Suche:new sin

With »News from Planet Zombie«, The Notwist return to view after years of exploration and experiment with an album rich in both melancholy and positivity, sketched across a suite of thrilling, fiercely committed pop songs. It’s an album reflecting a chaotic world, but responding with warmth and generosity, to achieve creative and spiritual consolidation. Recorded in their home base of Munich, it reconnects with the security of the local to explore the troubles of the global: a guiding impulse writ large across this album’s eleven songs. It’s also the first studio album since 1995’s »12« that the entire band recorded together in the studio in its expanded live formation.

A new album by The Notwist is always a curious endeavour; their musical language is as consistent and resilient as the contexts for creativity are unpredictable and ever shifting. For »News from Planet Zombie«, the core trio of Markus and Micha Acher and Cico Beck embraced the plural possibilities of writing together, bringing songs to the collective and then arranging, rehearsing and recording that material live, in the studio.

The result is an album that’s energised, fully in ›the now‹, with spectacular moments where you can hear the magic bubbling up in the dynamic between the Achers, Beck, and fellow members Theresa Loibl, Max Punktezahl, Karl Ivar Refseth, and Andi Haberl. If »Teeth« begins »News from Planet Zombie« quietly and reflectively, by »X-Ray« everyone’s supercharged, blasting out future anthems with the collective energy cranked up high. The chiming keys of »Propeller« skim the instrumental’s surface like stones across burbling water; »The Turning« clangs its way into one of the album’s most heartwarming melodies.

»News from Planet Zombie« was recorded over one week at Import Export, a non-profit space for arts and music. You can tell, too; there are some pleasingly rough edges here, as though The Notwist’s striving for hazy perfection means they’re also confident enough to let the songs breathe and mutate between our ears. That openness to chance also takes in guest turns from friends both local and international, reflective of a cosmopolitan Munich: Enid Valu joins in on vocals, while Haruka Yoshizawa guests on taishōgoto and harmonium, Tianping Christoph Xiao on clarinet, and Mathias Götz on trombone.

The Notwist aren’t best known for cover versions, but »News from Planet Zombie« features two: a gorgeous version of Neil Young’s »Red Sun« (from 2000’s »Silver & Gold«), which the group originally developed for a theatre play directed by Jette Steckel, and a take on Athens, Georgia folk-pop gang Lovers’ »How the Story Ends«. They slot into the album’s narrative perfectly, nestling in like old friends, revealing The Notwist as poetic interpreters. Played well, the cover version is both acknowledgement of fellow travellers and act of generosity, and The Notwist nail both aspects here.

And that narrative, the way the album plays out? »News from Planet Zombie« acknowledges the distress of our current geopolitical impasse, while reminding us there are collective ways forward. Fed through the figure of the zombie, Markus Acher explores our anxieties: »In the title and some lyrics I reference B- and horror-movies, which is a reference to the crazy world at the moment, which seems to be like a really bad and unrealistic B-movie.« But there’s a reminder here not to lose the thread entirely, that these things, too, will pass.

»The river here in Munich I often go to has been there forever and will be there long after us,« Acher reflects, pinpointing an important source of succour for him, »always the same but always changing. Very calming, but also always reminding me that like this river time only flows into one direction and you can’t go back. Every moment is very precious.«

Artwork by Marie Vermont

The Notwist:
Markus Acher: vocals, guitar
Micha Acher: bass, sousaphone, euphonium, trumpet
Cico Beck: electronics, keyboards, guitar, recorder, percussion
Theresa Loibl: bassclarinet, clarinet, piano, harmonium, organ
Max Punktezahl: guitar
Karl Ivar Refseth: marimbaphone, vibraphone, glockenspiel, congas, percussion
Andi Haberl: drums, dulcimer
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Enid Valu: vocals on 1, 2, 3, 4, 5, 7, 9, 10, 11
Haruka Yoshizawa: taishōgoto on 6, harmonium on 9, 10, 11
Tianping Christoph Xiao: clarinet on 4, 10, 11
Mathias Götz: trombone on 4, 10, 11

Die Ende der 90er Jahre gegründete Band Unwed Sailor aus Tulsa macht einen einzigartigen Bass-lastigen Instrumental-Pop mit Post-Rock-Elementen, der zwischen knallharter Härte und luftiger Melodik schwankt. Seit sie 2019 nach einer zehnjährigen Pause zurück sind, haben sie mit ihrer kreativen Energie und dem Mischen von Genres ihre bisher besten Werke rausgebracht, darunter "Mute The Charm" (2023), "Underwater Over There" (2024) und "Cruel Entertainment" (2025). Für ihr elftes Album, "High Remembrance", brachte Gründungsmitglied Johnathon Ford eine Reihe von zu Hause aufgenommenen Entwürfen, Demos und Hooks ins Studio, wo sie unter der Leitung der langjährigen Mitstreiter Matt Putman (Schlagzeug) und David Swatzell (Gitarre) unter dem Motto Nostalgie und dem bittersüßen Trost der Erinnerung zum Leben erweckt wurden. Auf den acht Tracks des Albums gibt's Anklänge an den alternativen Rock der Blütezeit, die AM-Radio-Attitüde der späten 70er Jahre und die ekstatische Unbekümmertheit der New Wave, neben anderen Einflüssen, die sich einer einfachen Kategorisierung entziehen. Die Lead-Single ,West Coast Prism" verbindet einen unvergesslichen melodischen Hook mit optimistischen Drums und einem klirrenden Arrangement, das sich in einen treibenden, farbenfrohen Refrain verwandelt. Getreu seinem Titel erinnert der Song an weißes Licht, das sich in ein Spektrum aufspaltet, während weitläufige Synthesizer und sanfte Backing Vocals eine Aura melancholischer Glückseligkeit schaffen. Ford nennt treffend ,eine tiefe Vorliebe für das Meer, das Surfen, die Redwoods und die felsige Küste von Oregon" als spirituellen Hintergrund für seine Umgebung. Inspiriert von der Art und Weise, wie Erinnerungen die persönliche Identität prägen, könnte ,Don't Let Go" mit seinem straffen Tempo, seinem knackigen Ton und seinen schwindelerregenden Gitarren ein verlorener Alternative-Radio-Ohrwurm sein, während die täuschend einfache Rhythmusgruppe und seine glitchige Elektronik ,The Longest Day" fest in der Gegenwart verankern. ,Cinnamon" stellt wunderschön arrangierte Akustikgitarren-Gegenmelodien in den Vordergrund, zusammen mit Schichten subtiler Details, Chorstimmen und entspannten, hohen Bassgitarrenklängen. Laut Ford ist der Song ,eine Hommage an die Country-Musik der 70er und 80er Jahre, die die Familienausflüge in die Wüste begleitete, als ich ein Kind war", wobei Townes Van Zandts ,Pancho and Lefty" ein besonders bedeutender Ankerpunkt ist. An diesem Punkt in der bewegten Karriere von Unwed Sailor findet Ford einige seiner stärksten Inspirationen darin, darüber nachzudenken, wo das Projekt begonnen hat, während er es ständig mit neuen Ideen, Arrangements und Genre-Einflüssen vorantreibt. ,Es geht darum, an den Dingen festzuhalten, die man am meisten liebt", sagt er, ,einschließlich sich selbst." Sein akkordbetontes Bassspiel zieht sich wie ein roter Faden durch die Alben der Band und verleiht jeder neuen Sammlung eine vertraute Ernsthaftigkeit und Wärme.

