Suche:on land

Inexplicably, yet true, Lexx returns to International Feel with a record that lives exactly where his music feels most at home. In Between State is a gentle navigation between memory and motion, between what has passed and what is still quietly unfolding. It is reflective without nostalgia, uplifting without force. A record that trusts the listener to drift.
Another Beach opens as a meditation on time and possibility. It looks back with warmth but keeps its gaze fixed on the horizon. A reminder that nothing is fixed, everything moves, and somewhere ahead there is always another sunset waiting on another shore.
Unison follows as a celebration of togetherness. Open-hearted and weightless, it captures the simple magic of shared moments with friends, music traveling across a room, and the quiet certainty that joy multiplies when experienced collectively.
The title track In Between State settles into that suspended hour where day dissolves into night. Inspired by early 90s electronica yet unmistakably Balearic in spirit, it drifts forward with a subtle psychedelic glow, neither arriving nor
departing, just perfectly hovering in place.
Closing the journey, Durchs Hinterland rolls steadily outward into open space. Born from long rides through backwoods and side roads, it moves with hypnotic momentum and the calm rhythm of forward motion. Endorphins rise, thoughts loosen, and the landscape begins to breathe with you.
Four tracks, quietly luminous. Music for transition, companionship, and the spaces in between. Lexx remains exactly where he should be.

From the maniacal opening notes and carnival barker howl that launch the album, The Ugly Organ wasted no time searing itself into a listener's ears and quickly established Cursive as a musical force with which to be reckoned. A self aware examination of artistic constraints (or lack thereof), relationships, sex, and the intersection of all three, The Ugly Organ wowed critics and audiences alike with its cerebral, cathartic blend of songs. Fiercely intelligent and cohesive - the liner notes laid the songs out like a play, complete with stage directions - across its diverse sonic landscape, the album landed Cursive on the Sunday Arts & Leisure section cover of The New York Times (which also called it "a marvelous collection of riddles and left turns, conceived as a single piece of musical theater") and earned accolades from Rolling Stone ("a brilliant leap forward"), Entertainment Weekly, Billboard, Alternative Press, MAGNET ("The best punk record you'll hear all year"), Esquire, and SPIN, among many others, as well as a place on numerous year-end best lists.The Ugly Organ feels as vibrant and vital today as it did upon release more than 20 years ago. A landmark album, it not only catapulted Cursive from the simmering indie underground to the forefront of a genre, but also served to inspire a host of young bands in its wake.

The Amity Affliction return with one of the most personal and devastating records of their career. Following a decade-plus run as one of Australia’s most influential heavy bands, marked by ARIA chart-topping albums, platinum certifications, and global touring off landmark releases like Let The Ocean Take Me and This Could Be Heartbreak, the new album turns inward with unflinching honesty. Largely written about frontman Joel Birch’s relationship with his late mother, the record explores grief, trauma, faith, and self-reckoning through a series of deeply connected songs. “I’ll Break These Chains” confronts the confusion surrounding her death, “Afterlife” questions belief beyond this life, while the closing track “Eternal War” captures the ongoing internal struggle and the hope for change that never came. Musically massive and emotionally raw, this album stands as The Amity Affliction at their most vulnerable, cathartic, and fully realized.

UGHH – Underground Hyper Hero is the moniker of Vítězslav Špalek — composer, multi-instrumentalist, and singular sonic architect hailing from Karviná, a gritty coal-mining town in industrial Silesia, now living out his days under the sundrenched skies of southern Corfu. He improvises across synthesizer, trumpet, and voice, weaving musical collages from poetic texts spanning genres and movements. His collages carry an unsettling depth and pull you somewhere you didn't plan to go. They are distant lands beyond the water — where the trumpet cuts through space and time lurches forward in a sudden rush, only to nearly freeze and turn inward, listening to the echo of a far-off voice calling out from nowhere. A flock of birds drifts over a vast landscape while a powerful, repetitive beat pulses through all matter — living and dead alike. EP 49.923827, 14.221380 takes its name from the coordinates of its creation, and marks the first released material from the artist's yet-to-be-unveiled catalog. Three original tracks are joined by an eclectic postpunk remix from Berlin-based Menqui, an ethereal minimalist take from fellow Berliner Nadia D'Aló aka DALO, and local scene staple Mike.H — a devoted digger of obscure trance.

2026 Repress

Gaudi’s Jazz Gone Dub is a masterclass in genre fusion, seamlessly blending the improvisational essence of jazz with the heavy atmospheric grooves of dub. Known for his eclectic approach to music production, Gaudi pushes the boundaries yet again, creating a sonic landscape that feels both nostalgic and refreshingly innovative.

Four years in the making, from the opening track it’s clear that Jazz Gone Dub is more than just a mashup of styles—it's a thoughtful exploration of the intersections between two rich musical traditions.

Gaudi’s multi-instrumental talents are on full display, and the presence of reggae royalty is palpable, courtesy of rootsy melodies from David Hinds (Steel Pulse), Jah Wobble’s iconic bass grooves, Ernest Ranglin’s intricate guitar lines and Sly & Robbie’s rhythmic genius. Add Sardinia’s Train to Roots band, Manu Chao collaborator Roy Paci, veteran guitarist Marcus Upbeat, Mr Woodnote and Tim Hutton’s brass work, Gavin Tate-Lovery’s sultry sax and flute, Horseman’s percussive flair plus Colin Edwin and Vlastur’s serious basslines, and the
result is a rhythmic foundation that’s both solid and fluid, allowing the jazz elements to float freely above the dub undercurrents.

Despite this star-studded line-up, Gaudi remains the glue that holds this gem together: his production is meticulous yet organic, allowing each track to breathe and evolve naturally. The use of space, delays and reverb—a hallmark of dub music—is expertly handled, giving the album a dreamy, immersive quality. Tracks like Susceptible and Alabaster Moon showcase Gaudi’s ability to create mood and atmosphere without sacrificing melodic and rhythmic complexity.

In Jazz Gone Dub Gaudi has crafted an album that feels both timeless and forward-thinking, a celebration of musical synergy where the free-spirit of jazz meets the deep resonance of dub. Whether you’re a fan of either genre or simply appreciate masterful musicianship and innovative production, this album is a must-listen.

