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DJ Support: Carl Cox, Gorgon City, SethTroxler, BLOND:ISH, Noizu, Sam Feldt, Armin VanBuuren, ALOK, MistaJam, Judge Jules, Martin Garrix,MK, Wax Motif, Dombresky, Danny Howard, Afrojack,Oliver Heldens, MK, Lucas & Steve, ACRAZE & more

Toolroom’s next Sampler showcases 4 big releases from Low Steppa, Rue Jay, Reza, Chuck Roberts, Fedde LeGrand, Crusy, Jem Cooke, Martin Ikin & Hayley May.

Freerange Records proudly presents SUN, the brand-new album from Crackazat - a radiant, genre-spanning statement and the long-awaited follow-up to his critically acclaimed 2021 LP Evergreen. SUN is Crackazat’s fourth album and his most expansive work to date: a rich blend of jazz, house, hip-hop, soul, and funk that fully steps into his own lane as a musician, bandleader, collaborator, song writer, and producer. Early radio support from 6 Music (Craig Charles), NTS and Jazz FM. Press/online support from Notion, Electronic Groove, Atwood, Earmilk & Magnetic Magazine.

Freerange Records proudly presents SUN, the brand-new album from Crackazat - a radiant, genre-spanning statement and the long-awaited follow-up to his critically acclaimed 2021 LP Evergreen. SUN is Crackazat’s fourth album and his most expansive work to date: a rich blend of jazz, house, hip-hop, soul, and funk that fully steps into his own lane as a musician, bandleader, collaborator, song writer, and producer. Early radio support from 6 Music (Craig Charles), NTS and Jazz FM. Press/online support from Notion, Electronic Groove, Atwood, Earmilk & Magnetic Magazine.

New album by french rapper Sheldon, including featurings with Chilly Gonzales, Jazzy Bazz, Tuerie, Asfar Shamsi...



Monsters are never where we expect them to be. They take shape in silences, in vague fears, in the baggage we carry without always understanding it. Sometimes, we also encounter them along the course of a life. On this new album, Sheldon chooses to dance with them, to tame them with wit, grace, and a sense of peace.



Following a powerful return with Grünt 75, an iconic format to which the 75e Session collective brought particularly ambitious visual staging, Sheldon unveils a fourth album that unfolds across fourteen tracks like a chiaroscuro landscape, revealing the full depth of his emotional and musical range. Through intimate narratives, the record explores identity (Être une fille), family and fatherhood (La Fenêtre and Les Monstres, the title track), as well as friendship (Eh le reuf). These are themes that run through all of us, approached here with writing that is vivid, demanding, and deeply sensitive.

Driven by a strong narrative arc, the album features songs like Être une fille, which challenges and questions us. On it, Sheldon reflects on his relationship to gender, his doubts and discomfort with the codes of masculinity, and the idea that he has sometimes imagined himself elsewhere. Tracks like La Fenêtre and Avec ça illuminate the album like moments of communion, sincere, warm, and unifying, carried by a childlike lightness that makes tomorrow disappear.

True to his open minded and ever curious artistic approach, Sheldon draws from a wide range of musical genres while keeping rap as the album’s guiding thread, giving each song its own singular identity and contributing to the balance of the whole. To shape the project, Sheldon surrounded himself with a new generation of musicians and beatmakers whose influences span rap, indie rock, pop, and experimental music. Among them are Johnny Ola, who has notably composed for Zamdane, Jazzy Bazz, and Edge, Rodolphe Babignan, Carbonne’s flamenco guitarist, and Jeune Oji, an artist signed to Friends of Friends Music. Together, they bring melodic and acoustic richness, as well as a collective generosity that deepens the album’s intimacy.

This new album also opens the door to new collaborations.

On L’école primaire, Chilly Gonzales joins Sheldon for an unconventional piano and vocals piece, driven by cinematic, deeply intimate storytelling. Using his primary school as a point of reference, Sheldon retraces his path from childhood to adulthood, somewhere between nostalgia and serenity.

On Cowgirl, Tuerie joins Sheldon for a soft, melodic ballad with an 80s tint, capturing the weightlessness of a sunlit summer.

On Sidequest, Sheldon reunites with Asfar Shamsi, who had already appeared on his Grünt. Over a delicate cloud trap production, the two artists open up about everyday pain, finding in introspection a way to put things into perspective.

Finally, Vol de nuit brings Jazzy Bazz and Sheldon together for an intimate exchange over an ethereal, mysterious production, as both artists look back on their journeys with calm and clarity.

Conceived alongside Sheldon’s closest circle, the project celebrates family, friendship, and love as its founding pillars. Sheldon chooses to step away from the images, allowing his story to be embodied instead through the faces and gestures of those around him. This approach runs through all of the project’s visuals. Rejecting the excess of spectacular image making, he chose instead to hand a camera to his loved ones so they could offer their own vision of a song from the album. By opening a small window onto his intimacy, and that of the people closest to him, Sheldon finds a way to say a great deal with very little, turning deeply personal trajectories into something universal.

Like the music videos, the album cover is rooted in a deliberately simple approach, where the fantasy of childhood disrupts reality. Designed by Tenzin, the graphic designer behind Sheldon’s recent projects, Ptite Sœur, and also work for Jul, it is based on an archival photograph taken during a traditional carnival in Tenzin’s native village. With no staging involved, the image captures children in costume mid parade, caught in a spontaneous burst of movement, embodying the free innocence of childhood.



Les Monstres marks a new chapter in Sheldon’s journey. Like a rainbow after the storm, this fourth album reveals new colours in the artist’s discography, as he delivers a record that is both demanding and accessible, intimate and open, one in which music becomes a love letter to friendship and to love itself. Set for release on April 24, 2026, the album will be followed by a tour culminating at La Cigale in Paris on December 3, 2026.

* A highly influential and sought-after benchmark dub LP, originally released on the Jah Works label in 1995.

* Produced by the late Rej Forte AKA Jah Rej, who was one of the most creative minds from the UK reggae and dub scene from the last 40 years.

* The album features recognisable tracks from the Jah Works cannon, but dubbed into oblivion with special effects galore. All tracks played by humans, with the exception of a drum machine.

* Dub Crusaders feature members of Revolutionary Dub Warriors (On-U Sound, Ariwa), and Radical Dance Faction.

* Recorded at Channel One under the supervision of Martin Campbell, whose vocals feature twice on this set.

ANNE is proudly presents her new imprint Blind Harmonies, shaped by intuition, patience, and a self-taught approach to music creation. The name reflects a journey built without formal training, producing music "blind," guided by listening, experimentation, and trust in instinct rather than rules. The label is built on the belief that harmony is something you sense before you understand. By closing your eyes, sound becomes more honest, rhythms breathe, textures speak, and emotion takes the lead.