Death Is Not The End present a compilation gathering a cross-section of early gospel choirs and vocal harmony groups recorded between late 1920s and the mid-1950s - a period when spirituals & jubilee traditions merged with blues, jazz and early rhythm and blues, providing the musical routes for the coalescence of the civil rights movement born out of the black church. In the modern world these perennially vital recordings provide a fitting tonic for the near-dystopia we find ourselves living through.

ZHERAV unleashes hypnotic Middle Eastern grooves on NAJA / BAZAAR 45 for Batov’s highly collectable 45 series.

New Zealand-based producer ZHERAV announces his debut release, NAJA / BAZAAR, a double single and 45 on Batov’s Middle Eastern Grooves series. The record fuses psychedelic rock, hypnotic rhythms, and electronic production influences, creating a sound that moves between swung grooves and cinematic, reverb-soaked textures.

ZHERAV draws from his background in house and techno, layering live guitar, bass, and synths over programmed drums. “I had a production template for house music on Ableton” he explains, “and I thought about how to switch to this Middle Eastern sound using the same format”. Most of ZHERAV’s tracks developed through improvisation - starting with programmed drums, then experimenting around scales on instruments until something works. ZHERAV has already received support from independent radio in Australia and New Zealand, and encouragement from international artists like Ko Shin Moon.

Both tracks explore Middle Eastern scales, bringing a distinct flavour to the grooves, while maintaining ZHERAV’s signature hypnotic layered sound. ZHERAV had something in mind related to snakes and their charmers when creating the A-side, NAJA (“Indian Cobra”). An ominous bassline loops repeatedly over snapping drums and percussion, whilst ZHERAV improvises guitar riffs and effects over the top.

MASKxSOUL is the new international project, featuring the baritone Alexander Korenkov (of Mariinsky Theatre, Theatre du Chatelet, and JFK Center fame, who performed with Vladimir Yurovsky, Valery Gergiev and Anton Batagov) and introducing the voice and music of Tatiana Selivanova (Vanilla Quartz), backed up by Jason Kohnen (The Kilimanjaro Darkjazz Ensemble, The Lovecraft Sextet, Mansur) and Dimitry El-Demerdashi (Mansur). One might say that MASKxSOUL blends dark-jazz, tsar punk, and Eastern folklore with the setting of the romantic landscapes inspired by the Russian classical tradition. MASKxSOUL presents a new vision of a perennial classic, namely, Eugene Onegin by Alexander Pushkin, a romantic novel in verse that has served generations of artists across the globe as inspiration, with a debut single dedicated to Pushkin's 222nd anniversary on June 6th 2022. The complete eight track MASKxSOUL debut album "Onegin" is available now through Denovali.

Soft Echoes presents the first physical edition of ‘In a Few Places Along the River’ by Abul Mogard as a limited run of 500 vinyl copies. Originally released digitally in 2022, the album now appears in its intended form, marking the label’s second release.

Three long pieces, composed between 2019 and 2022, emerged from Mogard’s meticulous experimentation with analogue and digital instruments. Slowly evolving harmonic fields of layered drones and spectral textures drift across the record. They are enhanced by reverb from Scotland’s Inchindown oil tanks, which hold the longest reverberation of any man-made structure, giving the music a haunting resonance and a sense of suspended space.

‘Against a White Cloud’ and ‘In True Contemplation’ open the album with their nocturnal tones that gradually intensify into dense, immersive waves of sound. Side B is devoted to the 21-minute elegiacal piece ‘Along the River’, which flows between weight and silence, unfolding with reflective depth and moments of subtle transcendence. As one listener observed, “His music doesn't break the wilful suspension of disbelief: you stay in its trance.”

“Recording for this album began in 2019, when I was still living in London,” Mogard explains. “The first version of ‘Along the River’ was created at my studio near Brick Lane. It started with experimenting around a chord progression inspired by a classical piece I had once been recommended, though, strangely enough, I no longer recall what it was. Early in 2022, I revealed the identity behind Abul Mogard and wanted to mark this new period, so I decided to release it quickly, by myself, as digital-only.”

After returning to Rome, Mogard created the other two pieces, working with new digital instruments alongside his modular synthesiser, and integrated recordings from the London sessions. The music reveals a patient attention to texture and space, defining his usual restraint. Mogard adds, “I was trying to explore very subtle changes in the spectral characteristics of the music using extremely slow, intertwined tones.”

Described by critics as one of Mogard’s most melancholic and absorbing releases, the album maintains an austere beauty and contemplative weight, leaving a lingering impression that lasts far beyond the final note.

The music has extended beyond the album itself, with tracks appearing in films and contemporary artworks. Most notably, Swedish artist Peder Bjurman’s ‘Slow Walker’ audiovisual installation and French filmmaker Fleuryfontaine’s politically charged animated film ‘Soixante-sept millisecondes’.

Mastered by Rafael Anton Irisarri and cut to vinyl by Lupo, the record emphasises the clarity and depth of Mogard’s frequencies, with each layer precisely balanced. The cover artwork and design are by Marja de Sanctis, who has collaborated with Abul since his first cassette release in 2012.

‘Call To Arms & Angels’ is the title of the twelfth studio album from South London collective Archive.

 A 17-track double CD / triple LP recorded at RAK studios in London and released on
Dangervisit/PIAS.

 Deluxe editions of the album also include a bonus ‘Super8’ album of new and
exclusive instrumentals, as featured in the band’s ‘Super8’ documentary that will
accompany the release of the album.

 Produced by Archive and long-time collaborator Jérome Devoise, ‘Call To Arms &
Angels’ is the band’s first studio set since 2016’s ‘The False Foundation’.

 Talking about the new album, Darius Keeler says, “Writing our twelfth studio album
was an extraordinary time for the band. The song writing became an unfolding
narrative as the world got stranger and more disturbing every day. With people’s
freedoms being pushed to the brink, the suffering Covid caused and the terrible
events in the US lead by Trump and the rise of the Right, anything seemed possible.

 “To reflect on these times as artists brought up a darkness and an anger, but also a
strange kind of inspiration that was at times unsettling. It really made us appreciate
the power of music and how lucky we are to be able to express our feelings in this
way.

 “It seems there is light at the end of the tunnel, but there are always shadows within
that light.”

 Deluxe 2CD album plus ‘Super8’ bonus CD in 40-page casebound Polaroid
bookpack.

 2CD album.

 Deluxe vinyl box set with white coloured vinyl 3LP (exclusive to this box set), ‘Super8’
bonus LP on white vinyl (exclusive to this box set), deluxe 3CD with Polaroid booklet
and 12” x 12” art print.

 Triple LP on gold vinyl in triple gatefold sleeve.
 Triple LP on green vinyl in triple gatefold sleeve.
 Triple LP on black vinyl in triple gatefold sleeve.

Vortex 1 marks the next chapter in the DUB Recordings / Repetitive Rhythm Research series on Clone Records. Aleksi Perala dives deep into his unique sonic universe - unleashing a powerful collection of advanced rhythms. Precision-crafted patterns spiral into a mesmerizing vortex of sound, pulling you into new dimensions of rhythmic exploration. A signature experience from one of electronic musicâ??s most singular and prolific producers, known for the unique Colundi tuning system and a sound that has continually pushed musical boundaries since his early releases on Rephlex. Powerful tools for adventurous DJs and devoted braindancers alike. Clone Exclusive *Limited edition on Silver/Black and Gold/Black Marbled vinyl*

Yamila presents her second album on Umor Rex, Noor. Following Visions, Yamila returns with a work that merges nature-experience listening with expansive musicality. Noor was born from her time in an ecologist community, where she sought refuge in stillness, learned from animals, and tried to forget the human. In this communion with nature, she discovered a new compositional approach: reducing acoustic noise to allow unheard voices to emerge, transforming music into a possibility for interspecies dialogue.