Yearly compilation series RADAR KEROXEN return with its sixth volume of theme-driven releases, continuing to chart the fractured sonic terrain of the Canary Islands’ undergrowth.

After digging through indie, psychedelia, shoegaze, and site-specific drone, Vol. 6 dives headfirst into the after-hours circuitry of the islas afortunadas, assembling a hand-picked selection of underground club mutations from five long-standing operators within the local electronic ecosystem.

If Vol. 5 was shaped by the cavernous resonance of Santa Cruz’s obsolete gasoline tank, Vol. 6 is fuelled by late-night club aesthetics and mid-90s hardware obsession. Opening the record, Dancelwerk — one of the archipelago’s early modular practitioners — delivers tightly wound structures nodding to Warp-era golden agefuturism and southern Tenerife’s rave boom. Cmos34 follow with their first-ever published material, injecting instability into the system through improvised techno rituals built on friction and feedback.

Jorganes drags the narrative deeper into hypnotic territory, stripping club music down to its skeletal pulse and channeling disciplined repetition and late-90s minimalism into austere, trance-inducing momentum. From Gran Canaria, Sunday German Flowers bends the mood toward cinematic dub: heavy low-end pressure, spoken word, and nocturnal atmospheres stitched into slow-burning club noir.

Closing the circle, Nico Hernández pulls the compilation back to volcanic ground with ambient compositions shaped by Lanzarote’s raw geological landscape — basalt echoes, tectonic silence, and island isolation rendered in sound.

As always, the release is housed in a post-tropical collage artwork by Pura Márquez.

Master by Daniel García
Artwork by Pura Marquéz

Dancing Waters is a musical fusion where the Mediterranean soul meets the deep-rooted mysticism of Cental Asia. Inspired by the surprising resonance between the work melodies of Balearic Islands and Pitiüses Islands and the haunting beauty of Persian and Byzantine melodies. QANAT weaves together the rich traditions of the Mediterranean, Mesopotamia, and Persia. The project blends old Balearic work songs with the modal textures of Middle Eastern and Central Asian music -including influences from Iran, Turkey, Tajikistan, and the ancient region of Khorasan. At the heart of the project is the remarkable melodic kinship between Balearic field songs-once sung during rural labor-and the ancient echoes of Byzantine chant. QANAT bridges these traditions, crafting new musical landscapes through original compositions, instrumental dialogues, and vocal ornamentations that celebrate the shared soul of these distant-yet-connected cultures.

Hatchback is the alias of Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs. ‘Phaser For The Ocean, Chorus For The Moon’ is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Soaked in Californian consciousness, the album is a balm like no other for these troubled times.

When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like ‘Quadrophenia’ and ‘The Lamb Lies Down on Broadway’, as well as epic pieces that took up an entire side of a record: Pink Floyd’s ‘Echoes’, Yes’ ‘Close To The Edge’, Klaus Schulze’s ‘Nowhere Now Here’, Miles Davis' ‘Shhh/Peaceful’ and ‘He Loved Him Madly’. In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title - Yes’ ‘Tales From Topographic Oceans’, and Tangerine Dream’s ‘Zeit’ being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural - if indulgent - goal. From there, each new piece followed sequentially. Four songs. My fourth album. - Sam Grawe

‘Phaser For The Ocean Chorus For The Moon’ is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI.
These are songs for the sunrise and the sunset - and every colour in between.

[a] 01. And The Walls Became The World All Around [18:53]
[b] 02. Phaser For The Ocean, Chorus For The Moon [21:48]
[c] 03. Other Desert Cities [20:19]
[d] 04. Friendship Fountain [18.33]

(DL code included)

Six touching tracks that, starting from quiet ambient atmospheres, initially soft, tenuous, and crepuscular, gradually seem to soar... ascending towards celestial spaces, revealing ever-wider and brighter landscapes below, ever-more distant horizons, ever-more infinite spaces...

Highly evocative progressions, guided by sober and delicate melodies and driving, pulsating bass lines, wonderfully deep (best enjoyed with a good stereo system to truly appreciate them), the kind that make your stomach churn before you even perceive the exact frequency and harmonic progression, often "set" in sober rhythmic patterns that mark the time, making a sonic journey even more dynamic and compelling.
If it doesn't surprise you, it's probably only because you've already had the opportunity to explore and "plumb" Fabio Orsi's most recent discography, and are already accustomed to the best of what this new wave of distinctly electronic but ambient-inspired music has to offer.

Vienna sludge doom masters TARLUNG return with their most focused and destructive statement to date. Axis Mundi is a massive slab of low tuned heaviness forged in the darkest corners of sludge and doom.
Built on suffocating riffs, dragging tempos, chugging grooves and feral vocal delivery, TARLUNG create a sound that feels both crushing and hypnotic. The band move between oppressive sludge weight, bleak doom atmospheres and abrasive noise soaked tension, shaping long, immersive compositions that pull the listener into a collapsing sonic landscape.
While rooted in nasty, direct sludge doom, TARLUNG also explore experimental textures, subtle dynamic shifts and rare moments of contemplation within the chaos, only to be swallowed again by waves of uncompromising brutality. This is an album made for listeners who want weight, tension and depth, not just volume.

For Fans Of: YOB, Crowbar, Weedeater, Iron Monkey, Dopethrone, Thou, SUMA

Dry Socket is a politically charged hardcore band from Portland, Oregon, known for blistering performances and emotionally uncompromising songwriting. Rooted in the raw aggression of classic hardcore, their sound channels the urgency of early Ceremony, G.L.O.S.S., and Negative Approach while carving out a distinctly modern, inclusive space within the genre, one where anger, grief, and survival are not just themes, but lived realities.

Their music confronts systems of violence, coercion, and control with unflinching honesty, creating room to be unapologetically furious, vulnerable, and alive at the same time. Every riff lands like a strike; every lyric feels torn from experience rather than abstraction.

Since forming, Dry Socket has toured extensively across the U.S., Europe, and Mexico, sharing stages with Gorilla Biscuits, The Hope Conspiracy, Torso, and more.

Their latest record, Self Defense Techniques, centers on survival under constant pressure. Inspired by the practice of dehorning rhinos to protect them from poachers, removing a vital part of the animal in order to keep it alive, the album examines the compromises people are forced to make to endure a hostile world. Horns are tools for protection, communication, care, and identity. To survive, so many of us are taught to remove our own.

