit darauf hätte hinweisen müssen, denn für viele von uns waren
die Songs von Peter, Rüde und Flo ja immer irgendwie gegenwärtig, schaut mal in eure Playlisten, CDund Plattenregale. Dabei klingen sie 2026 frisch und unverbraucht wie zu seligen „Thonträger“-Zeiten,
gleichzeitig aber auch erfahren, mit allen Wassern gewaschen und bei aller Nostalgie auch zeitgemäß. Rockmusik wie sie sein muss, punkig anmutendes Uptempo-Schlagzeug und zuweilen wohl temperierte, ruppige
E-Gitarren inklusive.
Hinzu kommt ihr untrügliches Gespür für unvergessliche Pop-Melodien und ein gewisses Faible für flächige,
manchmal an die 80er Jahre erinnernde Synthies. Auch textlich geht „Happy Birthday!“ - in stürmischen
Zeiten - in die richtige Richtung: Dem Leben zugewandt, ab und an auch nachdenklich, grundsätzlich aber
alle Menschen verbindend. Die Sportfreunde Stiller sind also immer noch hier - und das ist nicht nur gut
so, sondern womöglich besser denn je!

This auditory universe, conceived from Adel Force's 2025 'Human LP', pushes into its' outer reaches across Sacred Amulet EP. These four offerings are filtered through a more percussive and ritualistic lens, with an emphasis on physicality. Sacred Amulet marches forward across Adel Force's unmistakable landscape of symbols, emotional archetypes & sonic storytelling. It uncovers elevated harmonic motifs, unrelenting sections of percussion and esoteric influences - drawn from infinite timelines, free of borders.
Where 'Human' explored inner worlds and emotional constellations, these expressions journey outward - travelling through ancient villages, deserts & fragments of lost history. From the incantatory energy of Courage, to the triumphant victory lap of Closer, the EP carries the same narrative DNA as previous offerings - honed into its' most raw & energetic form thus far. Heavily textural and evocative to the point of transporting the listener entirely elsewhere, Sacred Amulet EP conjures up a menagerie of esoteric imagery throughout its' pages. It stands as a companion artifact to Human, two chapters of an ever-expanding story.

LP aus der ”Luminessence” Serie.
“Eine subtile Tour de Force“ – so lautete 1978 das Urteil des amerikanischen Billboard Magazins in
Bezug auf Bill Connors‘ Of Mist And Melting. Und Jahrzehnte später bestätigt eine wiederholte Auseinandersetzung mit dieser Musik nur, dass hier tatsächlich besondere Geister am Werk waren, als die
von Manfred Eicher produzierte Session mit Jan Garbarek, Gary Peacock, Jack DeJohnette und Connors
im Dezember 1977 im Talent Studio in Oslo stattfand. Nach einer Phase elektrischer Fusion-Eskapaden
in den frühen 70ern, stellte Connors’ Zeit bei ECM eine Rückbesinnung auf den akustischen Kern seines
Spiels dar: Der Gitarrist reduzierte seine Musik auf das Wesentliche im kammermusikalischen Gestus, getragen von nuanciertem Fingerspritzengefühl an Nylon-Saiten. Im reflektiert-fesselnden Zusammenspiel mit
Improvisations-Speerspitzen ihrer Zeit, präsentiert der Gitarrist sechs Eigenkompositionen, die das LyrischKonkrete mit weitläufigen, s pontan u nd o ffenen St rukturen ve rbinden – od er, wi e es da s en glische Jazz
Journal einige Jahre später formulierte: „Selten haben sich Elemente von ‚Hot‘ und ‚Cool‘ Jazz so eindrucksvoll kombiniert.“ Connors selbst wirkte beim Hören des Albums im Jahr 2025 erstaunt darüber, wie
sehr er sich während seiner fünfjährigen Zusammenarbeit mit Manfred Eicher für ECM in die klassische
Gitarre vertieft hatte. „Es machte mich nostalgisch für diese Periode. Ich hatte ganz vergessen, wie viel
Zeit ich dieser Gitarrenspielart gewidmet hatte“, erinnerte sich Bill, fast überrascht von dem, was er auf
seiner eigenen Aufnahme hört. „Obwohl es möglicherweise nicht das war, was sich Manfred erwartet hatte,
ist es genau das Album geworden, das wir beide wollten.“
Neu aufgelegt im Rahmen von ECM’s Luminessence-Reihe, erscheint Of Mist And Melting in einer Tip-onGatefold-Hülle mit neuen Linernotes und Fotos aus dem Archiv.