Since ancient times, sound has been used to care for herds, to call across distances, to communicate with the non-human. Noor reimagines that ancestral role in a contemporary language, where epic harmonies collide with delicate micro-tonalities, and where rhythm unfolds not only as pulse but as movement for the body, a natural extension of Yamila’s work with dance companies and choreographers.

Her voice is interwoven with electronics and the resonant strings of Echo Collective, creating sonic landscapes that radiate intensity and fragility. At times monumental, at others almost whispered, Noor oscillates between composition and spontaneity, structure and suspension.

The album unfurls as a dialogue between the organic and the artificial, where sound grows like a sprout breaking through hard soil. Yamila’s music here is not only to be heard, but to be inhabited: a choreography of air, vibration, and resonance. Noor is both shelter and revelation, a reminder that music can still be epic, luminous, and deeply human, while listening beyond the human.

All music and voices by Yamila Ríos. Recorded at Destelheide by Christophe Albertijn. Strings by Trio Echo Collective (Violin: Margaret Hermant, Viola: Neil Leiter), (Cello: Stijn Kuppens), (Arrangements: Pierre Slinckx). Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos by Assiah Alcázar. Design & layout by Daniel Castrejón.

Jesper Lindell and his band have come a long way in a short time.

Since the release of the acclaimed 2022 album “Twilights”, they played well over 100 shows all over Europe to an ever growing number of fans.
The new album “Before the Sun” will establish Jesper Lindell as a major Swedish and international artist. Ten brilliant songs steeped in a classic, timeless sound!

Press quotes “Twilights”;
“soulful Americana… a roots sensation” - PopMatters
“Can a Swedish ex-soccer player sing soulful roots music with as much warmth, heart and feeling as Van Morrison or The Band? The answer, which will be obvious as soon as you hit play on Jesper Lindell’s second album, is a resounding “oh yeah”.” - Holler
“it’s clear that Lindell is destined for big things” - Glide Magazine
“a near-perfect wedding of deeply affecting, imaginatively arranged Americana/rock material, soulful, raspy vocals, and consummate performances” - BlogCritics

MonsieurWilly – “Stomp” (Nu-Disco Remake of The Brothers Johnson) – 7" Vinyl Single Get ready to move your feet: MonsieurWilly revitalizes the timeless funk anthem “Stomp” by The Brothers Johnson with an electrifying Nu-Disco makeover. Pressed on a high-quality 45 RPM 7" vinyl, this remake blends vintage groove with modern dancefloor energy, delivering an irresistible combination for DJs, collectors, and funk-disco lovers alike.

MonsieurWilly’s production pays homage to the original’s infectious basslines and uplifting spirit while injecting fresh synth textures, crisp beats, and a stylish contemporary polish. The result is a vibrant re-imagining that feels both nostalgic and brand new— perfect for setting the tone at any party or adding standout flair to your vinyl collection. This is another special and exclusive 45/7“ release via Soulkitchen Distribution…

Placid aka Paul Wise is the operator in chief at ‘We’re Going Deep’ – an online community and record label born out of a lifelong love affair with the many shades of electronic rhythm, and an obsession for collecting records since 1988. With a mission to share and release new music via his We’re Going Deep and We’re Going Back imprints, you’ll find only the best in underground Acid, Electro, IDM, Techno and House for the dance floor and your listening pleasure.

Up next in the label series, We’re Going Deep is excited to welcome 4 tracks of fresh material from pivotal electronic music maker Gerard Hanson, under his much prized E.R.P. alias. Renown for keeping his profile below the radar and letting the machines do all the talking for him. Hanson’s work as a producer has been much coveted since his debut back in the mid 90s as Convextion. Hailing from Dallas, Texas, he has become something of a hero in the underground Electro community. His work as E.R.P. has left a huge impression on labels such as Frustrated Funk, Bleep43 and Semantica over the years. Renown for his distinctive shimmering machine funk aesthetic, he ably summons the outer reaches of deep space listening thanks to his innate mastery of brooding, sci-fi soundscapes that few can equal.

Following releases for Apnea and Synchrophone, Hanson lifts off with a heartfelt tribute to our recently departed friend James Baker on ‘One4ReKab’. Ascending with the pulse of a steady kick drum, precision snares take hold as whispered vocals seep in and out of consciousness. Underpinned by trademark angular bass tones, soaring strings inject a deep sense of foreboding as all the parts fuse with a fierce glow. Stepping things a notch back as the sonic trajectory levels out, ‘Onward’ takes a more contemplative stance in a fusion of hypnotic drum programming that leads the fray whilst subtle arpeggios flow, all whilst wistful melodies wind you in.

Over on the flipside, Hanson revisits his 2008 composition “Multipole Vector” to launch yet another interstellar cruise by mission in the shape of “Multipole Vector II”. Leading with the simplest of bass progressions and metronomic beat programming, twinkling synth elements reach across the void as chords sweep to and fro to powerful effect. Ending out on the uplifting yet almost IDM inflected tones of “Self Unemployed”, this low tempo air rounds the EP off on an equally captivating note filled with playful charm, that makes this collection of music all the more pleasing.

Caleb Caudle’s body of work is shaped from the ground up. His artistry has emerged through endurance and the steady momentum of a life in motion, carrying him from small stages in the North Carolina foothills he calls home, all the way to the Grand Ole Opry. Now, Caudle is entering a pivotal chapter – one of a profound culmination where life and art converge in powerful ways. The recent discovery that he and his wife are going to be first-time parents has added a new perspective, full of the responsibility and wonder that welcoming a child into the world brings. On his new album, Heavy Thrill, this personal evolution mirrors his artistic journey. He takes full creative control, self producing for the first time while recording at the storied Cash Cabin in Hendersonville, Tenn., where reverence for tradition meets his singular artistic vision.

French modular tribalist Sindh launches the Komudo Origins Series on his own label with a fierce first chapter built for deep physical immersion. Still rooted in rythmic ritualism, these four tracks push further into shadowy, shape-shifting techno. 'Sauros' is the beatless opener, all hovering, menacing atmospheres and sonically refracted voices. 'Arbhar' glides along with a sleek, understated techno framework that feels like it's made of pure air. 'Mystic Sun' begins to edge towards the pumping, firing echoes and low level spoken words across a progressive-style builder, before 'Denali' closes things off via thumping, late-night techno charge. Subtle darkness, alien textures and body-focused grooves define this potent new series.

On her new album, Land of the Forgotten, Brit Taylor takes us to her much discussed and misunderstood homeland, Appalachia, with songs that reveal the complex heart and complicated people of the place. Taylor is an accomplished singer-songwriter who has been performing professionally since she was a child. She has always taken the bull by the horns; Taylor has spent seven nights a week singing on Broadway, cold-called record execs, and she even formed a cleaning business to help finance her first album, Real Me, on which Dan Auerbach (The Black Keys) co-wrote five of the songs. Only three years later she found herself being produced by two of the most sought-after producers in Nashville: Grammy winners Sturgill Simpson and David Ferguson. Since then she has made her Grand Ole Opry debut, gained a devoted following as she toured the whole country, and garnered praise from the likes of NPR, Billboard, Rolling Stone, and American Songwriter.  Land of the Forgotten will be released March 6th 2026 by RidgeTone Records, LLC Under Exclusive License from Cut A Shine Records, LLC Marketed and Distributed by Thirty Tigers

After traveling through Mexico, Miami, the Bahamas, and New Orleans, Nishioka recorded his fourth album South American Journey in Los Angeles,
released in 1979. From this album, two of his most celebrated tracks—“GYPSY SONG”, a fan favorite with numerous cover versions, and “NEVER LAND”,
featuring the distinctive sound of steel pans and a Japanese reggae vibe are now being pressed on 7-inch vinyl for the first time in a limited edition!