Across the record, Dry Socket interrogates life inside systems that demand silence, obedience, and self-erasure. Songs wrestle with exhaustion, spiritual betrayal, and economic violence, oscillating between fury and grief. Self Defense Techniques isn’t about triumph, it’s about endurance, documenting the cost of staying alive while refusing the lie that softness is weakness or that silence is peace

Nitai Hershkovits and Daniel Dor return with Found & Found, their second collaborative album and a natural continuation of the musical dialogue initiated with The Garden Suite.

Born out of pure curiosity - "there was more to say, more to explore," explains Dor - the album expands the duo's sonic language beyond the synth-only framework of their previous work. While the Moog remains central, Found & Found introduces clarinet and acoustic guitar, gently dissolving the boundaries between electronic and acoustic sound.

Each composition unfolds through interlocking, mantra-like patterns. Repetition becomes a space for transformation: melodies circle, textures shift, and subtle harmonic movements invite the listener inward. The music is structured with care, yet it feels open and fluid. intimate, spacious and quietly immersive. If their previous record explored orchestral depth through synthesizers, this new chapter embraces air and clarity. Acoustic gestures emerge within electronic landscapes, creating a sound world that is both grounded and weightless.

Nitai Hershkovits brings with his fellow partner Daniel Dor a refined harmonic sensitivity shaped by both jazz and classical traditions. Together they continue to refine a shared language that moves between structure and freedom, precision and emotion.

Bright morning. To noon and into afternoon. To dusk and the inky night.

A major new exhibition of Mammo’s music spread across a triple disc, twelve track album. Call it a compendium or summary, a network of sparking neurons and painted landscapes in techno.

It folds in all the aspects of his other identities (self-)released over the last few years into an ultimate package ~ Heaven Smile, A∞x, CoA-A, E35, Puddlerunner; really any other project Fabiano has assumed an identity under. It all finds its way into the code and format of Lateral in some way or another.

Here the ground is given for the listener to hear just how much range and individual language there is in the music he’s been making. Fully immersive, inventive and detailed while also elegant and light of touch. It’s quite a package from one of the most talented techno producers right now, gesturing towards different genres and novel ideas in beautiful and intuitive fashion.

Break the pack down for your preferred disc of the day if you like. It’s designed with that modularity in mind. Disc one sparkles with vitality and a buoyancy. The middle disc has more drive and harder bites that you may want to amplify and split out to slot in a DJ bag. Sides five and six move into deeper, dreamier and more emotional techno in twilight. Each one is a little distinct and has its own orbit.

But give it your full attention on the turntable platter too. A listen from beginning to end. There’s lovely dynamics and interplays in the narrative, and its a remarkable new body of work to let your time dilate to.

Mastered and cut by Rashad Becker.

Art by Mammo.Works.

Evighet proudly unveils its fifth release, EVIGHET005, featuring the Sky City EP by Dave N.A., the prolific producer from Yerevan known for his refined sound design and emotionally resonant compositions. With a catalog that spans labels such as Typeless Records and Uppers & Downers, his work continues to bridge precision and sensitivity, exploring the borders between rhythmic architecture and ambient introspection. On Sky City EP, Dave N.A. constructs an intricate sonic landscape where lush atmospheres coexist with fractured breaks and IDM-inspired rhythms. Rooted in the traditions of Jungle and Breakbeat yet unbound by genre, each piece reveals a narrative built from texture, movement and space. His music invites reflection while maintaining a dynamic forward energy, evoking the sense of motion through memory and dreamlike transitions. A central moment in the release is “Bloom”, which features a collaboration with Hayk Karoyi on flute. His performance adds an organic depth and melodic fluidity, weaving through electronic layers with warmth and clarity. The result is a delicate interplay between human breath and machine pulse, blurring the boundary between the natural and the synthetic. Sky City EP marks a new chapter for Evighet, reaffirming the label’s dedication to sound as a medium of exploration and storytelling. Through this release, Dave N.A. captures both emotional immediacy and compositional detail, expanding the label’s evolving narrative with a vision that feels deeply personal yet universally resonant.

Part Two of our 'Back To The Old School' series has arrived in full effect. Once again, Mr "Love" Lee updates classic disco-rap cuts for today's dancefloors while preserving their original flavour and integrity. Kicking things off is Xanadu & Sweet Lady's Jamaican version of "Rappers Delight," where Dave refreshes the instantly recognisable percussion track into a captivating jazz-funk workout, perfectly complementing Sweet Lady's luscious rapping and somehow making it even more danceable than ever. Up next, Solo Sound "We Are The Crew (Called Solo Sound)" delivers a swampy, lo-down slice of cosmic funk primed to rock any block party. On the flip is an alternate Philly flavoured take on TJ Swann's 1981 jam "Get Fly." This time Dave Lee re-tracks the MFSB backbone, putting his remixing prowess fully on display and landing squarely in the dancefloor sweet spot. As a bonus, any wannabe disco rappers can hone their skills over the B2 Shepherds Delight (No Rapstrumental Mix).

BODYSYSTEM is the solo project of Finlay McCarthy (synth player for Glasgow art-pop innovators Walt Disco). "Flowerbed" is his debut EP on KIN-TU Records, blending melodic electronics, skittering breakbeats, rave textures, and emotionally charged songwriting.

The EP includes collaborations with Tiger Cohen-Towell (Divorce) and Pearling, bringing two distinct vocal turns to the record. "I’m Still Available" lands as a yearning pop-dance cut with restless breakbeats and rave pressure, while "When I See You" (feat. Pearling) leans into a luminous, emotionally warm club feel. The EP closes out the KIN-TU003 campaign and marks a strong debut statement from a Glasgow artist already known for his work in Walt Disco.

2026 Repress !

Black Label #36 is introducing Mladen Solomun to the Compost Black Label Crew. Solomun who was born in the heart of Bosnia, grew up and still lives in Hamburg. Beside his residency at "Uebel & Gefaehrlich" he is the host of Club "DIY" in his chosen hometown Hamburg since five years now. With his first releases on labels such as Diynamic Music, Sonar Kollektiv, Liebe*Detail and Steve Bug's Dessous Label his tracks were played and charted by DJs like Gabriel Ananda, DJ T., Tobi Neumann, Martin Landsky, Laurent Garnier, Tiger Stripes just to name a few.

