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NOFX waren sauer (sind es möglicherweise immer noch) und wollten uns das wissen lassen! Ursprünglich 1999 veröffentlicht, war "The Decline" ein mutiges Werk und markierte einen großen Wendepunkt für NOFX. Der Song, der weithin als eines ihrer Meisterwerke gilt, ist ein 18-minütiges Punkrock-Spektakel, das die Entertainmentqualitäten, den lyrischen Witz und die Musikalität der besten Punkrockband aller Zeiten richtig zur Geltung bringt. Der Song, der den Zustand Amerikas satirisch darstellt und die gleichgültigen Massen und Politiker gleichermaßen aufs Korn nimmt, ist auch im Jahr 2026 natürlich leider noch aktuell und kritisiert somit weiterhin die Mächtigen auf eine Weise, zu der nur wenige Künstler den Mut haben. Die Vinyl-Single enthält auf der B-Seite die erste Version von "Clams Have Feelings Too" (das später auf dem Album "Pump Up The Valuum" wieder auftauchte) und ist ein Muss für jeden NOFX-Fan. Erneut auf schwarzem Vinyl wieder da und und limitiert in neuem farbigem Vinyl. Inklusive Beilage mit Texten und Bildern.

Athens-based percussionist and sound artist Yorgos Stavridis makes a stark, physical debut for Heat Crimes with »Solo Percussion«, a set of one-take improvisations that approach percussion as a field of friction between body, objects, space, and sound. Working with membranes, metals, found objects, and feedback systems, Stavridis foregrounds timbre, texture, and spatial presence, collapsing distinctions between instrument, environment, and recording apparatus.

Microphones and speakers are treated as unstable instruments in their own right, introducing opaqueness, resistance, and feedback into the performative chain. Scrapes, low-end pressure, brittle metallic chatter, and sudden bursts of resonance emerge through close bodily engagement with surfaces and materials, each piece documenting a specific configuration of objects, gestures, and acoustic conditions. Performed and recorded live, »Solo Percussion« captures sound in its most contingent state; situational, physical, and irreducibly present. Eschewing narrative, pulse, or formal development, the record sits squarely in Heat Crimes’ lineage of process-led, uncompromising sonic research, where listening becomes an active, tactile act and sound itself is the primary event.

defaultbox returns with its 20th release entitled "020".

This various artists compilation brings together five carefully selected tracks by Karenz, Gockel, TIKOA, 10.000 BC, and aem.aze, each rooted in a shared vision of deep, functional techno rhythms and subtle dub-infused textures.

The release comes on a limited run of 50 transparent blue splatter copies alongside the regular black pressing.

2026 Limited Repress

Twisted Utopia is jeku’s first solo release on Harmony. The EP is a funky and eclectic synthesis dedicated to rhythm lovers. Twister Utopia’s progressive roller weaves high-energy elements with a splash of sonic psychedelic textures.

Side A kicks off with “Rhythm Circuit” galactic, drum-driven tunes, followed by “Frantic Antics,” whose rich chord progression is paired with airy vocals and wiggly basslines.

On the B-side, “The Future” delivers prog-infused euphoria beat-matched to perfection. The EP is wrapped up with “Borealia,” a multi-layered symphony of transcendence and tempo shifts.

VBX Records hits double digits with the Stutter Rolling NRG EP, a slow-burning four-tracker from Bangkok native DOTT.

Across this release, he delivers a kaleidoscope of intricate sound design, firmly rooted on the deeper end of the spectrum. Tension and release are woven through every bar, as shimmering textures meet tightly wound grooves with a warm, introspective edge.

A subtle yet potent entry in the VBX catalogue, this tenth installment balances movement with mystery, designed as much for the floor as for the heads.

Die lang erwartete Neuauflage des von Kritikern gefeierten Meisterwerks der japanischen Singer-Songwriterin und Multi-Instrumentalistin – das Album, mit dem sich Ichiko Aoba endgültig
auf der internationalen Bühne etablierte.
Windswept Adan, Aobas siebtes Studioalbum, wurde ursprünglich 2020 veröffentlicht.

Die ersten Vinylpressungen sind seit über 18 Monaten vergriffen und mittlerweile
auf dem Sekundärmarkt sehr gefragt.
Diese Neuauflage wurde auf schwarzem Eco-Mix-Vinyl gepresst,
um so nachhaltig wie möglich zu sein.