With her first release, ANNE presents four dynamic, dance floor - oriented cuts-emotional and seductive at the same time. Opening with A1. Daydream, the EP sets a melancholic yet driving tone, drifting deep into the listener's mind and emotions. A2. Castles in the Air follows with a propulsive rhythm, led by Detroit-influenced synth soul and percussive energy that carries the track forward.

On the B-side, B1. Metallic Tapes delivers a hypnotic, percussive, and trippy groove, maintaining a steady yet intense rhythmic flow. Closing the record, "In the Blink of an Eye" blends powerful drums with a sharp, striking lead-proving that potent techno can be both intense and beautiful. The release it's a personal journey, produced with detail and love and focusing on the dynamic but timeless approach of techno music.

Malik Kassim AKA Retromigration, makes a powerful return to WOLF Music with Choices EP Vol. 1, reaffirming his place as one of the most exciting producers in house music. Building on the momentum of his acclaimed Ausfahrt 9 EP released in late 2025, as well as his standout remix contribution to Manuel Darquart’s Dream House Factory Vol. 1, Malik continues to push his sound into fresh and compelling territory.

With Choices EP Vol. 1, he comes out of the gate at full throttle. The release captures a refined and confident artistic vision, blending deep grooves, rich textures, and infectious rhythms that feel both timeless and forward-thinking. Each track showcasing his ability to balance musicality with energy.

This first instalment of the Choices series not only highlights his evolution as a producer but also signals a new creative peak. Bold, cohesive, and undeniably engaging, Choices EP Vol. 1 stands as a strong contender for his most accomplished work to date and sets an exciting tone for what’s still to come.

Aspetuck has been steadily carving out a name for himself through releases on Never Late and Oslated, garnering a respected following for his DJ mixes and festival performances. Aspetuck’s latest record, Immersion, was sequenced and curated from dozens of ideas spanning a transformative few years in Griff’s life. The album is less a snapshot in time and more of a memory bank - flashes of fatherhood, loss, modular rabbit holes, late-night studio sessions, and long walks by the Hudson River with his daughter.
The emotional undertow of the album is immediate. Opener Hit Me With Your Pet Shark is one of the earliest compositions in the collection, created just months after the loss of Griff’s brother and during the sleepless swirl of new parenthood. Built around a single sound from Spectrasonics Omnisphere, found while rediscovering his brother’s studio gear, the track sets the tone: restrained yet searching, personal without becoming precious.
From there, The Printing Press captures the raw energy of a live jam in Griff’s upstate New York basement, running through a 1980s Tascam mixer like a lo-fi assembly line of synths, pads, and drum machines. REI, named after a spontaneous family mission to find a pink water bottle, encapsulates his knack for imprinting daily minutiae into sound. And title track Immersion- once known simply as Tuesday 303 Jam- emerges from a dinner break and a blender, distilling modular sketches and distorted drums into a powerful, slow-motion march.
Under, Under The Tree hits hardest. Built around a grainy iPhone voice memo of Griff’s daughter singing by the Hudson. And closing the album is Bobik, a collaborative studio session with Moon Patrol channeling the playful chaos of a close friendship and modular exploration. Named after a joke about their golden retriever and filled with alien textures from Griff’s beloved EMU XL7 gifted years ago by his late brother, it’s a fitting send-off to an album that straddles celebration and mourning with grace.
The artwork comes courtesy of Peter Skwiot Smith, whose textured analog/digital aesthetic resonated immediately with Griff’s original vision. Peter’s treatment draws on Griff’s personal photography and leans into motion, blur, and the layered nature of memory, echoing the album's sonic tone without overexplaining it.
Mastered by Sven Weisemann, Immersion is available on blue smoke colored 12”

TGP & LDG on their third collaborative release, a four-track statement that moves between raw live energy and deep, hypnotic exploration. The A side captures the essence of the dancefloor with two cuts from Tobias. & Kuniyuki’s live set at EDEN, Japan. Spontaneous, textured, and driven by the moment. A direct transmission from the booth.
B side shifts perspective: Yuta / O-MA strip things down to the core with a minimal techno approach, precise, reduced, and functional. Ness closes the record with a downtempo, hypnotic journey, immersive, subtle, and introspective.A release built on contrast and cohesion, bridging live improvisation and studio precision. Third chapter. Same vision. Expanded language.

Cult reissue label Sticky Buttons returns with ‘Sweet Edits’, their first official foray into dancefloor edits featuring 4 remixes of Nigerian boogie legend Dizzy K by a hand picked set of superstar producers specially designed to get the party moving.

Starting with a bang, the A Side features a double hit of remixes to Dizzy K’s 80’s sleeper hit “Afrikan Jamboree”. First up is Clive From Accounts, frequent contributor to Razor-N-Tape and hot off the heels of his 2025 debut full length LP, Clive’s edit has gifted us a complete foot stomper, filled with popping synths and squelchy baselines the track has already been getting big plays by the likes of Optimo over the past 18 months. On track A2, well known dance floor magician Lipelis takes the reins, creating his Disco Dub version, expertly layering traditional african drums and vocal loops from the original to build a wonky club track laden with energy and soul as come to be expected from the artist.

Over on the B Side, South London based duo Make A Dance (M.A.D) take the formula from their own widely popular house inspired edits imprint to take apart Dizzy K’s “I’ll Never Love Again”, stripping it down into a teetering, chugging acid sprinkled weapon overlaid with a ferocious drum pattern destined to move even the stiffest hips. Last but not least, Japanese producer Mayurashka brings her signature subversive style to Sticky Buttons, flipping Dizzy’s K’s “Konga Mama” into a hypnotic tribal masterpiece, pulsating with a psychedelic techno edge ripe for blending in smokey club venues and dark mainrooms.

Four heaters not to be slept on. Hearing is believing and on this limited edition vinyl release the legend of Dizzy K sings again, finely tuned for 2026 dancefloors but always carrying the raw spirit of the original.

Mastered by Submarea Estudio
Cover Art Illustration by Alex Ram

Today, Oakland-raised and Brooklyn-based singer-songwriter Ivy Knight announces her debut album Iron Mountain, set for release on 15 May via Scenic Route.

Ivy Knight’s songs reflect a city dreamer creating a new world to sink into: across Iron Mountain, she conjures imagery of barren Southwest American landscapes as she recounts memories that feel beamed from generations past, channeling folk melodies and old trail ballads of the late 50s and early 60s.

Much of her work has been created both within, and in reference to the Hudson Valley, where she met frequent collaborator Deer park (fakemink, Ecco2k, evilgiane) who produced, engineered and performs on Iron Mountain.

Her latest single ‘Red Rock’ follows last month’s single ‘Headlamp’, and her recent collaboration with Deer park, ‘Black Cat’, which received support from BBC 6 Music, Crack Magazine, The Face, The FADER, Pigeons & Planes, NME, The Line of Best Fit, Clash, So Young + more.