For his Black Label debut Solomun has built three very deep and organic tracks.

Petter Eldh's explosive ensemble Koma Saxo continues their adventures with a new album "Koma West", out on We Jazz Records, 18 March 2022. The album sees Koma Saxo expand on their previous sound with the addition of vocalist Sofia Jernberg and a strong cast of featured artists, including cellist Lucy Railton, violinist Maria Reich, pianist Kit Downes and accordionist Kiki Eldh (Petter's mom!). The hard-hitting key quintet remains, including Eldh on bass and assorted instruments, Christian Lillinger on drums, plus saxophonists Otis Sandsjö (of Y-OTIS), Jonas Kullhammar and Mikko Innanen bringing the SAXO to the KOMA operation.

At 14 tracks, "Koma West" is a full menu of monumental compositional ideas that could spawn entire albums. True to his chop & go production style, Eldh relies on continuous movement while presenting another all killer no filler program taking Koma Saxo on a sonic outing not quite like anything that had previously appeared under the band's name. That being said, there's very much the Petter Eldh touch here, one which might be hard to pinpoint and verbalise, but nevertheless a recognisable style of composing, producing and arranging.

Thematically, the album is rooted in the West Coast of Sweden, where Eldh grew up – he's from a tiny town called Lysekil. There's a thread of Swedish folk song tradition that has been part of the Koma Saxo DNA from the get-go and you can hear that here as well, especially on cuts such as "Närhet", beautifully sung by Sofia Jernberg.

Petter Eldh says:

"In a way, it's a concept album and a celebration of the Swedish West Coast. The first single is called 'Koma Kaprifol', and kaprifol is the landscape flower of Bohuslän on the West coast, where I grew up. I'm not too wild about attaching strong narratives to my music but there's no way around it this time. The oysters, a common snack around the coast, are a strong conceptual presence here. Anyway, they seem to pop up here and there quite often already thus far in the Koma Saxo narrative, even though it's not always so obvious. Koma Vocals! Koma Strings! I love the presence of Sofia Jernberg here and I love writing string arrangements, too, although I never thought I would do it for Koma, but of course, Koma should have some strings, why not?. Koma Saxo should and can become anything."

In the vibrant, post-millennial landscape of independent hip-hop, few collective names commanded as much respect as the Living Legends. A monumental alliance of some of the West Coast's most respected solo artists—including Murs, The Grouch, Eligh, Aesop, Bicasso, Luckyiam, Sunspot Jonz, and Arata—the crew's 2008 album, The Gathering, served as a powerful declaration of their unity and enduring relevance.

The Gathering was a snapshot of a legendary crew working at the peak of their collaborative power. The project masterfully weaves together the diverse styles of its eight members, moving effortlessly from the conscious storytelling of Murs to the soulful, introspective flow of The Grouch and Eligh, and the abstract lyrical dexterity of Aesop. The production, handled largely within the collective, provides a lush, sample-heavy, and distinctly West Coast soundscape that perfectly complements the lyrical fireworks. Tracks like the anthemic title track "The Gathering" and the legendary posse cut "After Hours" showcase the organic chemistry that made the Living Legends a seminal force in underground music.

For the first time ever, this pivotal album is being officially pressed on vinyl. This highly anticipated Record Store Day 2026 release finally delivers The Gathering to the format its rich, soulful production has always deserved. This limited edition pressing is presented on striking Coke Bottle Clear Vinyl, a perfect visual complement to the album's crisp, refreshing sound.

A crucial artifact of independent hip-hop history, The Gathering on vinyl is an essential addition for fans who have supported the Living Legends for decades and a must-have for vinyl collectors looking to own a tangible piece of the era's best crew collaborations. Don't miss the chance to own this definitive, first-ever vinyl pressing of a true underground classic.

April Records proudly presents the new album from Danish trombonist and composer Lis Wessberg. Her most personal album to date, In The Wake of Blue is a song-driven work exploring transience, love, and transformation. Expanding her writing while remaining rooted in her distinctive instrumental voice, Wessberg creates an intimate musical landscape where lyric, melody, and texture carry equal weight. Wessberg has established herself as a leading voice on the European jazz scene through her band Yellow Map and a series of acclaimed releases on April Records. Her previous album, Twain Walking (2024), marked her first step into English-language songwriting and earned a Danish Music Award nomination in 2025 for the track Behind the Walls. In The Wake of Blue develops this direction further. The album draws on images from nature - sea, tides, clouds, mist, and birds - used as emotional anchors rather than abstractions. These elements frame songs that move from uncertainty and loss toward openness, connection, and renewal. The title reflects this arc: "blue" as melancholy, depth, and memory, and what emerges in its wake. Vocalist Veronika Rud is central to the album"s sound, bringing vulnerability and clarity to the songs. Rather than a traditional singer-led project, the music unfolds as a dialogue between voice and trombone, with Wessberg"s warm, airy tone mirroring and extending each song"s emotional core. At times the two move in close unison; elsewhere, they diverge and reconnect. The core ensemble - Steen Rasmussen (piano and keys), Lennart Ginman (bass), and Jeppe Gram (drums) - provides a responsive, understated foundation, while string quartet Live Strings appear on two tracks, expanding the ensemble"s depth and resonce. In The Wake of Blue offers a quietly assured statement from an artist continuing to refine a voice that speaks as clearly through brass as it does through words.

Grounded in a season of life that has been earned rather than borrowed, Benjamin Tod speaks with the ease of someone no longer running from himself. There is joy now - a steadiness that comes from commitment. With the recent arrival of his son and a deep well of new music on the horizon, Tod is firmly rooted in both purpose and possibility. That clarity is evident in Vengeance and Grace, the Lost Dog Street Band frontman's forthcoming and most expansive solo album to date. Conceived as a "dual-version" release, the project presents two parallel worlds: (Alone) is a stripped solo-acoustic version, along with its full band counterpart.

Together, the two versions form the full range of what Tod is capable of: restraint on one side, force on the other. At the core of Tod's writing is a simple conviction: music should serve something larger than the moment. His writing speaks to mind, body, and soul, shaped by faith, discipline, and a hard-earned understanding of consequence. The darkness that once defined him is neither denied nor indulged. It is understood and no longer in control. Today, Tod moves with a sense of calm that wasn't always there. He is grateful, settled, and intentional, continuing to follow the compass that's guided him from the beginning. Rooted in traditional country and folk, his work stands firmly in the modern music landscape, shaped by experience, restraint, and the life he's built around it.