In einer deutlichen Abkehr von ihren früheren, eher einsamen Werken arbeitete Aoba
mit dem Komponisten Taro Umebayashi zusammen, um ein faszinierendes und fantasievolles Konzeptalbum zu schaffen,
das fließend zwischen Ambient-Psych-Folk,
Kammerklassik und jazzigen Kompositionen wechselt.

Windswept Adan wurde als Soundtrack zu einem imaginären Film konzipiert und handelt von einem
jungen Mädchen, das aus seiner Heimat auf die mythische Insel Adan verbannt wird – einen üppigen,
fremdartigen Ort voller seltsamer Kreaturen, reichhaltiger Flora und Fauna und ohne
gesprochene Sprache.
Die orchestralen Texturen und das lebendige Sounddesign schaffen eine
immersive, filmische Welt.

There is a breaking point where the mind yields and the body takes command. This is precisely the territory of Frenetic Habits EP.

Asymetric80 lands at INDUSTRIAS MEKANIKAS with an unapologetic statement: a direct immersion into the aesthetics of collapse and extreme habits. The work places you in the center of a post-apocalyptic scenario, where survival no longer relies on calm, but on your ability to endure mechanical tension.

The sound is built upon solidity and saturation. You won’t find fragility here, but rather an architecture of EBM, New Beat, and Industrial Techno designed to dominate any sound system that dares to play it.

Side A establishes the hierarchy with Frenetic Habits. Far from linear, the track unfolds a broken, demolishing rhythm, generating a devastating sonic pressure that completely envelops you. It is a piece of constant drive, an armored machine advancing over the very ground you stand on. It is followed by Exile and Unmasked, which shifts the strategy towards depth: a hypnotic immersion where industrial textures densify, creating a dark atmosphere that traps you with no escape.

On Side B, Bleak materializes the heaviness of the environment. A slow-burning, corrosive track with deep bass, which you can feel advancing with the force of concrete. To close, Dementia releases the accumulated tension with overflowing kinetic energy; a final outburst of controlled aggression that closes the cycle with maximum intensity.

Frenetic Habits EP is a record of ironclad textures and terminal atmosphere. A work that documents not defeat, but the brute force needed to remain standing when everything around has come crashing down.

A chance meeting in Mexico City set Points of Inaccessibility into motion. When Ibero-American composer Rafael Anton Irisarri crossed paths with Dutch media artist Jaco Schilp at MUTEK in 2024, a conversation about how technology shapes perception revealed an unexpected common ground. Schilp invited Irisarri to a spring 2025 residency at Uncloud, the Utrecht-based collective he co-founded, where Irisarri's sound began to take form amid an environment shaped by Schilp’s visual research.

The Uncloud studio was located inside the former Pieter Baan Centre, a forensic psychiatric prison where suspects of violent crimes were once confined. Its long history of silence and containment shaped the atmosphere in which the project developed. Within this setting, Irisarri coaxed long bowed-guitar tones through a network of pedals and looping systems. The raw gestures thickened into a vaporous and architectural field of sound. Schilp processed the material through a custom point-cloud software patch that produced images in continuous flux. The visuals flickered, dissolved and reformed like memories that resist coherence, functioning as a digital Rorschach that reflected the observer’s own perception.

Amid these spectral echoes, the project evolved into an examination of how the past persists within present signals. Memory endures as residue and interference, continually shaping perception even when its source has faded.

Schilp’s visual process required a continuous stream of sound in real time. Irisarri improvised throughout the residency, generating material that allowed the visuals to develop in parallel. Once back in his New York studio, he began shaping the recordings by carving pathways through the improvisations and mapping selected passages into MIDI. This process allowed him to build outward from the bowed-guitar material with minimal overdubs, adding Prophet 5 textures, Moog bass and strings that expanded the harmonic field while keeping the original performances at the center. To refine the structure, Abul Mogard provided editorial input, working with Irisarri’s stems to guide transitions and strengthen the overall pacing. The material, originally created under conditions of immediacy and constraint, evolved into a fully realized work through careful revision, patience and sustained reworking.