Nach über fünfzig Jahren, in denen sie ihren energiegeladenen Rock ’n’ Roll für Fans auf der ganzen Welt
gespielt haben, liefern George Thorogood & The Destroyers immer noch die „Baddest Show on Earth“. Mit
vier bisher unveröffentlichten Titeln präsentiert diese Live-Sammlung den charakteristischen mitreißenden
Sound der Band mit Hits wie „Bad to the Bone“, „Move It On Over“, „Who Do You Love?“ und vielen
mehr. Niemand macht es, nun ja, „badder“.

Found Songs gehört zu den ungewöhnlichsten und zugleich berührendsten Projekten in Olafur Arnalds" Werk. Innerhalb einer einzigen Woche komponierte, nahm und veröffentlichte der isländische Komponist jeden Tag einen neuen Song - unmittelbar und ohne Umwege. Das Ergebnis ist ein faszinierendes musikalisches Tagebuch: fragile Piano-Motive, zarte Streicher und dezente elektronische Texturen verbinden sich zu einer intimen Klangwelt zwischen Neoklassik und moderner Pop-Ästhetik. Die Einbindung der Fans - die das Artwork gestalteten - macht dieses Projekt zudem zu einem frühen Beispiel digitaler Kollaboration. Found Songs zeigt Arnalds auf dem Weg zu seiner unverwechselbaren Handschrift: reduziert, emotional und von stiller Intensität.

Dieser junge Herr kommt aus Alicante/Barcelona im Süden Spaniens und ist wohl die schrägste, tollste und wildeste Flamenco-Trash-One-Man-Band seit Menschengedenken. Geboren 1993 in eine musizierende Fernfahrerfamilie, kam er schon früh mit englischen und holländischen Touristen in Kontakt und brachte deren Musik mit nach Hause. Dort kreierte er diese kuriose Mischung aus Flamenco und Trash und erschuf sein eigenes Ein-Mann-Orchester.Er tourte fleißig durch ganz Spanien und Europa, unter anderem als Gastmusiker von Suicide Generation. Er steckt tief im Sumpf des wilden Trash-Rock'n'Roll und ist definitiv die spanische Wiederauferstehung von Hasil Adkins, dem Gott aller One-Man-Bands. Seine Liebe zur Flamenco-Musik erbte er von seinen Eltern, sein Zwillingssohn hingegen musste einen ,richtigen" Beruf erlernen. Doch Nestter blieb das schwarze Schaf der Familie.Auf der Bühne ist er am Ende des Konzerts meistens nackt und ausgeschwitzt, spielt mit seinen Genitalien die Maracas und quält seine Flamenco-Trash-Gitarre wie kein anderer. Er ist ein primitiver Wilder, der auf ein jungfräuliches Prinzessinnenpublikum trifft, und der einzige Donut, der sich Nestter nennen darf.Bitte heißen Sie ihn willkommen - Spaniens nuttiest one around - und lassen Sie sich von Nestter Donuts in die Welt des wilden, wilden Rock'n'Roll-Flamenco-Trash verführen.