London-based producer IZCO is set to release his latest single, “Guiding Star (feat. Reek0)”, blending soulful nostalgia with the raw energy of the capital’s underground sound.

Drawing from influences that span UK dance music, hip hop, and soul, IZCO’s music captures both the energy of the dancefloor and the emotion of lived experience. Over the years, IZCO has become a key figure in London’s cross-genre underground scene, collaborating with artists like Reek0, Greentea Peng, Sam Wise, Liam Bailey, and Novelist, and performing at iconic venues and festivals across the UK and Europe.

His previous releases, including tracks like soulboy - IZCO Remix, Beauty Inside, and OBiNRin - IZCO Remix, showcase his knack for crafting warm, sample-rich productions that balance classic influences with a distinctly modern edge. Whether behind the decks or in the studio, IZCO continues to push boundaries, creating music that feels timeless, authentic, and deeply rooted in community.

“Guiding Star” is no different. It pairs warm, vintage soul textures with the sharp percussion and bass-driven pulse that have defined IZCO’s sound across his discography. Featuring long-time collaborator Reek0, the single bridges eras and styles; a homage to the past while firmly rooted in the energy of today’s London.

Speaking on this release, IZCO says:
“Guiding Star. That classic shit, Combining the soulful sample with the London grit, real London track. Inspired by a mixture of 70s soul, US hip hop and UK grime.

Made this track without thinking much, the sample spoke for itself.
Reek0’s vocal was from one of the first sessions we ever did years ago, and it had never been released but it sounded perfect on this track. A taste of nostalgia, this track reminds me of good memories and friendships. Simple but meaningful. And an honour to use such a beautiful sample”

Later this year, fans will be able to own an exclusive 7-inch vinyl edition of Guiding Star, featuring both the original and instrumental versions - a collector’s piece for crate diggers and fans alike. Out on the 5th December.

With “Guiding Star (feat. Reek0)”, IZCO continues to carve out his place as one of the most versatile and soulful producers in UK production, grounding every beat in authenticity, emotion, and connection

Arriving twenty-six years after his debut Cell, Particle further sharpens the fractured electronics and muted melodic language explored on 2021’s From Stasis, presenting a crisper, more immediate set of compositions.

Cadoo, also widely known as a founding member of pioneering electronic project Gridlock, has used Dryft as a consistent outlet for his electronic work across decades, bridging early post-industrial IDM with more contemporary, restrained forms.

Long recognized for beat structures that feel precarious, rhythms that seem to strain, erode, and reassemble in real time, he approached Particle with a renewed focus on allowing these patterns to fully resolve. Melodic elements are given a more direct role, actively driving momentum rather than hovering in the margins.

Emphasizing clarity and immediacy, Particle favors tactile sound design and forward-pushing arrangements over density or abstraction. The result is a notably focused Dryft release that functions as an all-encompassing signpost for Cadoo’s electronic output to date, informed by decades of exploration while remaining resolutely forward-looking

New album by SABA ALIZADEH, a groundbreaking voice in contemporary Iranian music who blends classical Persian traditions with avantgarde experimentation.

Born in Tehran in 1983 as son of the world renowned tar and setar virtuoso HOSSEIN ALIZADEH, SABA ALIZADEH established himself not only as a true master on the Iranian spike fiddle kamancheh but one of the groundbreaking voices in contemporary Iranian music, blending classical Persian traditions with avantgarde experimentation. His music, praised by THE WIRE as "a bridge between the ancient and the contemporary", turns sound and image into powerful narratives of memory and resistance. Over the past years, ALIZADEH (who relocated to the Netherlands a few years ago) has appeared at key festivals and venues such as Reeperbahn Festival, CTM, Flow Festival, Philharmonie Berlin, Kölner Philharmonie, solidifying his reputation as a singular live performer.
After the critically acclaimed releases "Scattered Memories" (his international debut, released on Karlrecords in 2019), "I May Never See You Again" (2021) and last year's "Temple of Hope", his new album fascinates again with a unique artistic voice, weaving together centuries-old sonic heritage and the urgency of the present through deeply immersive, meditative landscapes in two epic pieces. "Rituals Of The Last Dawn" may feel like a sad or resigned title (compared to the positively fierce "Temple Of Hope"), but at the same time the highly meditative music provides a good lot of contemplative strength. Appealing to an open-minded "world music" audience as well as fans of current streams of ambient or drone in its most subtle forms, ALIZADEH's latest work is a strongly needed soul food in bitter times. Created on the spot with his musical partners PIETRO CARAMELLI (guitar and electronics on "First Ritual") and LIEW NIYOMKARN (lap steel and electronics on "Last Ritual"), "Rituals Of The Last Dawn" is a pure, unfiltered emotional expression from one of contemporary Iranian music's leading artists.

2024 repress

Lars Huismann makes a quick return to SHDW & Obscure Shape's newly minted Mutual Rytm imprint as he delivers a medley of classic, groove-driven techno productions via his "Sounds From The Past I" EP.

With recent releases via labels such as Slam's iconic Soma, Berlin-based DJ and producer Lars Huismann is quickly growing to become a familiar name of note within today's modern techno landscape. Having featured as one of the artists on the label's debut V/A release in February, with the German set to feature as a regular across the imprint in coming months, he unveils fresh shades to his sound palette on his return to Mutual Rytm with a combination of six slick techno cuts across his "Sounds From The Past I" EP.

The powerful, rolling dynamics of "Surge" open proceedings as Huismann quickly sets his stall, while "Collison" veers into slick, looping territories as the energy and tension are kept tight and high. Next, "Echo" ups the pace as tough kicks meet zipping melodies, filtered chords and looping vocal interjections amongst a medley of flurrying percussion licks, before "Funk Shed" takes cues from its title and showcases a classy blend of classic Detroit-influenced sonics guided by sweeping synths. Title cut "Sounds From The Past I" brings with it flashes of serenity and peace, before erupting and spiralling effortlessly into infectious and captivating drum grooves, before closing the show via the rich yet muscular tones of final offering and digital bonus track "Jackin".

Lars Huismann "Sounds From The Past I" EP drops via Mutual Rytm in March 2022.

Trippy Journey proudly presents Trippy Dove, the sister label of Trippy Cat and the new home of their feathered companion Kesha the Dove. Expanding the sonic universe, Trippy Dove explores the darker and deeper side of the journey a mysterious reflection of its feline counterpart.

The debut release Trip Mode 01 features five distinctive tracks from Trippy Journey, JJ Fortune, Prince de Takicardie, Javier Carballo, Aniano, and Nebulaee. Each track brings its own authentic character and hypnotic groove, designed to set the perfect mood on any dancefloor.

Get ready to dive into a trippy flight through to Trip Mode.