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

In the Summer of 2023, Dans Dans were nearing the end of a two-and-a-half-year-long period of intense creativity, during which they had released two celebrated albums, Zink and 6, and had toured extensively in Belgium and abroad. Feeling it was time for a well-deserved break in activity, they decided to play three final, intimate concerts before going into hiding: two consecutive nights at Trix in Antwerp (hometown of drummer Steven Cassiers and guitarist Bert Dockx) and one at Botanique in Brussels (hometown of bassist Frederic Jacques). 'LIVE!', Dans Dans' first ever full length live record, features highlights from these memorable nights, offering excitingversions of several of the group's most beloved compositions from across their back catalogue. While the band is, at the time of writing, getting ready to start working on new material, these recordings from 2023 are a good reminder of the magic Dans Dans are able to conjur when they get together and play. Here is one of the most original instrumental trios of the last two decades in their natural habitat, on stage, performing for a live audience, speaking through their intensely personal music. Here is Dans Dans at full flight, effortlessly blending different musical genres and painting fascinating sonic landscapes full of energy, mystery and contrast.

Belgian minimalist, Dutch-language new wave/synth pop, since 1981! The historic album ‘Jonge Helden’ (1981) brought them instant eternal fame, the single ‘Lekker Westers’ (1983) a Belpop classic & the line-up changed wildly with icons such as Luc Van Acker (Revolting Cocks), Dani Klein (Vaya Con Dios), Willy Willy (The Scabs) or Andrew Chi Claes (Stuff) ...

However, MARCEL VANTHILT (lyrics & music) continues to rock the anarcho-Dadaist-electro-super-tronica scene to this day. Side note: Vanthilt often strayed into TV land (BRT, VPRO, MTV-EUROPE, BBC) and is now a DJ at Radio WILLY with the alternative ‘De M-Show’.

AA! is once again performing frequently in the best clubs (Depot, Casino, Macca) and on major stages (Pukkelpop, Villa Pace, Paulus Oostende). This will also be the case in 2026! This is due to the fresh and spicy new album ‘AA!PKPP’ in collaboration with PARKAPARAPLU.

PARKAPARAPLU: New dark wave duo from Antwerp. With ...

> EMMA ROTSAERT, singer and actress. She plays the lead role in the Ensor-nominated TV drama series ‘How To Kill Your Sister’ (2025). And comes from the same absurd planet as Vanthilt.
> GEERT VANBEVER, veteran of Wizards Of Ooze, Rudy Trouvé Septet, Dead Man Ray, Tuff Guac, among others... worked with Hugh Cornwell (The Stranglers) and Budgie (The Banshees), among others. Together, Emma & Geert also have a Sisters Of Mercy tribute band: Body Electric.

Sean Solomon had great expectations. But when his hopes for an abundant world crashed up against an unforgiving reality, he decided to feel nothing. For a time, the Los Angeles-born-and-raised singer/songwriter and cartoonist/animator gave into the void - an understandable impulse when the landscape is cluttered with social injustice and division, global atrocities, and devastating headlines. But artistic expression can be a release valve - a way to comprehend the world and build community, which is exactly what Sean does on his debut solo album, The World Is Not Good Enough, arriving April 17th, 2026 via his new label home of ANTI- Records.

"Tunupa", the second album by Bolivian band Radio Cutipa is out now on Rey Record (Peru)! Radio Cutipa fuses native Bolivian music with electronic soundscapes, mixing past and present in a unique musical experience. Radio Cutipa's second album, "Tunupa," fuses Bolivian musical roots with electronic soundscapes, creating an experience that connects the past and present. Released under the Peruvian label Rey Records and distributed worldwide by Vampisoul (Spain), this independent project seeks to position electrofolk as one of the region's most innovative expressions. "Tunupa" represents the encounter between the ancestral and the contemporary. Inspired by Bolivia's sacred landscapes, the album narrates a spiritual and sonic journey through rhythms such as Andean cumbia, electronic huayño, Bolivian rap, and high-altitude soundscapes.

Shrunken Elvis ist ein Trio aus Nashville, bestehend aus Spencer Cullum, Sean Thompson und Rich Ruth - drei erfahrenen Musikern, die ihre Liebe zu genreübergreifender Instrumentalmusik verbindet. Die Gruppe entstand aus langen Autofahrten durch Europa, Winter-Jam-Sessions und dem gemeinsamen Bestreben, Musik eher aus dem Bauch heraus als aus Ambitionen heraus zu machen. Cullum, ein in East London geborener Pedal-Steel-Gitarrist, spielte bereits mit Angel Olsen, Lambchop, Miranda Lambert und Billy Strings gespielt und zwei Solo-Folk-Psych-LPs bei Full Time Hobby veröffentlicht. Thompson kam mit Gnarwhal und Promised Land Sound in der DIY-Szene von Nashville groß heraus und tourte später mit Margo Price und Skyway Man. Ruth schafft unter dem Namen Rich Ruth (Third Man Records) immersive Soloarbeiten, die spirituellen Jazz, Ambient und Post-Rock miteinander verbinden. Ihre Anfänge gehen auf eine Europatournee im Jahr 2022 zurück, die sie im Rahmen von Cullums Soloalbum unternahmen. Mit einem kompakten Setup aus Gitarren, Pedal Steel und Synthesizern in einem VW Passat zusammengepfercht, begannen sie unterwegs zu komponieren - und entwickelten eine gemeinsame musikalische Sprache, die sie in ihre Wintersessions in Nashville mitnahmen. Sie nahmen in einem Studio in einem Schuppen um einen Heizstrahler herum auf und fingen den Geist dieser Reisen mit Spontaneität und Vertrauen ein. Ihr Debütalbum zielt nicht darauf ab, individuelle Fähigkeiten in den Vordergrund zu stellen, sondern die Instrumente zu etwas völlig Neuem verschmelzen zu lassen. Mit der Einstellung ,keine Ziele, nur Ideen" schufen sie Musik, die sich ungezwungen, explorativ und lebendig anfühlt. Verwurzelt in den Traditionen von Kosmischer Musik, Jazz-Fusion, Elektronik und Ambient, lässt sich Shrunken Elvis von Alice Coltrane, Michael Rother, Pat Metheny, Ashra und KLF inspirieren lassen - zusammen mit visuellen Einflüssen wie ECM-Albumcovern und den Filmen von Kurosawa und Bergman. Gemischt von Jake Davis (William Tyler) und mit Artwork von Max Kinghorn-Mills (Hollow Hand) ist ihr Debüt ein leise drängendes, zutiefst kollaboratives Album - Musik, die ohne Erwartungen entstanden ist, aber voller Absicht.