After a short break, Vibes and Grooves is back with Collab Grooves Part 2. Following the success of our initial collaborative venture, we continue our mission of uniting visionary producers under a single sonic umbrella. This time Jemaho, Shaka and DFRA come together for another deep collaboration.
With “Joudia’s Groove (Drifting Away – The DAT Version)” on the A side, we are delighted to have Jemaho on board. He delivers an outstanding, warm and soulful vocal house cut driven by a smooth, uplifting groove and rich musical depth. With its unique tape sound aesthetic, a true masterpiece. Certainly a future club classic.
The B side opens with „Sparkling Soul“ from label resident Shaka. A jazzy house affair that blends vibrant piano melodies, a hypnotic lead synth line, and a tight bassline. It radiates warmth, sophistication, and an ever-present sense of romance.
The second track comes from DFRA, the man from Buenos Aires, who is already well known on the label for his outstanding tracks from the latest Collab Grooves. With “New York Style”, DFRA delivers a deep house tune shaped by warmth, restraint, and a steady underground groove. Subtle textures and raw rhythms create a smooth, flowing atmosphere that feels natural and unforced.
Timeless in feel and refined in production, Collab Grooves Part 2 captures an effortless flow that speaks directly to both the heart and the dancefloor.

This album, recorded in 1988 at Elkar Studios in Lasarte, is a happy accident, like much of La Polla Records' early output, by Jean Phocas (who also worked with other bands of the genre such as Cicatriz) and César Ibarretxe. It was lovingly designed, with a medieval atmosphere for the cover (by Txefo, Joseba Olalde and Txarly) featuring a huge scroll containing five tarot cards, a back cover in the same style with heraldic figures, and a meticulous presentation of the lyrics with separate spellings for each song, on a double sheet with photos of piglets suckling from their mother on one side and various images on the other. With animals as the common thread for the songs, it represents the confirmation that the concept album had arrived on the national punk scene. Perhaps a work of maturity, the band's traditional objectives disappear from the lyrics, and although there is still room for specific protests and chronicles of nights of alcohol and violence (such as those of La Rata), the emphasis is on revelling in the description of all kinds of personal, psychotic and hallucinatory hells. Evaristo confessed to being influenced by Umberto Eco's book The Name of the Rose (1980) in the making of this work. Far from indicating any departure from the foundations laid in previous works, it shows that the spectrum of the anti-establishment struggle the group was committed to was broad. A very complete album.

According to the court ruling in the lawsuit brought against the band, allegedly by a former technician, this album should have been released under a different name for the group. Perhaps as a provocative nod, the individual who appears on the cover wearing a nut as an oppressive turban is struck on the back cover by the hammers of Justice and the Law. However, the group ignores this and continues to sign as it has been doing since 1983. The musical arrangements are more powerful, with the guitars taking precedence over the rest much more than before. The drums are also more present. The soundscape takes centre stage, even over the lyrics. The opening track, 'Monopoly', is representative of this, with its fast-paced rhythm provided by galloping guitars. Originally released in 1994, it is surprising how, almost ten years after their debut, La Polla Records were still capable of making albums of such intensity.

A mix of metallic doomgaze, epic gothic soundscapes and post punk attitude. Loud and crushing, yet sharp enough to stick in your head for days. There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn't know you needed to go. Cwfen (pronounced 'Coven') are the latter, and Sorrows is a record that doesn't just crush - it haunts long after the final note. The allure of Cwfen's sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It's as hypnotic as it is harrowing, but somehow even better than the sum of those parts. Since emerging from Glasgow's underground just 18 months ago, Cwfen's reputation is growing, selling out shows and pulling growing audiences into their doom-laden fever dream. Released in October, the band's debut single 'Reliks' was a hit with fans and critics, landing a spot on Kerrang!'s release of the week playlist. And rightly so. Their sound devours and delights in equal measure. "Cwfen have emerged from the darkest depths of the Caledonian underground with a beguiling blend of doom metal and gothic post-punk for those who like to live deliciously." Kerrang! Sorrows lives in the space around doom where the weight of the riffs is matched by the weight in your chest, where the lyrics and the songwriting are as important as the music itself. Loud and crushing, yet sharp enough to stick in your head for days. It builds, burns, collapses, resurrects. Big on riffs, bigger on feeling. The kind of songs you carry with you. Singer and rhythm guitarist Agnes Alder bears her claws one minute, then whispers the next, as the band follows like a storm front, rising, breaking, drowning you in the weight of it. From the guttural Penance to the lush Whispers, to the feral Wolfsbane and the insurrectionist Rite. It includes a long reworking of Embers and Bodies, the two self-recorded demos that launched them into the scene with a bang and their growing legion of fans already adore. Intricate vocal arrangements, heavy and harsh guitars, a mix of atmosphere and heft, it undoubtedly punches above its weight for a debut. As Agnes says: "When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic." This is a band that sits right in the boundaries between the heavy genres, pulling in everyone from the young goths and to the die-hard metalheads alike and 'Sorrows' truly does deliver in spades. Make no mistake, Cwfen are set to be one of the names to watch in 2025. FFO: Chelsea Wolfe, Zetra, King Woman, Type O Negative, Alcest, Faetooth, Liturgy. Limited vinyl pressing, 500 copies in transparent red vinyl. Full colour Gatefold outer sleeve, with a full colour printed inner sleeve, Full download included as well.