Mastered At Time Item Studio

Continuum Recordings’ debut is signed by Rambal Cochet: Dimensions Drift. Over recent years, the prolific Krasnodar-based producer has steadily built a reputation within the global underground scene through releases on labels such as Junction Forest and space lab, where EPs like Seeds of Unconsciousness and Galatians Syndrome showcased his ability to merge hypnotic techno frameworks with trance-driven atmospheres and progressive momentum. His productions are defined by fluid arrangements, immersive textures, and a strong sense of narrative movement, earning consistent support and recognition as an undisputed, emerging force. Limited to 300 copies, the inaugural release on Continuum Recordings, CR-001 sets a clear foundation for the label’s vision: bridging timeless club, trance-infused aesthetics with forward-looking electronic exploration.

Artwork by @leandrofaina

Gregor Tresher is finally back on his own imprint with a track that once more showcases his impeccable songwriting skills and even though he manages to deliver a song that fans will recognize as a Tresher production, it's not a repetition of his earlier works in any way, but another step forward in his ever evolving sound.. "Sleeping Giants" has been a secret weapon in Gregor´s DJ-sets, often dropped as the closing track if the night was really a special one. It's a journey driven by arpeggios and layered drumming that culminates just before a mysterious vocal sets the tone for the second coming. Gregor is obviously back on top of his game. And well, then there´s the B-Side: A world renowned DJ and producer, and a dear friend of Gregor and the BNS family delivered a remix that can only be described as pure perfection. It forces the original track on to the most massive warehouse floor you can imagine. Mr. Enrico Sangiuliano invites you to witness a true masterclass in remixing by delivering nothing short of an absolute peaktime monster, while keeping the vibe of the original respectfully intact. Ladies and Gentlemen, we give to you: Sleeping Giants!

A fresh breeze of color, groove, and charm marks the first outing of OKAY OKAY, a new label from Germany that celebrates playful, soulful, and dance-ready sounds beyond genre borders.
With Marmelade Dew EP, Gelée serves up a vibrant debut full of disco shimmer, Italo-house warmth, and a sweet dose of pop sensitivity. It’s a record that feels both nostalgic and daring, sun-kissed melodies meet tight rhythm work and carefree emotional drive.
From early-morning club sets to slow-burn afterhours, Marmelade Dew EP is an invitation to smile, move, and surrender to simple pleasure. A lovingly crafted 12″ for those who like their house music playful, tactile, and just a little bit sticky.

EFUNK Volume V is the fifth installation of the annual VA compilation featuring music from a curated collection of artists set to perform at Soul Clap’s House Of EFUNK touring party series. This release date on wax and digital is right in time for the official Movement Festival afterparty @ TV Lounge in Detroit that spans 2 days with 3 areas of sound. This year’s compilation features music from Soul Clap alongside long time friend and Baltimore favorite Baronhawk Poitier who present “Set The Scene”, a futuristic earthshaking groove with Baronhawk’s spoken vocals backed by Charles Levine’s vocoder and a Moog topline played by Baronhawk that won’t quit. Hercules & Love Affair makes a debut on the label with “Stay Ready” a chugging tracky / acid infused banger which should absolutely induce a dancefloor sweat. Kai Alce shares a discofied sample-licious crowd pleaser called “Boogie” with the help of additional keys by Byron Blaylock better known as Byron The Aquarius. Detroit’s new school starchild JMT joins with the hard hitting peaktime soul powered “Black Magic Touch” and last but certainly not least, Lauren Flax adds an edge of danger while calling for “Revolution” featuring vocals from Liz Wight. These tracks are sounding warm and round thanks to the mastering expertise of Caserta and have been dancefloor approved by Soul Clap!

Time To Get On Board A New Black Universal Express.

With each new recording Anthony Joseph presents an imaginative, personal vision of contemporary black culture, and The Ark is yet another compelling album by the award-winning Trinidadian poet and musician. This second part of a sequence of two albums launched with last year’s Rowing Up River To Get Our Names Back, finds Joseph giving full vent to his desire to explore many thought-provoking themes. However, there is a specific thread running through the glorious offering of sounds.

”I was especially interested in the idea of using Afrofuturism as a means of using the future in order to correct the wrongs of the past,” explains Joseph. “And so a lot of lyrics reimage or imagine an alternate black history. At the same time there are elements of autobiography.” The aforesaid cultural phenomenon, a view of the black experience through the prism of science fiction and ancient Egypt and Africa, as mapped out by visionaries from music and literature such as Sun Ra, Parliament-Funkadelic and Octavia E. Butler, has previously inspired Joseph. His 2006 novel The African Origins Of UFOs was a multi-hued work, and the new music shows how Joseph

has, much like all significant artists, gone on to broaden his conceptual palette, creating beguiling new stories and images set to startling rhythms and tones. Tracks such as ‘James’, with its taut, crisp bass and dubbed-up brass, and ‘Transposition Of Space (Glissant)’, a potent evocation of the influential Martiniquan theorist set in a haze of jazz guitar and ambient synthesizers, are marvels of text-sound painting.

As for ‘Baron Samedi’, shaped by a languid, almost wounded guitar line and slow rise of horns that frame Joseph’s journey to the ‘mountain of fire, almost touching the sky’ it is an epic blend of commanding vocal delivery and dramatic sonic tapestry.

Joseph led the Spasm band in the early 2000s and recorded well-received albums such as Bird Head Son and Time, in which songs were largely based on spirituals or chants enhanced by improvisation. But his musical curiosity has naturally led to collaborations, and the new work is produced by Dave Okumu, the prodigiously talented guitarist-vocalist-composer known as the leader of Mercury Music Prize-nominated The Invisible, and who was also a member of the seminal band Jade Fox.

Having first performed together at a show curated by influential saxophonist-flautist Shabaka Hutchings at the storied Total Refreshment Centre In London during lockdown, Joseph and Okumu struck up a rapport that further developed when the former guested on he latter’s album. With the connection made Joseph knew Okumu was the ideal producer for this latest project, which has a freewheeling, almost black psychedelic thing. After sifting through demos and loops the guitarist made on pro-tools the poet started to live with the music. Many months later words began to take shape. Joseph then went into the studio with Okumu’s band and set about creating a magnum opus. Boasting a stellar cast such as vocalist Eska Mtungwazi, trumpeter Byron Wallen and keyboardist Nick Ramm, The Ark is a highly intricate musical mosaic framed by simmering funk grooves, wily jazz improvisation and haunting dub effects. Through the use of many genres the music has simply become its own genre.

The Ark can be perceived as a vessel or means of transport to new worlds, along the lines of Sun Ra’s Ark or Funkadelic’s Mothership, and the material it contains is a unique blend of who Anthony Joseph is and how he sees the world and society in these stimulating, challenging times. “It balances the personal with the universal in a much more vulnerable, accessible way than on previous albums,” Joseph explains.