The recording features members of the So What Review band, including Junshi Yamagishi (guitar) and Osamu Ishida (guitar), along with renowned steel pan
player Robert Greenidge, known for collaborations with Van Dyke Parks and Taj Mahal.
(FLATT THE LAIDBACK)

Kyozo Nishioka Profile
(Born May 7, 1948 – Died April 3, 1999)
Singer songwriter from the Shima Peninsula in Mie Prefecture, affectionately nicknamed “Zo-san”.
After enrolling at Kinki University and moving to Osaka, Nishioka became a regular at the folk cafe Dylan in Namba, opened in August 1969 by Masaji Otsuka
and Yoko Ishimura. Dylan was a gathering spot for folk music enthusiasts from all over Japan.
Nishioka formed the folk group The Dylan with Masaji Otsuka and You Nagai, performing at folk camps and the Nakatsugawa Folk Jamboree. In 1971, Nishioka
left the group, and Otsuka and Nagai continued as The Dylan II. Nishioka wrote and composed the song “Puka Puka” under the pen name Zokyozo, which became
one of his signature works. The song was first released in July 1971 as the B-side of The Dylan II’s single “Otoko rashii tte Wakarukai” on URC Records.
Nishioka began his solo career, releasing his debut album “Dylan nite” in July 1972, produced by Kinji Yoshino on Bellwood Records, which included his own
version of “Puka Puka”. In September 1973, he appeared at the farewell concert of Happy End titled CITY – LAST TIME AROUND at Bunkyo Public Hall in Tokyo.
His 1974 album “Machiyuki Murayuki” was produced by Haruomi Hosono, and his 1975 album “Rokka My Baby” featured support from Shigeru Suzuki’s band
HUCKLE BACK. Nishioka recorded three albums under Hosono’s production, deepening their friendship.
Together with his wife and lyricist KURO, Nishioka wrote songs for artists such as Eikichi Yazawa. The couple traveled the world, recording overseas albums such
as “Nanbei Ryoko” (1977), “Yoh-Sollo” (1979), and “New York to Jamaica” (1981), incorporating reggae, calypso, and other global sounds. In the 1980s, he released
works under the duo name KYOZO & BUN with Yoshifumi Okajima, and in the 1990s returned to solo projects with albums like “START” (1993) and “Farewell
Song” (1997).
After KURO’s passing in 1997, Nishioka continued his musical activities until his own death in 1999 at the age of 50. His music transcended the boundaries of folk,
blending jazz and tropical elements to create a unique world view, leaving an indelible mark on Japanese music history.

Dr. John Chowning (b. 1934) is a pioneering computer musician, composer and professor who, in 1967, discovered the FM synthesis algorithm. This breakthrough in electronic music allowed for simple, yet rich timbres described as sounding "real." With this discovery, Chowning composed singular, dramatic electronic music and changed the timbre of music forever.

Chowning utilized the potential of computers to synthesize sounds according to programmed instructions. The composer's use of his own FM algorithms, digital synthesis with computers and the new compositional concepts offered by a programmable musical structure combine to create some of the most original and unique electronic music ever created.

The compositions on this LP were realized between 1966 and 1981 and the music on this LP, with the exception of Stria, was originally released on CD in Germany (Wergo, 1988). The version of Stria included here contains a section not included on the Wergo CD. Thus, this version of Stria is complete. This is the first time these purely digital recordings have been released on an analog medium. The original dynamics of these groundbreaking compositions have been preserved on this LP. As a result, listeners are advised to increase volume with caution.

In 1975, John Chowning founded the CCRMA - Center For Computer Research In Music and Acoustics at Stanford University. Through Stanford, Chowning licensed his groundbreaking algorithms to Yamaha resulting in numerous new instruments including the iconic DX series of keyboards. In 1972, his composition Tureens which is included on this LP, was the first to create the illusion of continuous 360-degree space using four speakers.

Technical Notes:

All pieces on this LP are originally quadrophonic. The illusion of moving sound sources is thus projected from the surrounding environment given by four loud-speakers on the stereo-basis.

STRIA was composed using Chowning’s own program to compile the musical structure into note-lists and MUSIC 10 (by D. Poole/Tovar) to generate the sounds in software-synthesis. The original quadrophonic version utilized 12 bits, two different sampling rates being used to accommodate the enormous amount of data on the magnetic disc-packs available at that time. The original sound-data was processed by sampling-rate conversion and digital mixes to achieve the stereo version presented on this LP.

SABELITH and TURENAS were synthesized originally using Smiths’ SCORE and MUSIC 10. However, their format was changed from direct sound-samples to a command stream for a special purpose computer, the System Concepts Digital Synthesizer, designed by Peter Samson, one of the first large-scale digital synthesizers for real-time sound processing - one was designed for CCRMA in the late seventies. For this recording the sounds were recorded directly from the synthesizer computing the samples in real-time.

PHONÈ was realized with the System Concepts Digital Synthesizer using again Chowning’s own program to create the note list.

The master tape of this LP was made directly from the computer system at CCRMA which generated and stored the sound data in digital format. No analog recording was involved at any stage of the production and editing process.

We Release JAZZ is very happy to announce the limited vinyl edition of Ill Considered's transcendent new live album Live in Jura, an expansive document of the trio's 2023 performance at Spiegelberg Festival - now available as a double LP with a bonus D-side, housed in a heavyweight sleeve with obi and an original artwork by Vincent de Boer.
Captured in the heights of Saignelégier, Switzerland, in the middle of a pasture overlooking the Jura mountains, Live in Jura bottles the singular Ill Considered live experience at its most open, responsive, and elemental. From Idris Rahman (sax, flute), Liran Donin (bass), and Emre Ramazanoglu (drums), this is deep free improv built from intuition and heart - an ever-evolving conversation of groove, texture, and spirit. Whispered motifs bloom into towering climaxes; earthy bass surges meet shimmering cymbal work; woodwind lines move from meditative invocation to ecstatic release. It is music shaped by the audience, the environment, and the moment : alive, unrepeatable, and deeply organic.
The bonus D-side extends the album's world with a unique ambient composition made from field-recorded organic sounds of the forest surrounding the concert area. Re-composed into a drifting, luminous piece, it features The Voices of the Alpenglow, blurring the boundary between performance and landscape, human gesture and elemental presence.
Ill Considered - known for forging improvised music around simple themes or spontaneously created structures - here reach a new level of sensitivity and power. Live in Jura follows We Release JAZZ's release of Shoals by Ill Considered members Earth and Bones, continuing a line of exploratory, heart-forward music grounded in profound listening and spontaneous creation.

Very limited numbers, orders will need to be confirmed.

For his new album, Irreparable Parables, Andrew Wasylyk felt a strong desire to write a set of songs featuring an element hitherto rare in his work: the human voice. Equally strong was the conviction that he did not want to sing them himself.

The Scottish multi-instrumentalist and composer set about assembling a group of guest singers, sending out the songs to wherever they were in the world. The vocals were recorded remotely and then, like migrating birds, winged their way back to Scotland. The result is an album of great beauty which, perhaps preeminently in Wasylyk’s work, expresses the vulnerability and resilience of the human spirit.