A new duo and record label based in Madrid lands on the underground techno scene, led by Mike Gómez and José Castillo, the latter known for his aliases Milford and UHF, and also the owner of the electro label Gladio Operations.

Diorama is born with the intention of recovering the soul and essence lost in electronic music, which for some time has become practically homogeneous and predictable. With a timeless, fresh, and warm sound, Diorama produce rhythms close to dub and Detroit techno, mainly influenced by Juan Atkins, UR, and Basic Channel, among others.

This EP, titled Pacific Trak, begins with a nod to the old Scottish school, where they revive a forgotten track by British producer Anthony Scott, adding its imposing main chord to a true sea of melodic textures, bathed in exquisite acid. Spanish techno master Tadeo gives us his vision of Pacific Trak, exploring dub territories that remind us of past pieces released under the incomparable Maurizio label.

The B-side opens with Soul Memories, a manifesto of resistance that vibrates with detuned harmonies and raw bass lines, recalling the origins of Detroit’s primitive sound. The package closes with Polymorphic, a progression of relentless aquatic chords, set among careful and precise minimalist rhythms that oscillate between high-dynamics tech and dub.

Artist and multi-instrumentalist Flaer embraces the search for quiet miracles on first full-length LP Translations.

In 2023, Realf Heygate - who makes music as Flaer - released his debut mini-album Preludes, composed on his mother’s piano and his childhood cello.Returning to ODDA for his debut full-length album, Heygate is now looking in another direction. A record that embraces transition and movement, Translations is in many ways more internal, less rooted to a single place and reflective of the process of laying new foundations in Cornwall.

Like Preludes, Translations is coloured with found sounds and field recordings, from the starlings which can be heard singing through the open window of his studio, to the brittle recordings of his mother, who was a linguist, learning Spanish on a set of language tapes. In both cases, Heygate embraced the translations and memories inherent to the sounds.

“When I digitised my mother’s tapes, they warped and stuttered in a very similar way to the starling’s song,” he explains. “They had this uncanny rhythm and pulse that I couldn’t quite decode, but was saying something." These decayed transmissions hint at loss, resisting clarity in favour of the ineffable.

Translations is also a record of ambiguities and in-betweens, suggested by the double meaning of the album’s opening track ‘Entre’. At once intricate and expansive, threaded with birdsong and acoustic guitar motifs, this and ‘Starling Descends’ (a reference to Vaughan Williams’ ‘The Lark Ascending’) act as a bridge away from the pastoral themes of Preludes towards a more assertive sound. At times intimate in its textured instrumentation and at others more overtly grand in orchestration, reflecting awider palette of influences.

“Flaer began in many ways when I picked up my mother’s instruments, seeking a form of reconnection. Where words evaded me, they became the tools through which I found a language for grief – and above all, for love.”

Recorded between 2023 and 2025 – what Heygate calls “A gradual process of sowing and harvesting ideas rather than a single intense creative period” - each track follows a rhythm similar to the small maquettes and sculptures he has been working on in his visual practice, whereby structures and melodies form intuitively in moments that are as rare as they are fleeting.

“It's that feeling of searching that I really enjoy,” Heygate continues. “I never know what the destination of the composition is going to be, and I never really find what it is."

Translations is released on limited edition off-white vinyl LP (500 copies worldwide) with one of five signed and numbered handmade risograph prints. It's also available as standard black vinyl LP and digitally.

"Hayalet Kırıkları" unfolds like a diary of fragmented memories, where voices, textures and distant echoes blur into something both intimate and unsettling.
Hilal Can’s luminous presence meets Tzii’s raw sonic landscapes, creating a music that feels suspended—between memory and invention, absence and desire.
With the spectral violin of Ruben Tenenbaum, the record shimmers like a fragile world on the verge of dissolving.

Diffuse Reality presents TOBAS 004. Four tracks crafted by Obscur. Deep, intense techno that invites reflection from the very first beat. Each sound wraps around you with subtle precision, shaping a unique atmosphere with a minimalist spirit that breathes through every bar. Prepare yourself for a journey with no return. A sonic landscape unfolding in the shadows, guiding you through until the last pulse. Released on vinyl and digital, this edition captures a world of shadows and tension. There will be no repress. A single, definitive cut.

José González has delivered a new album, Against the Dying of the Light, a companion and further meditation on the themes of his critically acclaimed album, Local Valley. Where Local Valley turned inward toward place, language, and personal reflection, this new record widens its gaze, becoming an urgent call to preserve the light of humanity with all its flaws, at a moment when, technology increasingly shapes how we think, feel, and relate to one another.

While José has always embraced technological advancement, he questions the assumption that every new possibility must be pursued to its maximum potential, especially when progress comes at the expense of human flourishing, attention, and empathy.

Keeping in the tradition of folk music as protest, José’s new single — sharing its title with the forthcoming album — urges listeners to resist systems that dehumanize and divide: “Disconnect from every algorithm, every perverse incentive that drags you down. Let’s rebel against the replicators, against the dying of the light. Kill the codes that feed the hate, keep the codes that make you thrive, celebrate the **king fact that we’re alive.”

Across the album, González works within a deliberately minimal framework, pushing his familiar palette to new heights through subtle variation, restraint, and detail. Each song unfolds with its own distinct character, proving how much emotional and musical range can be achieved within self - imposed limitations. Written in English, Swedish, and Spanish, the record reflects his Swedish - Argentine roots and frames its humanist message as a global one rather than a purely personal or political statement.