“It has become less about a personal experience and more about a collective, communal experience in which the artist is conduit, messenger, urban griot.”

Big Bombs EP marks the debut release on Bertie Bassett’s self-titled label, introducing a collection of groove-led house cuts rooted in classic influences and underground club culture.

Already gaining global support from DJs like Marco Carola and, Shaka Loves You and featured on Traxsource’s Essential Afro chart.

Across four tracks, Bertie Bassett delivers a mix of DJ-focused tools and edits, blending raw house rhythms, funk-driven elements and stripped-back arrangements designed for dancefloor use.

From the driving energy of Get House and Back To Underground to the reworked grooves of Man In Black (Edit Mix) and Finga Loop (Bertie Bassett Rumba Remix), the EP offers a versatile selection suited to both peak-time and deeper club sets.

With a long-standing background in house music and production, Bertie Bassett brings a seasoned approach to this first release, combining classic influences with a modern underground edge.

As the first release on the label, this EP sets the tone for the project moving forward, offering strong appeal for DJs looking for fresh, playable house cuts with a raw, groove-led feel.

A natural fit for fans of labels such as Razor-N-Tape, Toy Tonics, Bed Edits and Disco Express.

A DJ-friendly and versatile release for stores supporting underground house and edit-driven sounds.

The debut album from online sensation Ricky Montgomery, Montgomery Ricky, turns 10 on April 1st of this year. It has racked up over 2.2 billion streams thanks to Platinum indie-pop hits "Mr. Loverman" and "Line Without a Hook," and both songs are set to hit 1 billion streams each before the end of 2026. Since blowing up on TikTok during the pandemic, Montgomery Ricky has averaged 1M streams per day. This year, Ricky is set to release Montgomery Ricky +3, an upcoming EP of previously unreleased songs from the Montgomery Ricky era of music that Ricky has revisited.
This release features "Oh My My", a song that features the same second verse from "Line Without a Hook", and the cover art for the release will be sketches of the album that are previously unreleased.

Forged from the fire of internal struggles, Loraine James was wrestling with confidence and a desire for change when she embarked on “Detached From The Rest Of You”. A guiding hand came through producing 2025's “Clandestine” EP with singer Anysia Kym, which gave her the experience of a more 'pop' setting and the tools and insight to work her instrumentals into more conventional shapes; a shift from club driven sounds and winding instrumentals into more precise song forms.


Loraine’s production is stripped to the bone, soundscapes of clicks and glitches inspired by Aoki Takamasa, Ryoji Ikeda, and the early-00s Clicks & Cuts school. Here, often with not much more than sparse keyboard chords to fill in with subtle colouring, she uses the space around the sounds and vocals to draw the listener in to a succinct and direct album, her most confident yet.


Guest contributors include vocalist Sydney Spann on “In a Rut”, Alan Sparkhawk (Low) on downcast anthem “Peak Again”, Miho Hatori (Cibo Matto) on “Flatline”, Anysia Kim on “Score”, and Tirzah on “Habits and Patterns”. Finally her old spar, the rapper Le3 bLACK returns to spit fire with the jazz-indebted track “Ending Us All” with Fyn Dobson backing on tumbling drums.

2026 Repress

To enter the world of Sally Townes and Roberta Vandervort is to be swept away into a dimension of unique sound. Embellishments of smoldering jazz funk, seductive soft rock, breezy AOR, and misty folk, all paint a picture of the worlds which they inhabited; from the endless flat expanse of Dallas, the hot and humid bustle of a Bourbon Street night club, to the late night buzz of a Los Angeles studio session.
While Sally Townes and Roberta Vandervort never crossed paths in our reality, their supernatural union on this compilation feels like the meeting of old, yet familiar friends, set in a parallel dimension with lives intertwined. The songs feel like old friends, too — a comforting time capsule of the popular sounds of the era, yet offering something completely new. Bridged by the striking similarities in their musical confidence, vocal conviction, and boundless creativity, both women encapsulate an uncompromising passion for living, loving, and creating on their own terms.

Following the massive success of Torment, Bidoben returns to Sciahri's Sublunar with a new EP titled Jett, a record that showcases his distinctive and forward-thinking sound design, cementing him as one of the strongest figures of the new generation.

The EP opens with Jett, a powerful and melodic cut marked by Bidoben's unmistakable sonic identity, followed by Voltage C, a refined and minimal piece with a subtle epic touch. The A-side closes with Tormented, a fierce reimagining of the atmosphere that defined Torment, demonstrating the artist's ability to evolve and expand his expressive range.

On the flip, Hypernature sets the tone with captivating grooves and cosmic melodies, leading into Ashley Origami, a solid, floor-oriented tool designed for peak-time tension. The journey concludes with Edges of Normal, the most mystical track of the release, lighter in tone but no less engaging.

Black Truffle is thrilled to announce Dalbergia Retusa, an extensive double LP selection of the solo guitar music of Hans Reichel, compiled by Oren Ambarchi. Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith and Keith Rowe, Reichel’s rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release.

Reichel was a long-term resident of Wuppertal, the small Western Germany city that became an unlikely centre of European free jazz in the late 1960s, also home to Peter Brötzmann and Peter Kowald. His solo debut Wichlinghauser Blues was an early entry into the FMP discography and began a relationship with the label that stretched into the 1990s; all the solo performances heard here were first released on FMP. As Reichel says in the charming archival interview with Markus Müller included here, he was ‘always a cuckoo’s egg at FMP’, a label that began as an outlet for roaring European free jazz. What strikes the listener right from the opening selection on Dalbergia Retusa—‘Return of the Knödler show’, from 1987’s The Dawn of Dachsman—is the extraordinary beauty of Reichel’s music, at once alien in the shimmering sonorities and unconventional pitch relationships made possible by his invented instruments, and deeply lyrical, even romantic in its harmonic content. Growing up in West Germany in the 1960s, Reichel’s formative influences were mainly British and American rock bands, a background that shines through in many of the pieces included here: ‘An old friend passes by’ is haunted by the ghost of Hendrix’s rhythm guitar, and the wild closer ‘Heimkehr der Holzböcke’, taken from a rare 1975 7” and the only piece to use overdubbing, layers errant hammer-on and slide tones over a Canned Heat boogie chug.

Reichel was an important source for the development of Oren Ambarchi’s own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre. Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel’s work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. On a piece from his very first LP, played on an 11-string instrument (partly strung with piano strings and using a schnapps glass a slide), we hear his intensive exploration of fret-hammering to create zither-like, chiming tone, which Reichel would hone further in later years with a double fretboard guitar specifically designed to be hammered rather than fretted and picked. On a piece from 1979’s Death of the Rare Bird Ymir, Reichel uses two steel-string acoustic guitars at once, with beautiful results: ‘some even say too beautiful’, he jokes in the interview included here. Many of the pieces from the 1980s make use of varieties of the ‘pick behind the bridge guitar’, instruments of uncanny harmonic richness primarily designed to be played on the ‘wrong’ side of the bridge. At times the unexpected behaviour of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realised solely through Reichel’s unorthodox techniques on his invented instruments. Extensively illustrated with photos and Reichel’s own plans and drawings of his instruments, Dalbergia Retusa is an essential introduction to the unique world of Hans Reichel. Rarely has music been at once so strange and so beautiful.