Six singers appear on the record, represented by six songbirds illustrated on the sleeve by Clay Pipe Music’s Frances Castle. The cuckoo is a nod to Belle and Sebastian’s 2004 single ‘I’m A Cuckoo’, that band’s Stuart Murdoch being the first voice you hear on the new album. When the vocal for ‘Private Symphony #2’ arrived, says Wasylyk, “it was everything that I was looking for and more. But this is Stuart Murdoch. Of course he’s going to make something incredibly beautiful and thoughtful.”

The song lyrics were, for the most part, written by the singers. The music is Wasylyk’s creation. He navigates a sound world that lies somewhere beyond the borders of classical and jazz, ambient and abstract. It is difficult to describe, but easy to understand, which is to say to feel. That is the way Wasylyk’s work is experienced: as a feeling. It takes you back to childhood, perhaps, to feelings of comfort and safety, or to memories of walks at sunrise and sunset, or to the way a shadow falls on a particular field in a particular place at a particular time in your life. This is consoling music. That is why, though pretty, it is not merely pretty. These are songs to shore up the soul.

Wasylyk writes in a room, in his native Dundee, full of “half broken” instruments. He picks these up, plays a little, seeking an idea, a feeling, a door that lies ajar. The musical palette of Irreparable Parables includes brass and woodwind, a six-piece string section, guitar, bass, drums, vibraphone, Mellotron, Fender Rhodes, tape loops, synthesisers and percussion. The strings were arranged by the cellist Pete Harvey, a long-term collaborator.

Among the other guest vocalists are Gruff Rhys of the Super Furry Animals, Saya Ueno from Japan’s Tenniscoats and Peter Brewis from Field Music. Wasylyk himself takes the lead vocal on the title track, though a throat infection and touch of pitch-shifting have altered his singing in a way that even he, having fallen out of love with his own voice, finds acceptable.

The heart of the record can, arguably, be found in two tracks, ‘Love Is A Life That Lasts Forever’ and ‘Spectators In The Absence of God’, sung respectively by Molly Linen and Kathryn Joseph. The former, bright with trumpets, was inspired by the writing of Derek Jarman. “I was feeling deeply upset about the world and wanted to try and write some- thing that was obviously hopeful,” Wasylyk says.

‘Spectators …’ offers an emotional counterpoint. It is an “apocalyptic hymn” that seems to grapple with watching human suffering from afar, too distant to be at physical risk, but experiencing the psychological wounding, and feelings of helplessness, even complicity, that come with constant awareness of other people’s pain. “Kathryn’s a pal, I love her dearly, and she’s a brilliant artist who really feels what she writes,” Wasylyk says. “The cracked tenderness of her voice is spellbinding.”

The album closes with an instrumental piece, ‘Soul Enters The Ocean Sun Climbs Out Of The Sea’, all piano and strings, that offers a sense of resolution and ascension. A good moment, too, for Wasylyk to reflect upon the artistic companionship that he enjoyed while making this record – the songbirds that answered his call: “These humans are incredible at what they do. I’m deeply grateful and feel so lucky. It blows my mind.”

YonYon's commemorative 1st album ‘Grace’ shines with new brilliance through analog sound－the long-awaited LP release!
This album features 14 tracks in total, including 7 popular songs from the album “Grace”, plus 7 remixes.
Guest artists include KIRINJI, SIRUP, South Korea's leading R&B singer-songwriter/producer SUMIN, PEAVIS, and other artists resonating across generations
and styles. Sound production features top-tier creators active globally, including ☆Taku Takahashi (m-flo), Chaki Zulu, grooveman Spot, and South Korea's
rising producer Slom. The album effortlessly crosses genre and language boundaries, weaving diverse musical elements into a rich soundscape.

NYZ (David Burraston) presents this collection of generative music pieces carefully extracted from a PreenFM2 gifted to him by Aphex Twin. PRN2_M15t is being released at the same time as an LP titled Stria from Dr. John Chowning who invented the original FM synthesis algorithms which were sold to Yamaha and used in the creation of the DX series of keyboards. An interview with Chowning, conducted by David Burraston, will be published at the same time.

David Burraston is an award winning artist/scientist working in the areas of technology and electronic music, operating Noyzelab as an independent art/science music studio since 1981. Numerous research publications include a 2006 PhD thesis Generative Music & Cellular Automata, which developed and applied fundamental new concepts from generative music practice to a key problem in complex systems theory.

His experimental arts practice encompasses field recording, landscape-scale sound art, chaos/complexity, practice-based research, sound synthesis and electronic music. He performs, lectures, conducts workshops and creates art installations in Regional NSW and around the world. David also designs and builds sound synthesizers based on his theories of chaos/complexity science. He was recently interviewed by Bandcamp Daily and The Wire Magazine.

David has worked with many diverse collaborators such as Aphex Twin, Chris Watson, Doug Quin, Russell Haswell, Robin Fox, Oren Ambarchi, Sarah Last, Cat Hope, Garry Bradbury, William Barton, Alan Lamb, MIT Media Lab and the Australian Broadcasting Corporation. In 2014 he independently published the legendary "SYROBONKERS!", the most technical and in-depth interview ever given by Aphex Twin.

-Boxset mit vier Alben featuring Drummer Neudi (u.a. Manilla Road, Trance, Griffin, Savage Grace…)

- Limited Edition mit handsignierter Autogrammkarte

Schon mit 8 Jahren entdeckte Andreas Neuderth, der seit Mitte der Achtziger nur noch den Spitzname NEUDI benutzt, sein Talent für das Schlagzeug. Sogar bereits schon etwas früher wurde er zum Fan harter
Rockklänge, die üblichen Verdächtigen wie Kiss, Status Quo und Rush. Mit 15 Jahren, im Jahr 1986, taucht sein Drumming erstmals auf einem Tape der Band SUDDEN DARKNESS auf, was 2026 zu einem Jubiläumsjahr für
den heute in Rheinhessen lebenden Musiker darstellt. Seine bekanntesten Stationen sind neben MANILLA ROAD (2011 bis zum Tod von Mark Shelton im Jahr 2018) und SAVAGE GRACE (2009/2010) aktuell TRANCE,
ROXXCALIBUR, ANGEL OF DAMNATION, IRONSWORD, JAMESON RAID und die Manilla Road-Nachfolgeband SENTRY. Das 1994er ECONOMIST Album „New Built Ghetto Status“ bezeichnet Neudi trotz all diesen genannten Namen als „eines der drei besten Alben, auf denen ich zu hören bin“. In der Tat darf man getrost sagen, dass es den Stil von ECONOMIST wohl nur einmal gibt. 1995 wurde die CD von Massacre/Intercord lizensiert, doch
mit dem progressiven Stil war man seiner Zeit einfach zu weit voraus.

Als Reissue, erstmals als Doppel LP mit dem unveröffentlichten zweiten Album „Mind Movies“ erschienen, erntete man nun endlich die verdient euphorischen Kritiken. VIRON (2004/2006 und 2008) war nach einer Zeit
der Experimente Neudis Rückkehr zum traditionellen Metal, den er als Fan auch zuvor nie verlassen hat. Die zwei hochgelobten Alben waren indirekt der Vorgänger der erfolgreicheren Band ROXXCALIBUR. SCROLLKEEPER
ist eine Band aus Texas, die für ihre EP „Wetico“ als Manilla Road-Fans mit Neudi zusammenarbeiten wollten. Neudi ist bekannt für sein „busy drumming“. Beeinflusst von Neil Peart (Rush), Randy Foxe (Manilla Road) oder Ian Paice (Deep Purple) bietet er nicht nur die genreübliche Rhythmusarbeit „im Hintergrund“, sondern bringt das Instrument teils auffällig in den Vordergrund. (Infotext von Michael Gresner, Januar 2026)

Diagonale des Yeux is the new band formed by two of France’s admired and adventurous artists. Laurène Exposito, we know as EYE, our longest regular contributor to the label — and friend Théo Delaunay, member and producer of Parasite Jazz, panoptique, De Klok & Violent Quand On Aime.