As a follow-up to our previous work reissuing the recordings of Pau Riba, key figure in Catalonia's counter-culture and music scene, we now present "Juguetes de época y cajas de cerillas - Singles y rarezas. Primera época (1967-1969)," compiling songs drawn from rare releases in his catalog as well as his singles from this period. It includes previously unreleased material sourced from the artist's own tapes, along with an extensive booklet featuring notes and photographs of the artist. This collection brings together songs taken from rare releases in his discography-such as the album recorded at one of the concerts performed by Grup de Folk during its brief existence, "Folk 2" (1968)-as well as from his singles: "Taxista!" (1967), "Noia de porcellana" (1969), "Miniatura" (1969), "L'home estàtic" (1967), "Pau i Jordi" (1968), and "El Nadal no té 20 anys" (1967). Alongside these tracks, this compilation also releases for the first time part of the previously unheard material found on magnetic tapes discovered in the artist's studio after his passing. Among these tapes were the instrumental recordings of "Taxista!"-versions with slight differences from those issued on the original single, possibly prepared for television playbacks. These recordings provide further insight into the making of Riba's first release, particularly regarding the mixing process and the later addition of subtle details.

In 2019, La Volte released Les Furtifs, the latest novel by science fiction writer Alain Damasio. At that time, to mark the publication, Damasio invited the band Palo Alto to join him on stage in response to an invitation from the literary festival Oh les beaux jours !, held at La Criée – Théâtre national de Marseille. What was initially intended as a one-off performance led to a multi-date tour across France. The show performed at La Maroquinerie was filmed and recorded in multitrack and will be release on the 12th of June 2026 on Hublotone (HUBLO006CD).

At the same time, to join this release, Palo Alto invited eight artists to remix the pieces composed for the show: Ptôse, Pacific 231, Judith Juillerat, Herb Duncan, Norscq, Thierry Zaboitzeff, Lefdup & Lefdup, and Electronicat.

Bringing together the best of the French underground music scene, these tracks echo avant-garde artists such as Coil and Tuxedomoon, blending electronic music with string instruments, instrumental compositions with acid club influences. They will be available on vinyl in a gatefold sleeve featuring artwork by Kiki Picasso (ex-Bazooka). Inside the gatefold, an exclusive text by Alain Damasio introduces the project.

Palo Alto is a French band formed in Paris in the late 1980s. They have recorded a dozen albums and developed several projects featuring guest musicians such as Scanner, Simon Fisher Turner, Ramuntcho Matta, J. G. Thirlwell / Foetus, Richard Pinhas and the New York trumpeter Rhys Chatham. They contributed to a tribute album to John Balance / Coil and asked a dozen artists to reinterpret "Half-Mute", Tuxedomoon’s debut album, featuring the original members of the American band (Steven Brown, Blaine L. Reininger and Peter Principle). In 2018, they were selected by the Californian band The Residents to take part in a cover album released on Cherry Red Records. Their latest album, dedicated to the philosopher Gilles Deleuze, was released on the Belgian label Sub Rosa in 2020.