The second vinyl release on Platz fur Tanz continues the narrative of techno's past and future. Experienced artists reinterpret the shadowy vibe of dancefloors around the world, giving it new form and depth.
The record opens with a track by Swedish techno futurist Lakej, featuring his signature sound of machinery on a working factory floor. The music immediately transports you into the industrial atmosphere of a rave.
This time, the Italian-born, Berlin-based artist VSK takes us on a journey through the emotional waves of deep techno. A slightly jazzy groove makes this track perfect for peak time dancefloors.
Latvian producer Ksenia Kamikaza stays true to her style, transporting us into a world of visualized melodies and rhythms. The bassline sets the groove, while the unhurried rhythm allows you to fully surrender to the dance.
Liza Aikin brings an uncompromising Berlin vibrations to the release, reminding us how a true rave should sound. Her style is not heavy but persistent. Liza never stops experimenting, and this track will be a highlight of any DJ set.
Another Latvian electronic talent closes the release. Igors Vorobjovs blends the best of electro and techno in his track. Nervous rhythms and loud sounds stir the emotions, while the raw, untamed resonance will leave no true connoisseur of feral techno indifferent.

reActive Lab proudly unveils its first vinyl release, marking a defining moment for the label's evolution. reActive Lab Collective 001 brings together four of the label's core members - Chrivu, Dragne, Flavius, and Pattern Tusk - to craft a 12" that perfectly captures the collective's sonic DNA: deep groove, subtle minimalism, and timeless house energy. The record opens with Chrivu - "Cell Division", a vibrant house piece driven by a confident bassline and crisp percussive motion. Built with clarity and flow, it sets the tone for a journey anchored in groove and precision. Dragne - "Get Funk" follows with playful rhythm and low-end warmth - an irresistible combination of swing, bounce, and character designed for the dancefloor. On the flip side, Flavius - "The Interview" introduces a more introspective dimension - stripped-down yet immersive, balancing atmosphere with emotion through delicate textures and steady rhythm.

Closing the release, Pattern Tusk - "We Went On" blends soulful depth with minimal intricacy, offering a smooth, driving finale that resonates with both feeling and functionality. reActive Lab Collective 001 stands as more than a debut - it's a declaration of artistic identity. A 100% in-house release from reActive Lab, crafted with authenticity and intent. A promising first step in what's clearly a long-term commitment to sound, craft, and community. Short Description: reActive Lab makes its vinyl debut with reActive Lab Collective 001, a powerful VA featuring Chrivu, Dragne, Flavius & Pattern Tusk. Four deep and groovy house cuts blending energy, warmth, and minimal precision - a pure statement of the label's identity.

Kim Gordon hat Kunst und Noise über Jahrzehnte immer wieder neu gedacht - und dabei nie an Schärfe verloren. Vierzig Jahre nach ihren Anfängen wirkt ihre Vision noch immer provokant. Dieses Abenteuer setzt sie mit ihrem dritten Soloalbum "PLAY ME" fort, das am 13. März bei Matador Records erscheint. Mit der Ankündigung erscheint die erste Single "NOT TODAY", begleitet von einem Kurzfilm der Modedesignerinnen und Filmemacherinnen Kate und Laura Mulleavy (Rodarte). Gordon trägt darin ein eigens für sie gefertigtes, handgefärbtes Seidentüllkleid. Der Song offenbart eine neue, fast poetische Spannung in ihrer Stimme: "Da kam eine andere Stimme zum Vorschein", so Gordon. "PLAY ME" ist ein konzentriertes, direktes Album, das ihren Sound um melodischere Beats und den motorischen Drive des Krautrock erweitert. Entstanden ist es erneut mit Produzent Justin Raisen (Charli XCX, Sky Ferreira, Yves Tumor). Die Songs sind kurz, prägnant und stark rhythmusorientiert - fokussierter und selbstbewusster als zuvor. Nach "No Home Record" (2019) und "The Collective" (2024, zwei Grammy-Nominierungen) richtet Gordon den Blick auf die Gegenwart: Tech-Macht, KI-getriebene Kulturverflachung, den Abbau demokratischer Strukturen und den absurden Alltag des Spätkapitalismus. Trotz dieser Themen ist "PLAY ME" ein nach innen gewandtes, geradezu körperliches und ebenso emotionales Album. Mit verzerrten Stimmen und schroffen Beats legen Songs wie "Square Jaw", "Dirty Tech" oder "Busy Bee" gesellschaftliche Realitäten frei. Der Titeltrack entlarvt die Logik einer durchkuratierten Komfortkultur. "PLAY ME" ist radikal gegenwärtig, widerständig und kompromisslos eigenständig.

High Altitude 002 brings together three rising forces from three different corners of the world. Stckman, Simone Rossari, and Goosebumps represent a new generation of producers with a shared futuristic vision and a highly distinctive musical identity.

The EP features three forward-thinking tracks, each shaped by the unique taste and cultural background of its creator, yet unified by a powerful, modern sound aesthetic. From deep afterhours mornings to the most crucial peak-time moments of the night, High Altitude 002 is designed to fit seamlessly into any part of a DJ set.

A global collaboration, a futuristic attitude, and a fresh perspective on underground dance music — this is High Altitude 002.

Two legends from New York City here for the price of one, as Downside Up Recordings boss Brandon De Carla - noted for his incendiary PAs and DJ sets around the Big Apple from the 90s onwards, as well as releases for labels as luminary as Kevin Saunderson's KMS - enrols the even more celebrated Joey Beltram to add a remix to his three originals here. De Carla's productions sure are uncompromising, not so much as inviting you onto the dancefloor as prodding you on with their itchy, wriggly sense of metallic funk and spaced out atmospherics, especially the latter on the beatless but substantial, grungy DJ tool that is closing track 'Valley Of The'. Beltram's mix, meanwhile, is pinned down by handclaps that sound like they were forged in a steelworks, but again manage to wrangle a sense of irresistible funkiness from the heaviest duty ingredients. Proper 3am techno gear, make no mistake.

The breakout underground star of the past year, the deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.

As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further X pieces, this time displaying the full range and fervour of Thought Leadership.

You know the drill by now. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.

We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.