In Knekelhuis we have a particular fondness for artistic outputs that resist easy categorisation, and Diagonale des Yeux inhabits precisely that kind of territory.

Every aspect of the project is DIY/homemade. Their world drifts along the fringes of cabaret, strange 1980s French underground pop music to contemporary lo-fi scene — evoking the spirit of Nini Raviolette and The Residents — while delivering beautifully written songs that lodge themselves in your head almost immediately like a Cindy Lee ballad.

The tracks on Madeleine squeak and creak, wobbling on fragile hinges before suddenly opening onto moments of pure beauty.

Drums and guitars follow up synths and electronic percussions captured on tape between living rooms, studios and a concert space.

The band has a kink for choirs and playfully uses diverse languages. Their lyrics emerge through a homemade, patented four-hands cadavre exquis (Exquisite Corpse) process, where chance and dialogue shape meaning as much as intention.

Diagonale des Yeux is a singular project — equally strange and irresistibly pop-leaning. Music like weeds pushing through pavement cracks and, against all odds, turning into flowers.

Critically acclaimed Death Metal force TEMPLE OF VOID return with their new album, The Crawl. The caveman brawn of previous albums, namely Summoning the Slayer (2022), remains, but there’s a wider dynamic on the group’s fifth full-length album at play. Now a quartet—featuring guitarist Alex Awn, drummer Jason Pearce, vocalist/guitarist Mike Erdody, and bassist Justin Malek—the Michiganders aren’t shying away from their non-metal influences, seeking greater integration of grunge and post-punk with their brutish signature. Singles “The Crawl” and “Soulburn” demonstrate the proficiency of TEMPLE OF VOID's death-cloaked, spearheaded attack. From the high intensity of opener “Poison Icon” to the granite wall of “The Twin Stranger,” The Crawl isn’t just TEMPLE OF VOID evolved, it’s a harbinger of death metal to come. “The biggest shift for me on this record was not feeling like we had to fly the ‘death-doom banner’ as part of our identity,” says Alex Awn. “Death-doom, as a genre, gave us something to anchor our sound around when we started. It was always a reference and touchstone. At the same time, we always wanted to make sure we had our own spin on it. We’ve always been adding to the conversation, adding to the genre, giving our point of view. A huge part of what makes a Temple of Void record is the non-death-doom influences that make up our DNA. And on album five we never once asked ourselves, ‘Do we have enough death metal? Do we have enough doom metal?’ We simply wrote a heavy-ass record—let the chips fall where they may.” For lyrics, Erdody built on the psychology and fear themes of Summoning the Slayer. The overarching theme of The Crawl is, put rather simply, an “allegory about life, choices, and consequences.” It’s a qualitative view on the horrors of the human condition and the contemplation of our monstrous capabilities. “The Twin Stranger,” for example, is about being stalked by a person’s doppelganger; “Godless Cynic” draws on a short story by sci-fi author Harlan Ellison; and “Poison Icon” tackles the crushing effects of mankind’s intrinsic nature to deceive and control.

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

The ultimate deep listening experience from two masters of dark ambient. A slow descent into the blackened watery abyss, where light cannot reach. The first release from Sleep Research Facility since 2012's "Stealth" (Cold Spring) is inspired by the deep sea ocean floor. The Canadian-based composer explores notions of awareness and perception in the sub/unconscious listener. Focusing primarily on sound bereft of rhythm based energies, SRF provides an environments wherein the music adds texture to the silence. Using form without structure and concentrating on space as opposed to narrative, SRF entertains the idea that music can reside in the very fabric of sound itself. The brand new material here was created specifically for this split release.Taking inspiration from the beautiful, but often harsh landscapes and environments of his home on Anglesey, North Wales, Llyn Y Cwn has built on the nautical theme of "Du Y Moroedd" (Cold Spring). These tracks are based on field recordings relating to the ocean, and could be seen as a companion piece to the album. 'Dale Dawn' features a recording of the dawn chorus made from the floating pontoon at Dale, Pembrokeshire. 'Pebble' includes the sound of waves crashing on a Dorset cobble beach, thousands of rocks colliding in chorus. 'Doppler Current Profiler' is based on the sound of an ADCP, an acoustic sonar instrument used to measure water currents - a 600Khz ping slowed to a heartbeat. CD in mini-LP sleeve, replicating the vinyl design. The artwork features a separate front cover design with individual art for each side, making this a true split release.

Ohne Frage zählen Kerrigan zu den vielversprechendsten deutschen Newcomern im Bereich des traditionellen Heavy Metal. Im Jahre 2019 in Freiburg von Bruno Schotten (Gitarre, Bass) und Jonas Weber (Gitarre, Gesang) gegründet, spielte man ein Jahr später ein Demo mit den eigenen Stücken „Intruders“, „Force And Will“ und „Heavy Metal 2020“ sowie eine Coverversion von „Rest In Peace“ des NWOBHM-Geheimtipps Wolf ein. Als »Heavy Metal 2020« wurden die Aufnahmen über Fucking Kill Records als Tape und Vinyl veröffentlicht (später noch einmal von High Roller Records). Für ihr Debütalbum »Bloodmoon« (2023) holte man sich als Session-Schlagzeuger den befreundeten Jonathan Döring ins Line-up (der mittlerweile neben dem neu hinzugestoßenen Jakob am Bass zur festen Besetzung gehört). Die Scheibe erhielt in der Fachpresse nahezu überall außergewöhnlich gute Reaktionen. Jetzt, drei Jahre später, ist es Zeit für mehr… Als kleinen Vorgeschmack auf das neue Album hat sich die Band dazu entschieden, eine limitierte 7“-Single zu veröffentlichen. Die A-Seite „The Ice Witch“ ist eine der eingängigsten Nummern des Albums während die exklusive B-Seite „You Just Haven’t Earned It Yet Baby“, eine atemberaubende Coverversion der britischen Indie-Band The Smiths um den charismatischen Sänger Morrissey, den ikonischen 80s Sound mit melodischem Heavy Metal verschmelzt.

Following a successful first volume of the newly launched DC4 compilation this summer, Volume 2 arrives featuring four on-point singles from the label’s extended family of artists, alongside a string of label debutants. Heerhorst & PETER PAHN return to the fold following their contribution to ‘Dark Clouds’ with Teenage Mutants, a former Beatport no.1 and highlight of 2023 for the label. Continuing the celestial themes ‘Crystal Sky’ feels like part 2 to ‘Dark Sky’, a lively electro-tinted record driven by dreamy melody lines and chanting vocals that has plenty of peak-time energy. Italian behemoth’s Mind Against debut on Drumcode in collaboration with Tharat, ‘Cloud’ is one of the most interesting releases we’ve heard on the label in recent times, marked by a head-spinning flurry of stuttering, distorted sounds, all the while maintaining a rolling,

intoxicating groove. Rising German artist Kos:mo mints his first release on DC with ‘Samsara', a fierce acid techno cut that takes on a life of its own in the second stanza, equally fit for a film soundtrack as a dancefloor, such is its dramatic arc. OZBEK & Zafer Atabey are mainstays of the Turkish techno and tech house scene, ‘My Culture’ is drenched in attitude, a slick slice of punchy dancefloor grit, with a foot in house, techno and electro, driven by a rapped vocal line.