The title engages the geographic concept of the Poles of Inaccessibility, locations defined solely by their distance from all surrounding points. Irisarri adapts this idea to the conditions of digital life, where new forms of inaccessibility arise through the informational enclosures that structure perception. What appears to be a fully connected network often produces a deeper kind of separation, one shaped by the filtering logic of the systems that mediate experience. In this sense, the digital sphere mirrors its geographic counterpart. We inhabit spaces saturated with signals, yet the possibility of genuine contact becomes increasingly remote.

At its core, Points of Inaccessibility considers what can be understood as the new rituals of capitalist realism. Irisarri uses the term digital shamanism to describe the forms of simulated connection that organize contemporary life. These systems promise comfort through algorithms, influencers and AI interlocutors, yet they often reproduce the same conditions that generate loneliness in the first place. What appears as connection becomes the echo of connection, a sequence of gestures that imitate solidarity while withholding it. Like the geographic poles, these rituals are defined by distance. They pull us into environments where everything is illuminated, yet meaningful proximity becomes increasingly rare. In this sense, the work approaches a hauntology of the present, a reflection on futures that have stalled and intimacies that have been thinned by the algorithmic infrastructures that surround us.

This thematic tension unfolds across the album’s four movements. Faded Ghosts of Clouds introduces the work with textures that rise and dissipate in slow cycles, creating an atmosphere that resists clear definition. Breaking the Unison occupies a pivotal position in the sequence and focuses on the moment when the individual and the system fall out of alignment. Its shifting patterns trace the scattering of signals that once suggested connection, revealing the instability at the heart of contemporary perception. Signals from a Distant Afterglow forms the center of the album and features vocals by Karen Vogt, whose presence enters the sound field like a fragile transmission shaped by distance and delay. The closing piece, Memory Strands, follows motifs that appear, recede and briefly intersect before returning to quiet. Across these movements, the album outlines a landscape in which emergence and disappearance continually inform one another.

Listening to Points of Inaccessibility is an encounter with a sound field that is constantly in flux. Elements surface briefly, shift position and recede, creating a sense of motion that resists stable interpretation. The music moves between closeness and vastness, carrying traces of memory while withholding a clear point of resolution.

The album’s visual identity completes the project’s conceptual arc. In Mexico City, where Irisarri and Schilp first met, Daniel Castrejón transformed stills from Schilp’s point-cloud visuals into the cover image. The final artwork captures a single suspended frame of the digital material, a moment extracted from a field that is normally in constant motion. Its surface recalls the texture and abstraction found in the work of Catalan artist Antoni Tàpies, where material presence and erasure coexist within the same plane.

What emerges is a work that examines the tension between technological systems and human presence. Points of Inaccessibility asks whether connection is still possible within environments shaped by mediation and delay, or whether we have become isolated points within the very networks that promise proximity. What possibilities for relation persist within environments organized by algorithms and interruption? And how are we meant to understand presence when so much of it is constructed at a distance?

Points of Inaccessibility will be released on BioVinyl on February 6, 2026, with audiovisual performances planned throughout 2026.

Mastered by Stephan Mathieu
Artwork by Jaco Schilp
Design and layout by Daniel Castrejón
Artist photo by Iulia Alexandra Magheru.

Explicit isolation is the third album by the international collective E/I, led by composer and percussionist Szymon Pimpon Gąsiorek. The group’s seven core members came together while studying at Copenhagen’s Rhythmic Music Conservatory and the Royal Danish Academy of Music. For this latest release, they are joined by Slovenian musicians Samo Kutin (hurdy-gurdy) and Kaja Draksler (organ), alongside Danish tuba player Rasmus Svale.

The three compositions distill sound down to its essential elements, drifting freely through space. The material is minimal, moving in the geological rhythm of endless cycles of tension and release, formation and dissolution, density and lightness. Pimpon acts here more as a guide than a creator with a master plan. He is a navigator, leading us to the most crucial moments where sonic emissions merge into vibrating drones, building to an inevitable leap—an explosion after which the particles rearrange themselves once again. It feels like futuristic temple music infused with intergalactic spiritual jazz, the extensions of drone music, and acoustic ambient textures, all highlighted by the jolly grin of the navigator.

“I wrote the scores and asked each of the musicians to record their parts individually. What’s interesting for me about doing it this way is that it removes the element of immediate interaction and introduces a factor of randomness. I then edited and mixed it myself, also adding my own parts. Previously, it was strictly acoustic music, and the recordings were ‘live,’ meaning they were captured in one room at the same time, with no subsequent edits.” Pimpon has also incorporated electronics, which make the album even more airy and organically complement the sounds of the hurdy-gurdy and organ, recorded in Trboje, the small Slovenian village.