XXIII enters the fray with tight, thumping 808s and Marr-esque guitar figures; and again, the bass providing heavy melodic counterpoint to the guitars. Enter chiming, lyrical lead phrasing, reminiscent of the eternal opening to "Everybody Wants To Rule The World". Another accidental perfect pop moment from the Thought Leader. Whilst on the topic of Tears For Fears, XXIV comes swinging out of the gate with some serious Sophisti-chug; we’re reminded of "Shout" in the A section, before being beautifully juxtaposed in the B section with more Vini-eqsue patterns, reminiscent of his timeless classic, Another Setting.

XXV gives us welcome pause to take stock midway through the A side. No drums this time, but instead a heartbreaking conversation between two guitars; think Kevin McCormick and David Horridge’s masterful Light Patterns, or perhaps even the early solo-Bill Connors mid-70s cuts for ECM. The moment of quiet reflection passes, and is quickly shattered by the thudding march of XXVI – this piece comes across like The Associates playing "Wicked Game"; heavy, moody, and utterly compelling. XXVII ends our journey across Side A with more Marr-inspired playing; one for the heads and already featured on mixes, this one is real testament to the vision of Thought Leadership.

Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic.

XXIX again, like XXV before it, dispatches the drums with a focus purely on melody and mood. The piece feels like a lost Save Room Theme from the Resident Evil series, pure golden age Capcom Sound Team vibes. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash.

XXX completes this majestic voyage with another Modal exercise; this time the Thought Leader has opted for the Lydian Mode. Beautifully dreamy, undeniably Soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos – XXX has the lot, and is surely destined for greatness.

So, another X epic statements for guitar, homespun with the humblest of means, for all the dreamers out there. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last 2 LPs flew. You have been warned.

'The Endless Dance' is the first collaborative album from Northern Irish producer and composer Hannah Peel and Chinese percussionist Beibei Wang. The record is grounded in the strength of ancient concepts, but comes alive with the joy and freedom of play as together, Peel and Wang travel through the 24 solar terms of the Chinese calendar with a cornucopia of sound in tow – synths and prepared piano alongside traditional and unconventional percussion.

The album is collaged together from recordings made over five days at legendary rural studio Real World, a setting which aligned with the duo’s inspiration from the natural world creating a permanent record of their shared musical landscape, informed by the flora and fauna that emerge and retreat through the seasons.

Both genre-defying, storied artists in their own right, Peel and Wang met while working on Manchester Collective’s 2023 album NEON and 'The Endless Dance' certainly represents a step-change from the duo’s shared classical backgrounds – but their knowledge and training is also the foundation of its freewheeling audacity, giving them the confidence to trust their instincts.

The album is produced by Mike Lindsay LUMP, Tunng, Guy Garvey, Jon Hopkins who, with free rein, brings added energy and creativity to the album, whilst Peel & Wang are also joined by Hyelim Kim on Daegeum, a Korean flute with “colourful overtones on every note”.

Track to track, 'The Endless Dance' is unpredictable and unexpected, which is in part due to the genuine curiosity and outside perspectives that each player brought to the sessions. “I am so familiar with Chinese heritage, but I don't see how it can present in electronics, for instance,” says Wang. “Hannah comes in with that direction, to imagine what the sounds could be together.” The characterful richness of the album stems from the commonalities they found in the sessions. “We both come from cultures where story is really important,” explains Peel. “The attention to detail comes from telling a story, and one note can set that off in a different direction.”

'The Endless Dance' is a major work from two accomplished, singular artists - but it’s also the sound of mutual curiosity and shared fun, or as Wang puts it: “Two women talking in totally different language that had a wonderful chat.”

Step into a candy box of sound: sweet Italo-infused house and tangy, bass-heavy breaks. Some tracks hit like hard candy, daring you to bite, while others are sticky and irresistible, gluing you to the dancefloor. B.Visible tasted all the sweet treats without losing a tooth, but the synths took a proper beating. On this DJ tool, you'll find a track for every part of your set, with a package that nods to '90s electronic music without losing its timeless charm.

B.Visible is a Vienna-based DJ and producer. His sets blend danceable beats with a strong musical vision - ranging from disco and house to breaks and experimental electronics, complemented by rare vinyl discoveries. Each selection is surprising, versatile, and curated with great attention to detail. His productions are just as multifaceted as his DJ sets: warm drums and organic textures meet carefully crafted electronic elements designed with the dancefloor in mind. The result is a distinctive signature style - accessible, diverse, and independent. His music is regularly featured on Austrian radio stations such as FM4 and receives international
support from BBC DJs including Gilles Peterson, Tom Ravenscroft, and Don Letts. B.Visible's music thrives on surprise and depth - whether in the studio or on stage, it always unfolds with a unique dynamic, drawing audiences in from the very first moment.

Seit über 30 Jahren ist Simon Joyner eine Ausnahmeerscheinung - ein vollkommen unabhängiger Künstler, der sich ganz auf sein Handwerk konzentriert. Der in Omaha lebende Singer-Songwriter veröffentlichte Anfang der 90er Jahre erstmals Musik und ist seitdem seinem Weg treu geblieben. Joyners Songs voller stiller Freude und Herzschmerz haben verschiedene Generationen von Künstlerkollegen geprägt und zeigen sich als offensichtlicher Einfluss bei Acts wie Bright Eyes oder Kevin Morby sowie als Anklänge gemeinsamer Perspektiven bei den nachfolgenden Lenkers, Oldhams und Molinas. "Tough Love", Joyners 19. Studioalbum, setzt diesen Aufwärtstrend fort. Obwohl es untrennbar mit der persönlichen Trauer von "Coyote Butterfly" aus dem Jahr 2024 verbunden ist - dem autobiografischen Album, das Joyner nach dem Tod seines Sohnes aufgenommen hat - erforscht dieses neue Album das Konzept der ,tough love" als Dichotomie, die auf verschiedene fiktive Beziehungen angewendet wird, darunter romantische, familiäre und politische. Dieser Balanceakt zeigt sich in lebhaften Schilderungen alltäglicher Herzensschmerzen und in der Auseinandersetzung mit politischer Wut und dem Verrat am amerikanischen Traum. Eines der Wunder von Joyners Werk ist, dass sich seine Muster nicht wiederholen, sondern wandeln. Anspielungen auf Cohen, Dylan und die Velvets sind seit den frühen Lo-Fi-Tagen Teil seines Songwritings, doch die Art und Weise, wie diese Vorbilder einfließen, verändert sich ständig. Während Joyners raue Akustiksongs im Rampenlicht stehen, werden sie von E-Gitarren angestachelt und sind von experimentellen Tendenzen durchdrungen. Die Rocksongs bilden einen Mittelweg zwischen minimalistischen Grooves, die von Velvet Underground der Loaded-Ära übernommen wurden, und der ekstatischen rhythmischen Verrücktheit von Can. Wenn wir beim vorletzten Track, ,Anniversary Song", angelangt sind, haben die geisterhaften Vocals und die Scratches des mikrotonalen Synthesizers die Grenzen zwischen Joyners Folk-Sänger-Herz und seinem Avantgarde-Geist verwischt. All das mündet in den 20-minütigen Titeltrack, der "Tough Love" abschließt - ein erschütternder Sturz in einen scheinbar bodenlosen Abgrund aus Reue, Überlebensschuld und unverblümter Trauer. Er leiht sich eine repetitive Struktur aus Lou Reeds erzählter Suite ,Street Hassle" und kombiniert sie mit dem seitenfüllenden Zeugnis von Dylans ,Sad-eyed Lady of the Lowlands", Joyner erzählt dazu aus der Perspektive seines verstorbenen Sohnes, der zu seinem Vater spricht, all seine Fehler darlegt und schonungslos hervorhebt, dass nichts davon rückgängig gemacht werden kann. Bald jedoch öffnet sich diese Qual zu etwas Transzendentem, sowohl in ihrer eleganten Bildsprache als auch in ihrer ätherischen Atmosphäre. Die letzten Momente des Albums gewähren die Erlaubnis zur Selbstvergebung und hoffentlich eines Tages auch zum Verständnis. Dieses kathartische Ende bringt all die verworrenen Gefühle, die sich durch "Tough Love" ziehen, auf den Punkt. So wie Joyner das Songwriting aus ungewöhnlichen Blickwinkeln angegangen ist, die sich jedes Mal ändern, wenn er zur Gitarre greift, um ein neues Album aufzunehmen, so verändert sich auch auf "Tough Love" seine Beziehung zu Trauer, den alltäglichen Kämpfen und dem ewigen Streben nach etwas Besserem.