Here it is, finally.. something new, or is it new? A new classic jungle EP consisting of analog synthesizer, sine-wave bass, and direct-from-vinyl drums sampled on a hardware Akai sampler for a classic-style Jungle EP. The first in a series of (?) EPs direct from the source, in a limited vinyl release made for the listener of alternative environments, out-world spaces, and ether-real places, to be found only here.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 11

A1) Paul Kalkbrenner - No Goodbye (2019)

Berlin techno producer Paul Kalkbrenner became world-famous with his 2008 hit Sky & Sand. Since then, he has released one record after another and performed all over the world in the biggest venues and at the most renowned festivals. No Goodbye is one of his more recent hits, released in the summer of 2019.

The track was created using an a cappella he received on a demo tape while on tour. He was immediately inspired by the vocal and built his own sound and production around it. Interestingly, Kalkbrenner rarely uses vocals, but for No Goodbye he collaborated with Australian singer Chiara Hunter, giving the track a unique and instantly recognisable character. The result is a stylish, dance-floor-friendly track with a rolling house groove that quickly became a modern classic on dance floors worldwide.

A2) Water World - Give Me Love (2000)

This trance classic by Water World appeared in 2000 on the French label Adequat Records and is the perfect tune for a sunny summer evening. Warm melodies and pulsing beats instantly create that beach feeling, as if you were dancing with your feet in the sand. The record recalls Beachball by Nalin & Kane, sharing the same dreamy, sun-drenched vibe.

Behind Water World were producers Laurent David and Frédéric De Backer-names well known to many trance fans. In the nineties De Backer was active with projects such as Global Trance Mission (Dream Mission) and Y-Traxx, the trio that released the 1997 classic Mystery Land.

Give Me Love clearly bears their combined signature: euphoric, warm and melodic, with a timeless build that perfectly balances emotion and energy. The track was released on vinyl as part of Trance E.P. Vol. 01 and remains a fixture in retro-trance sets to this day.

B1) Panoramic - Colors (1996)

Colors by Panoramic is a Belgian trance classic released in 1996 on the legendary label XTC Records, a sub-label of Bonzai Records. Panoramic was a collaboration between Belgian techno icon Marco Bailey and Mauro Mirisola. The duo, also known under playful aliases such as The Coke Man & Sniff, released an EP featuring two powerful trance tracks.

We chose Colors, a tune with pure Belgian trance DNA: driving rhythm, dreamy synths and a catchy female vocal. The combination of Bailey's production expertise and Mirisola's creative touch resulted in a timeless track that still appears in many classic playlists.

B2) Natasha Bedingfield - Pocketful Of Sunshine (StoneBridge Club Remix) (2008)

British singer-songwriter Natasha Bedingfield released the album Pocketful of Sunshine in 2008, featuring the title track as a single. The original pop version became a major hit in North America, reaching the Top 5 in the US. Swedish DJ and producer StoneBridge (Sten Hallström) reworked the song into a groovy house version, released in the summer of 2008.

StoneBridge gave the upbeat pop tune a club-ready beat and an infectious piano riff that made it shine on dance floors worldwide. It was not his first time transforming pop into house gold-he had already achieved global fame with his remix of Robin S - Show Me Love (1992), one of the greatest house anthems of all time. He also remixed Sia - The Girl You Lost to Cocaine in 2008, another club favourite.

The StoneBridge Club Remix of Pocketful of Sunshine appeared on a special remix EP in July 2008 and was played endlessly in clubs-by us too, in the venues where we performed. The result is a timeless, sun-soaked house classic thatmakes sitting still impossible.

C1) Y-Traxx - Mystery Land (Fred Baker vs Mr Sam's Magical Mystery Dub Mix) (original release 1995)

Y-Traxx was a nineties trance project by DJs Laurent David and Fred Baker. This trance classic first appeared in 1995 as a B-side but gained real attention when it featured on a Paul Oakenfold mix album. Thanks to that success it received an official re-release in 1998 on the respected French label FFRR (Full Frequency Range Recordings).

In 2003 an excellent remix by Mr. Sam & Fred Baker followed on the Nebula label. That version is highly sought after on vinyl by trance collectors, and we are proud to feature it on our new sampler.

C2) Weiss - Feel My Needs (2018)

Feel My Needs by British producer Weiss (alias Richard Dinsdale) is the tune with that unmistakable old-school piano and catchy vocal that instantly pulls you onto the dance floor. Released in May 2018on the UK label Toolroom Records, the track is pure feel-good house with a modern touch. From the very first piano riff, hands go up in the air.

Toolroom even called it a "future anthem" for the summer of 2018, and indeed Feel My Needs became a huge floor-filler. The record charted high on global dance lists and gained massive popularity at festivals and clubs that year. With its warm piano chords, tight beat and soulful vocal, this is a modern house classic that will stay in the collective club memory for a long time.

D1) The Killers - Mr. Brightside (Jacques Lu Cont's Thin White Duke Mix) (2005)

American band The Killers formed in 2001 and scored a massive hit a few years later with Mr Brightside. Taken from their debut album Hot Fuss (2004), it became their biggest and best-known track-a true rock-pop anthem.

In 2005 the song was given an electronic twist when renowned producer and remixer Jacques Lu Cont (the alias of Stuart Price) created an eight-minute dance version titled Mr Brightside (Jacques Lu Cont's Thin White Duke Mix). This remix replaced the raw rock energy with a more progressive and electronic vibe, driven by a steady beat and long build-up.

The track found a second life in club culture and quickly became a dance-floor favourite. For vinyl collectors it was an instant must-have, and to this day it stands as the perfect party closer. The Killers themselves loved it so much that they often used the remix live as an outro, followed by the original version. A remix that perfectly bridged rock and club culture-and has since become a genuine classic.

D2) Sia - Drink To Get Drunk (Different Gear Remix) (2001)

The legendary ice-cube sleeve says it all: Drink to Get Drunk was a huge club hit in the early 2000s. Released in 2001 on the UK label INCredible, a sub-label of Sony Music, it was a collaboration between British DJ duo DifferentGear (Gino Scaletti & Quinn Whalley) and singer Sia.

The producers took Sia's original song Drink to Get Drunk from her album Healing Is Difficult and gave it a complete transformation, keeping her distinctive vocal and placing it over a hypnotic progressive-house groove.

The combination of Sia's unmistakable voice and the deep, driving production hit hard: the track became hugely popular in Belgian clubs and turned into an anthem of its time. In Belgium it even reached number one in the dance chart in early 2001, and it also performed strongly in the UK and the Netherlands.

To this day it remains a nostalgic crowd-pleaser that perfectly captures the atmosphere of the early 2000s.

Paris Ford Bass Player Musician In the earliest years of New York’s post-disco era when roller skating rinks were packed to the rafters and dance floors were alive with funk, R&B, and early electro grooves a young artist named Paris Ford laid down a recording that would quietly endure for decades.

Roll a Skate was supposed to be release on Streetwise Records, the influential New York dance label founded by producer and DJ Arthur Baker
home to seminal club classics and cutting-edge dance sounds of the early ’80s.

Only few month ago, Paris Ford, the artist has uncovered the original 2-inch, 24-track master reel of that recording the very masters from which Streetwise pressed its vinyl rediscovered after nearly 40 years.

Listening back, even Arthur Baker reflected that if he’d heard what Ford had captured back then, he would have released it as a second single a testament to the timeless energy and feel of the recording.