Inspired by witnessing the broken tension and renewed possibilities of a laptop breaking down at a gig – not to mention the void left behind by the sudden end of a relationship – Pentu’s latest release is a jump-cut menagerie of musical moments. Sewn together into ‘And I Saw My Devil And I Saw My Deep Blue Sea’, these fifteen tracks continue the London-based producer’s active departure from the soundscapes and song structures that dominated their previous writing style. These disparate pieces slice themselves off into sudden silence, or veer into unpredictable sidebars, hopping from hyperactive instrumentals to beautifully deconstructed YouTube samples. Described by Pentu as “emotionally intuitive to write”, this is music by and for the endlessly scrolling modern mind – “navigating the world alongside the splintered, interruptive emotional hyper realities of social media.”

The sudden silences, drones, and interruptions are perhaps less surprising than the guitar-based textures of metal & shoegaze woven into several vital passages by Pentu. The result is a collage that encapsulates the erratic feeling, not only of a relationship’s end, but simply of navigating online mediascapes.”I found myself realising that my phone, the constant interrupter of nothingness and silence, was both a cause of depression (reliving memories, dating apps) and a relief from it (creating new friendships, distractions, also dating apps)”, says Pentu.

Pentu’s attempt to overcome content overload by actively curbing his setup of laptop-guitar--synth does little to reduce the scope of this album’s sonic palette. YouTube vlog samples (from videos with next-to-no views) are an attempt to recontextualise and dramatise material that “would have otherwise been throwaway moments lost in the internet”, adding staccato moments of reality to Pentu’s beautiful and jarring album-length paean to overstimulation.

Der in Berlin lebende syrische Musiker Khaled Kurbeh gibt sein Debüt bei Research Records mit Likulli Fadain Eqaéh Jedem Raum seinen eigenen Rhythmus, einem Klangteppich aus Sounds, die er über vier Jahre im Rahmen seiner Praxis muhawalat Versuche, Variationen und hawamesh Ränder geschrieben, aufgeführt und aufgenommen hat: ein Ausdruck von Gesten, klanglichen Fußnoten und Beobachtungen aus dem Alltag.

Kurbehs erste Veröffentlichung seit sieben Jahren weicht von seinem weitgehend akustischen Debüt "Aphorisms" ab, einer Zusammenarbeit mit dem Oud-Spieler Raman Khalaf und einem Ensemble mit Elementen aus Maqam und Jazz.

Likulli Fadain Eqaéh Jedem Raum seinen eigenen Rhythmus präsentiert eine Sammlung zehn elektroakustischer Kompositionen – grübelnd und experimentell mit Anklängen an Musique concrète. Die Trackliste impliziert eine Reisebeschreibung. Feldaufnahmen von Schwalben und dem Knacken und Entschalen von Sonnenblumenkernen im Zwischenspiel Nuzha I Exkursion I werden durch eine spärliche Komposition aus Low-End-Synth, Harmonium, Klavier und präpariertem Fender Rhodes, gespielt mit Schlägeln, auf Darb I–II Pfad I–II kontrastiert. Beckenmuster und bewegte Glockenklänge erklingen auf Jauqét Ajras Chor der Glocken, während Streichinstrumente auf al-Ajraf [Die Klippen] zittern und stottern. Die Veröffentlichung fängt vier Jahre sich überschneidender Klangwanderungen ein und balanciert fein die Spannungen von Harmonie und Dissonanz, Stille und Resonanz, Textur und Rhythmus – aufgenommen im Innen- und Außenbereich.

Das Gatefold-Cover zeigt Kunstwerke von Ida Lawrence und enthält ein Booklet mit zehn gemalten Variationen einer Szene. Auf der Außenseite erstrecken sich Wege unter einem dramatisch akzentuierten und lebendigen Himmel; im Inneren erscheint dieselbe Landschaft immer wieder in unterschiedlichem Licht.

Likulli Fadain Eqaéh [Jedem Raum seinen eigenen Rhythmus] erscheint im Sommer 2025 bei Research Records, Naarm/Melbourne. Ein weiteres Solo-Klavieralbum von Kurbeh, aufgenommen in seinem Studio in Berlin-Kreuzberg, erscheint noch in diesem Jahr.