José González is one of the most quietly influential artists of our generation. The Swedish - Argentine artist has built a singular musical world from hypnotic, minimal guitar work and his unmistakably gentle voice — a sound that has become deeply personal to millions of listeners worldwide. With billions of streams across platforms and hundreds of thousands of physical records sold, González’s songs often act as emotional landmarks. Ask almost anyone, and they can name at least one of his tracks tied to a defining moment in their lives.

Written in 1971 and read here by the author himself "Through the Billboard Promised Land Without Ever Stopping" is Derek Jarman's only known work of narrative fiction. Providing a prelude to some of the imagery Derek Jarman would use later in his career, particularly the alchemical dreamscapes in the film "Blue", it is a surreal, hallucinatory fairytale, signposted with elements of modernity, that has much of the mythic and archetypal about it. With tantalising autobiographical details and a panoply of chromatic landscapes and psychosexual symbols, this richly poetic story details a journey with no destination or purpose across a mythical America, undertaken by the young blind King Amethyst and his valet John. Previously only ever released on cassette (2022, Prototype Publishing, Ltd 80), this vinyl edition features facsimile images of the story's handwritten drafts from Jarman's archive and photos by the artist Michael Ginsborg, a close friend of Jarman's throughout the period of the story's writing. Licensed from House Sparrow Press / Prototype Publishing, and The Estate of Derek Jarman.
• Ltd x 500 copies on heavyweight 180gm black vinyl in gloss sleeve.

A cocktail of rebellious queer vocal fragments, deceptive percussive granules and swaying hammered vibrations, upsammy and Valentina Magaletti's first collaboration trembles with suspense. The seeds of 'Seismo' were sown following a commission from Amsterdam's Rijksmuseum to soundtrack an exhibition of work from the Museum Boijmans van Beuningen in Rotterdam and the duo didn't want to approach their collaboration flippantly. So, wandering the museum's maze of rooms, they recorded various improvised percussive sounds with their arsenal of microphones, using the space to inform various rhythms and textures that were sculpted later into electroacoustic vignettes. This was just the starting point, though; as Magaletti and upsammy began performing together, the project evolved and 'Seismo' began to take shape. The duo had struck on a salient aesthetic concept, using mostly digital and acoustic mallet instruments to blur the boundary between their roles and create friction between the synthetic and the authentic. And the finished record is a phantasmagoric push-and-pull between its various conflicting elements: harmony and dissonance, randomness and predictability, openness and constraint. 'Seismo' isn't the first time that upsammy has studied her environment in search of revelation. On her acclaimed second album, 2024's 'Germ in a Population of Buildings', the Amsterdam-based DJ, producer and multidisciplinary artist erected her complex, unorthodox rhythms and eerie melodies around a modernist frame of field recordings collected in various cityscapes, countering heavyweight basslines with subtle, microscopic sounds. London-based Italian vanguard Magaletti, meanwhile, has applied her unique logic to innumerable projects at this point, working with everyone from batida icon Nídia and hardcore-dub outfit Moin to French writer Fanny Chiarello and British bass scientist Shackleton. For years she's approached the drums with criticism, attempting to challenge any preconceptions, something that's most visible on 2020's 'A Queer Anthology of Drums'. And both artists' thoughtful perspectives are welded together seamlessly on 'Seismo', a dizzying suite of eight eccentric statements that's fragile but never insecure, gauzy but not indistinct. An unnerving sense of space characterizes 'It Comes to an End' as Magaletti's in situ improvisations herald for upsammy's microscopic glitches and chiming pitch-bent melodies. It's almost unbalancing to witness the track's impossible dimensionality, the interplay between reverberant marimba hits and bone-dry synths, or percussion that's been recorded and processed in consciously different settings. A new architecture emerges in the sound itself that the two artists scan and explore meticulously, testing its boundaries with undulating hybridized rhythms on the invigorating 'Superimposed' and offsetting the powdery drums with liquified smacks and alien voices. The duo's vibrations are knotted with piano flourishes on 'Hyperlocalize', balanced with artificial clanks and clangs that disappear into the track's sonorous atmosphere, replaced by whispers and half-hallucinated insectoid chirps. 'Seismo' is an album that feeds off the energy generated by its juxtapositions: the tension and anticipation that's melted by rapid, hyperactive movement and the finely drawn rhythms disrupted by a layer of indistinct, barely perceptible microsounds. It's a collaboration that sounds like two minds challenging each other but not wrestling, each peering from their own distinct vantage point and imagining a third landscape shaped by optimistic, queer vibrations.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes.

The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process.

Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever.

The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before.


‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms.

On Psalm Funk, Bnnyhunna deepens the artistic language he first articulated on his celebrated debut Echoes of a Prayer. Rather than retracing familiar ground, the Amsterdam-based composer and producer expands his palette, allowing rhythm and space to carry as much narrative weight as harmony and lyricism.

While Echoes of a Prayer felt personal and devoted, Psalm Funk opens things up. Gospel harmonies stay central to his music, but now they are energized by smooth funk rhythms and heightened by the flexibility of jazz improvisation. Bnnyhunna moves between styles effortlessly, in a way that nothing seems borrowed, but everything feels lived in.

At the center of the record is an understanding of space. Silence acts not as an absence but as a structure. Breath, restraint, and patience shape the music just as much as basslines and backbeats. This awareness of dynamics allows the album to grow without losing its focus. It signifies a subtle but important change in Bnnyhunna as an artist, moving from inward reflection to forward momentum, from prayer as personal dialogue to prayer as a physical expression. The clarity, discipline, and emotional depth that marked his debut remain, now directed into something more rhythmically confident and spiritually uplifting.

Fusing gospel, funk, jazz, and African rhythmic traditions, Psalm Funk serves as both a meditation and an outpouring. It invites deep thought while demanding a physical response.

The album includes collaborations with American saxophonist Braxton Cook, trumpeter Sheila Maurice-Grey of Kokoroko, 3DDY, and Reggie Dartey, among others. The singles "Sorry Not Sorry" and "Waiting For You" have already hinted at the project's range, while the latest single, "The Heart Part 2," further expands on the album's dynamic and emotional scope.

To celebrate the release, Bnnyhunna will tour the Netherlands in April, with performances in Amsterdam, Rotterdam, and Nijmegen before heading to the UK for a show at The Great Escape.