Have Isaac Carter & Callum Asa made the most tasteful tech house EP of recent memory? The short answer is
yes....

Isaac and Callum, known for their respective club nights: OCHI and Planet People have been quietly chipping away at the coalface of underground dance music for quite some time now.

Isaac - perhaps known more widely as a regular at Circoloco & Phonox has shared bills with the likes of Moodyman, DJ Bone, Kai Alce, Laurent Garnier and Marcellus Pittmann whilst being championed by Joy Orbison, Ben UFO, Moxie, Seth Troxler, Raresh and Floating Points to name but a few. With such an impressive CV and wide ranging support, it’s wild to note that the first EP released on his own label, OCHI only came out in 2023. His star is clearly ascending with rapidity - so when we throw long term collaborator Callum Asa into the mix, things start to get really interesting. Calum has been running Planet People for the last couple of years, welcoming incredible names such as Shed, Surgeon, Willow, Ploy, Cooly G, Rroxymore and so many more. Steel sharpens steel and having been surrounded by such esteemed talent, it’s clearly rubbed off on the pair who present 4 polished, meticulously constructed, club ready masterpieces, each with their own distinct feel and an insatiable groove.

‘Feel Me’ sets the scene with a descending baseline that would eek a wiggle out of the most reluctant spectator. The twisted dub eeks out even more groove, locking in a more sinister bounce for the heads. By The time ‘Understand’ get’s into full swing, we’re already under the spell of Carter & Asa, this is the kind of roller that could go on forever and ever. The synth embellishments and washes of analog synth pull us deeper and deeper in, prepping us for the finale , ’Try You’ which simmers with deep, brooding intensity.

The magic of the dup’s appeal is that this EP will find its way into the bags of the deepest diggers and also appeal to a new generation of house fans. Elements of it are accessible , but in the right hands - the EP will open a portal to new worlds.

This is the debut release on Superflux — a label out of New York run by DJ Brisket and Tamahori. It’s a dubby, pad-driven, deep house EP from four artists who all lived in the Midwest before landing in Brooklyn.

A1 – “Slow String (original mix)” is a straight-ahead deep house groover from Daniel Chavez, who has releases on Deep Club, Muted Noise, and Sole Aspect. Floaty pads, intricate drums and smart bass programming make for a warm and chunky tune. For fans of Brawther, Alton Miller, Ron Trent

A2 – “Slow String (Adam Raphael Dub)” is a remix from Chavez’s longtime friend and collaborator, Adam Raphael. He injects a heavy dose of West Coast tech-house into the original, like a combination of Bluem, Grayhound, and Tweekin’ for a 2025 audience

B1 – “The Blue Line (fleet.dreams remix)” is from the Mansions resident who also helms his own vinyl label, Vinezza. He takes a really driving and lush focus on this remix which evokes styles of Dana Kelley, Eddie Richards and Terry Francis Jr. He secured the coveted Hardwax “tip” on his solo EP last year, and delivers that level of discerning taste and skill here.

B2 – “The Blue Line (original mix)” is the track from IT-XPO that has anchored the release since day one. A thoughtful way to start the night, or for a soft landing in the morning sun. Heavy Shinichi Atobe and DJ Sprinkles influence here.

Cheeba’s Funky Rock Ensemble are back with two sides of funky rock breaks for hairy b-boys !

After the great feedback of their debut release 18 months ago, they went back into the studio soon afterwards to record some more slices of hip-hop orientated funky-psyche beats aimed at the dancefloor. Since then, both new tracks have been on a one-off dubplate and getting aired all over the country to an enthusiastic reception - so it’s about time we got them out there for everyone else to, like , just dig, maaaaan !

DRUG-CRAZED LONDON HIPPIES takes you down to the seedy back street clubs of late 60s swinging Soho - to the early discotheque scene and the psychedelic experience of numerous young rock groups and their fans. With heavy fuzz, funky beats and dirty flute loops this takes you straight to those hedonistic dancefloors in the early hours.

YOU WANNA RIDE ? Stays in the same era and same counter-culture, but on the other side of the Atlantic with the free festival vibe of alternative lifestyles in California. More fuzz-rock sounds, blended with heavy beats , screaming hammond and wordless female vocals to take you on a deep trip - to lose yourself in a field as the sun rises.

 ‘Heart Under’, Just Mustard’s second album and first for Partisan Records
(IDLES, Fontaines D.C., Laura Marling), is an album that asks you to forget
what you know. At every turn, this remarkable record reconfigures and
stretches the ideas and ambition of a rock band and turns a year of lockdown
and personal struggles into a breath-taking artistic statement.
 Across its 10 tracks, the album presents a coherent style and ethos - those
scything guitars, Katie’s magical vocals - but still incorporates a wide and
untethered vision. There are brooding, atmospheric rock songs (‘Still’, ‘In
Shade’) and others that apply a lighter, dreamier touch (‘Sore’, ‘Mirrors’), all
tied together with impeccable instrumentation and a united vision.
 On debut ‘Wednesday’, the band played with dreamier soundscapes and
production techniques, and ‘Heart Under’ serves as the next stage of this
development, with every instrument brilliantly pushed to its limit and every
boundary of the band stretched.
 After the band had finished recording and producing the album, ‘Heart Under’
was pushed even further into singular territory when the band worked with
mixer David Wrench, whose previous collaborators include Frank Ocean,
Let’s Eat Grandma, Jamie xx, FKA twigs and beyond. “We wanted someone
who had done pop and electronic records and didn’t just work within rock
music,” Katie says.
 “Ireland’s buzziest new band” - The FADER
 “Their rapturous reception here at SXSW is a testament to their startling
evolution as well as the excitement that can only come from watching a band
just beginning to realise the full extent of their powers.” - NME
 “They have well and truly mastered the art of atmospheric rock” - Loud And
Quiet (9/10)
 Supporting Fontaines D.C. on their European and US tours this year. They
were handpicked by Robert Smith to support The Cure in Dublin in 2019.
 Eire headline tour in June, UK headline tour in September, including Village
Underground, and EU headline tour in October.
 Choice Music Prize nomination for Irish Album Of The Year for their debut
album, ‘Wednesday’.
 CD housed in a cardboard wallet with lyric and photo insert.
 LP pressed on black vinyl and housed in a single sleeve jacket with lyric and
photo insert.

The Romantic, the new album from Bruno Mars. The fourth studio album from the global superstar and 16 time GRAMMY® Award-winning artist marks Mars' first solo album release since 2017's 24k Magic and follows chart topping collaborations with Anderson .Paak as Silk Sonic, as well as smash hits with Lady Gaga and ROSÉ.

Available for pre-order on the 9th January at 5AM GMT and set for release on the 27th February 2026.

Sixteen-time GRAMMY® Award winner and thirty-three-time GRAMMY® Award nominee Bruno Mars is a celebrated singer, songwriter, producer, and musician who is one of the best-selling artists of all time and now continuously the number-one most listened-to artist on Spotify. With recent hits like “APT.” with ROSÉ and “Die With A Smile” with Lady Gaga—the latter earning him two nominations for “Song Of The Year” and “Best Pop Duo/Group Performance” at the 67th Annual GRAMMY® Awards—Mars has celebrated another extraordinary year in music. Among his robust list of accolades, some of which include “Album of the Year” for 24K Magic at the 60th Annual GRAMMY® Awards and “Record of The Year” for Silk Sonic’s “Leave The Door Open” at the 64th Annual GRAMMY® Awards, Mars has held the number one global song for more weeks than any artist in 2024 with both “APT.” and “Die With A Smile.”