On this release Dying in Beauty delves into harder, EBM infused tracks on the A-side, whilst the flip-side offers a more groovy and upbeat set of tracks to accompany your journey into the excesses of pleasure.

2026 Repress on Yellow Vinyl



Flirty Ghost is an evocative LP by Rachel Kitchlew, a jazz and contemporary harpist known for pushing the boundaries of her instrument. A blend of jazz, ambient, and experimental sounds, the album was crafted in a spontaneous, deeply personal atmosphere, recorded late at night in the cozy, smoky setting of SFJ headquarters

featuring Alexis Taylor (Hot Chip), Dave Bardon, SFJ, Sholto ....



Inspired by everything from Henry Mancini to Dorothy Ashby, this LP captures an eerie, playful essence, like a ‘flirty ghost’, while celebrating exploration and self-expression. The album holds emotional depth, particularly in tracks like ‘Truncate’ and ‘Cyclical’, which were recorded shortly after the passing of Rachel's grandmother, Sheila Horton, whose work is featured on the back cover.



With the collaboration of close friends and talented musicians, ‘Flirty Ghost’ represents a new chapter for Rachel, marking a joyful departure from her solo harp work into a collective, experimental musical journey.

aja monet ist eine surrealistische Blues-Dichterin, Musikerin und Bandleaderin, deren Werk fließend zwischen Poesie, Musik und politischem Ausdruck wechselt. Aus der Spoken-Word-Szene der Lower East Side in New York City hervorgegangen, wurde sie die jüngste Gewinnerin des Nuyorican Grand Slam Poetry-Titels, bevor sie ihr Schaffen auf genreübergreifende musikalische Darbietungen ausweitete, die ihre Wurzeln im Jazz, Blues und experimentellen Sound haben. Ihr Debüt-Poetry-Album ,when the poems do what they do" wurde 2024 für einen Grammy Award in der Kategorie ,Best Spoken Word Poetry Album" nominiert und etablierte Monetas als einzigartige Stimme in der zeitgenössischen schwarzen Musik- und Performance-Szene. Das Projekt verbindet Poesie mit Live-Instrumentierung und Improvisation und erkundet Themen wie Widerstand, Liebe und Freude durch einen kollaborativen, ensembleorientierten Ansatz. Als tourende Bandleaderin ist sie weltweit bei großen Festivals und in bedeutenden Veranstaltungsorten aufgetreten, darunter das Newport Jazz Festival, das North Sea Jazz Festival, das Montreal Jazz Festival, das Guggenheim, das Lincoln Center, das Barbican Centre und die Fremantle Biennale. Neben ihrer musikalischen Arbeit ist monet eine gefeierte Dichterin und Autorin. Ihr erster vollständiger Gedichtband, ,my mother was a freedom fighter" (2017), wurde für den NAACP Image Award in der Kategorie Poesie nominiert. Ihr jüngstes Buch, ,florida water", erschienen bei Haymarket Books, schöpft aus mehreren Jahren des Lebens und der Organisationsarbeit in Südflorida und setzt ihre Auseinandersetzung mit Ort, Bewegung und kollektivem Gedächtnis fort. Zu ihren Auszeichnungen zählen der Marjory Stoneman Douglas Award für Poesie, der Nelson Mandela Changemaker Award, der Harry Belafonte Voices for Social Justice Award, der EBONY 100 Artist in Residence Award sowie der Malcolm X & Dr. Betty Shabazz Vanguard Award. Zudem ist sie künstlerische Kreativdirektorin von V-Day, der globalen Bewegung zur Beendigung von Gewalt gegen Frauen und Mädchen, und Schöpferin von VOICES, einem Hörspiel aus dem Jahr 2022, das die Geschichten schwarzer Frauen in der Diaspora und auf dem afrikanischen Kontinent in den Vordergrund rückt. aja monet's zweites Studioalbum, ,the color of rain", wird im Mai 2026 bei drink sum wtr erscheinen.

Mit "Angriff auf"s Schlaraffenland" veröffentlicht Tapete Records eine umfassende, musikalisch kuratierte Reise durch 50 Jahre deutschsprachigen Punk - von den frühen Experimenten der späten 1970er bis zu modernen Positionen der Gegenwart. Die Compilation begleitet die Jubiläums-Veröffentlichungen des Ventil Verlags, der über 200 Autor:innen zu ihren prägendsten Punk-Songs versammelt und damit das Vermächtnis sowie die Relevanz des Genres würdigt. Wie ein gutes Mixtape verzichtet die Sammlung bewusst auf Chronologie und setzt auf rein musikalische Kriterien: rohe Energie, politische Haltung, Humor, Widerspruchsgeist und stilistische Vielfalt. Vertreten sind u. a. Die Radierer, Hans-A-Plast, Palais Schaumburg, Egotronic, Bärchen und die Milchbubis, Toxoplasma, Slime, Schnipo Schranke, Stereo Total, Die Nerven - Bands, die Punk mit Pop, Dada, Elektronik, Chanson oder Noise neu definiert haben. "Angriff auf"s Schlaraffenland" ist damit ein unverzichtbares Dokument für alle, die Punk nicht als Nostalgie, sondern als lebendige, widersprüchliche und weiterhin unbequeme Kulturform verstehen.