Released in October 2024, Bnnyhunna's debut album Echoes of a Prayer was created as a dialogue with God, a personal call expressed through sound. The record resonated both with fans and media, gaining support from platforms like 3voor12, Rolling Stone Africa, and Afromixx. It reached the airwaves of BBC Radio 1 in the UK, KEXP in the US, J-Wave in Japan, and 3FM in the Netherlands, and landed in playlists such as BUTTER, Morning Rhythm, and Vanguard.

In 2025, Echoes of a Prayer earned the Edison Pop award for Soul/R&B/Funk and received Grammy consideration for Best Alternative Jazz Album. On stage, Bnnyhunna established his presence with performances at festivals such as Lowlands, Couleur Cafe, Brick Lane Jazz Festival, Dour, and Super Sonic Jazz, as well as his first tour in Japan.



Upcoming live shows:
10/04/26 - BIRD, Rotterdam (NL)
11/04/26 - Doornroosje, Nijmegen (NL)
12/04/26 - Tolhuistuin, Amsterdam (NL)
13/05/26 - The Great Escape, Brighton (UK)

Born into a musical family Al Manfredi started writing songs when he was child. As a teenager in 1965, he formed the Nuts & Bolts in the small beach town of San Clemente, California. Inspired by the Kinks, the Beatles and the Byrds, the group separated themselves from the pack by also performing original material written by Manfredi and band mate Mike Ingram. In late 1966 they changed their name to the Lost & Found and relocated to Phoenix, Arizona, where they cut a rare single, “Don’t Move Girl” b/w “To Catch the Sun,” which now commands high coin from ‘60s garage collectors. When they returned to San Clemente in early 1967 their music had taken a more psychedelic direction. The Lost & Found were riding high that year, until tragedy struck. Ingram was found hanged under suspicious circumstances and soon after Lost & Found drummer Mike Ryer died of cancer at the age of 19. Heartbroken, Manfredi gave up on the band scene completely and moved to Garden Grove to teach at his family’s music store. But alone, behind closed doors, he kept writing songs and working on his music, recording hours of tapes, often tracking all the instruments himself. In 1973 he chose six of his best songs, some of them written back in the Lost & Found days, and had them custom-pressed as an LP. Only a handful of copies were pressed, and most of these were sent out to various record companies in the hope of landing a deal. Despite the outstanding quality of the music, there were no takers. But decades later, collectors discovered the Al Manfredi album and hailed it a West Coast rock masterpiece. In his Acid Archives book, Patrick Lundborg called its discovery a deus ex machina and compared it to David Crosby’s first solo album and Hawaii-era Merrell Fankhauser, “not just the acutely captured mellowness, but the self-confidence and the talent.”This little-known West Coast rock masterpiece was rediscovered and celebrated by Acid Archives founder Patrick Lundborg and others around the time that Manfredi died in 1995. This version of the album, overseen by Manfredi’s son Exile, and with Manfredi’s story told by Ugly Things’ founder Mike Stax, presents the complete package of an incredible lost and found artist. Contains the album, as originally issued, on side A with unreleased music on side B.

HYPER GAL are restless. Since 2019, Kansai’s minimalist duo has been in persistent, perpetual motion.

In January of 2024, SKiN GRAFT Records introduced HYPER GAL to western audiences, giving the previously self-released album “Pure” a worldwide release. It was followed by “After Image”; a new full-length record; in September of that same year. In short order HYPER GAL left Japan to embark on a month-long European tour, performing at festivals such as Left of the Dial in Rotterdam and Le Guess Who? in Utrecht.

Consisting of Koharu Ishida (vocals) and Kurumi Kadoya (drums), HYPER GAL craft a sound all their own, characterized by avant-garde rhythms, looping landscapes, and hypnotic vocals. Their music resists traditional genre boundaries to carve out a truly singular sonic space.

With their fourth album “Our Hyper”, HYPER GAL thrust their sound into a deeper, harder core. Songs unfold into surprising shapes, embracing shadowy turns emboldened by a heavier low-end, while unearthing sharp takes on Japan’s harsh noise roots. The drums have grown even more acrobatic and unorthodox, while the vocals take on new colors, shifting from mesmerizing repetition to melodic, pop-tinged expression.

The album’s artwork is no less adventurous and features masks created by contemporary artist Tokiyoshi Akina and photographed in the band’s own hands, signaling resistance to the performative dualities of social media and a commitment to authenticity.
Despite the lean, unadorned two-piece setup, HYPER GAL’s music attains an intense and unmistakable presence - an unwavering momentum driven by an unrelenting intent. “Our Hyper” is HYPER GAL amplified.

"With each release they appear as mirage sculptors, using simple tools (drums, keyboards, vocals) in craft of multi-genre spanning work which only becomes more captivating the simpler their execution becomes...”
– MYSTIFICATION

With Variations for Light Waves, Swedish composer Linnéa Talp deepens the focus and intensity that shaped her 2022 debut Arch of Motion. Once again, the breath and hum of the pipe organ form the album’s core, but here she pushes further into deep listening and sonic nuance. Across seven pieces, she lingers on the instrument’s most resonant points, allowing its character to reveal itself slowly and patiently.
Talp’s path to this work has unfolded with similar steadiness. After first emerging with her project Deerest, she shifted toward improvisation and minimal composition, guided by an increasing sensitivity to sound and perception. Careful listening is now central to her practice, informing both her methods and her musical language.
The album was recorded over four years on pipe organs across Sweden, including a small funeral-chapel instrument in Lötsjökapellet—an environment Talp describes as an exceptional space for listening. Several pieces feature Christer Bothén (contrabass clarinet) and Mats Äleklint (trombone), whose playing blends seamlessly into her aerated organ tones. The improvisation “Air On Both Sides,” recorded in 2022 with Bothén, became the project’s starting point, an immersive bath in glowing harmonics. At times she interweaves Buchla recordings, setting electronic breath against acoustic resonance.
Talp’s fascination with quietness and delicacy is balanced by an interest in sonic brittleness. The closing title track gradually dismantles a downward chord progression, drifting into gentle collapse, while the brief opener pushes the organ’s pipes into gasping strain. These moments create a music open to chance, instability, and transformation.
Threads running through the album include an interest in chords, subtle improvisation, light, and memories of coastal landscapes. Talp also connects the work to the “thick white fog” surrounding her daughter’s birth. The result is music that envelopes like mist yet continually reveals new shapes—a world o