a A1 - The Stealthy Ones remix By Ptôse
[c] A2 - Une Grâce [remix By Pacific 231]
[e] A3 - Menace Prophylaxie Niveau 6 [remix By Judith Juillerat]
[g] A4 - La Ville Est À Nous ! [remix By Herb Duncan]
[i] A5 - Lueur Ultramarine [remix By Norscq]
[k] B1 - Une Clameur De Sabbat [remix By Thierry Zaboitzeff]
[m] B2 - Un Cri [remix By Lefdup & Lefdup]
[remix By Electronicat]

[a] A1 - The Stealthy Ones [remix By Ptôse]
[c] A2 - Une Grâce [remix By Pacific 231]
[e] A3 - Menace Prophylaxie Niveau 6 [remix By Judith Juillerat]
[g] A4 - La Ville Est À Nous ! [remix By Herb Duncan]
[i] A5 - Lueur Ultramarine [remix By Norscq]
[k] B1 - Une Clameur De Sabbat [remix By Thierry Zaboitzeff]
[m] B2 - Un Cri [remix By Lefdup & Lefdup]
[remix By Electronicat]

Ricardo Villalobos runs wild on Mohammad Reza Mortazavi’s Persian tombak hand drum actions, expanding a 4 min kernel of inspiration into 24 minutes of mesmerising polyrhythmic traction. From an original ‘Swamp’’ piece that practically recalls Ricardo’s style of slinky minimal techno sorcery to begin with, the Chilean-German maverick derives a more driving tract of rough hewn rhythmic grit bound to hypnotise ‘floors for the duration. Accentuating the undulating bass and dialling up the volume whilst retaining the frictional grind of the original, Villalobos gets right inside the groove with typically obsessive tekkerz, plucking out additional string
motifs and tempering the flow with signature, taut but sinuous, loosey goosey flex that cross-pollinates cultures and gets right under the skin of the thing.

Ricardo Villalobos (b. 1970, Chile) is a pioneering figure in minimal techno, celebrated for his hypnotic and groovy approach to rhythm. Raised in Germany after his family fled Pinochet’s regime, Villalobos was drawn early to percussion - he began playing congas and bongos at eleven, developing a tactile relationship to rhythm that would later inform his distinctive production style. Immersed in both Latin American folk traditions and the emerging house and techno scenes of late-80s Europe, he began DJing and producing in the early 1990s, quickly achieving cult status within global club culture. Mohammad Reza Mortazavi (b. 1979, Iran) is a virtuoso percussionist known for his groundbreaking work with the tombak and daf, traditional Persian drums that he has radically redefined through new playing techniques. Mortazavi began playing the tombak at the age of six. By nine, he had already outpaced his teacher and won Iran’s national tombak competition - a distinction he would earn six more times. By his early twenties, he was widely regarded as one of the foremost players of the instruments. Since then, his music has continued to evolve, embracing new forms beyond tradition.

If you’ve been keeping your ears to the ground, chances are this won’t be your first encounter with the glistening, shape-shifting sounds of Yushh. She has spent recent years DJing across the globe and releasing a series of standout tracks and remixes, cementing her status as one of the most vital flag-bearers of the Bristol continuum.

Somehow, it has been three years since her last solo outing. Making up for lost time, we finally welcome Yushh to Timedance for a searing five-track EP, “Full Body AXY”.

Yushh’s sound resists stasis, nothing feels formulaic. Instead, each track moves with an expert sense of detail, striking a rare balance between precision and instinct, dancefloor science and raw emotion. With a natural flair, she bends low-end pressure into something airborne. Heavy sub frequencies dissolve into a feeling of weightlessness that is both physical and elusive.

How can music hit with such precision and still feel like it floats beyond the rules of gravity? Yushh answers in her own language, where tension and release blur, where sounds flicker between density and light, and where the dancefloor becomes a space for both body-centric exploration and emotional catharsis.