After following Luke Blair's work for approaching two decades from his 2007 debut as Lukid on Actress' Werk Discs, we're humbled to present a new album on Death Is Not The End. Following relatively hot on the heels of 2023's Tilt (his first in 11 years, not counting his work with Jackson Bailey under the Rezzett guise) Underloop brings Blair's innate knack for building loops and sound structures further to the surface, while allowing his ear for emotional expression to be dialled up a notch. Those fortunate enough to be familiar with Lukid's work as a DJ will be aware of how distinct his ability is to seamlessly disappear into loop-based abstraction and back again seemingly without blinking, and often Underloop feels much like a collection of the sludgey interludes and foggy sketches that underpin his sets. Blending apparently ramshackle melodies and textures and pulling them together into an undeniable whole, Blair's tendency for pairing the simple and the indescribable with an understated vigour is fully on show here.

Written and produced by Luke Blair. Mastered by Giuseppe Ielasi.

Released by Fair Weather Friends Records, "Woven" marks a new chapter for the acclaimed Thessaloniki-based ensemble, featuring special guests Harris Lambrakis on ney and James Wylie on saxophone. Their collaboration expands the trio’s sound with new colors and textures, weaving together tradition and modern expression.

Its cover art is designed by the internationally celebrated and award-winning design studio Beetroot, giving the project a distinctive visual identity that mirrors its sonic depth.

This new quintet formation is a vision that Yako Trio have long aspired to bring to life. The collaboration with Lambrakis and Wylie adds new layers of texture and expression to the band’s music. The mystical, meditative tone of the ney intertwines with the emotive voice of the saxophone, expanding the trio’s sound into new territories. The result is a dialogue full of color, energy, and imagination — connecting tradition with modernism, East with West, and collective memory with contemporary creation.

Nachdem Ásgeir jahrelang mit Übersetzern wie John Grant zusammengearbeitet und die Poesie seines Vaters, Einar Georg Einarsson, vertont hat, betritt er nun neues Terrain: Zum ersten Mal in seiner langen und gefeierten Karriere hat er die Texte komplett selbst verfasst.

Ásgeir wird seit Langem für seinen detailreichen Folk-Pop, die opulente Produktion und sein sehnsüchtiges, gefühlvolles Falsett gefeiert. „Julia“ markiert eine Wende – nicht nur hin zu lyrischer Eigenständigkeit, sondern auch zu kathartischer Direktheit, mit Songs, die nicht nur meisterhaft vorgetragen, sondern auch durchlebt wirken. „Das war irgendwie das erste Mal, dass ich die Texte völlig allein geschrieben habe“, erzählt er. „Es war beängstigend. Ich versuche immer noch, mich darin zu finden. Aber ich habe versucht, mich zu öffnen, und habe in diesem Prozess viel gelernt. Es war auf jeden Fall therapeutisch für mich.“

Dieses neue Gefühl der Verletzlichkeit zieht sich durch die zehn Stücke des Albums, die über einen Zeitraum von fast zwei Jahren geschrieben und aufgenommen wurden. Viele der Songs entstanden zunächst auf der Gitarre, wobei Ásgeir auf Schlichtheit setzte und Melodie, Klarheit und Bedeutung in den Vordergrund stellte. Die Produktion, gemeinsam mit seinem langjährigen Weggefährten Guðm. „Kiddi“ Kristinn Jónsson entwickelt, bleibt organisch und zurückhaltend – und gibt so Ásgeirs Stimme, und vor allem seiner Stimme als Songwriter, den nötigen Raum.

Der aus Nashville stammende Cellist Nathaniel Smith, den Ásgeir als „Zauberer“ beschreibt, steuert hier und im gesamten Album atmosphärische Klangteppiche bei. Mit improvisierten Melodien verleiht er den Stücken Leben und Tiefe – auf eine Weise, die Ásgeir sich zuvor nicht vorgestellt hatte.

"Chuck Roth’s music wanders. The New York-based guitarist’s inquisitive style builds from rippling patterns that center the physicality of his instrument, roaming wherever they take him. watergh0st songs, his Palilalia debut, collects songs from the past half-decade, presenting an intimate snapshot of his music that draws from an eclectic background in classical guitar, electronic music, and improvisation." "The mark of watergh0st songs is its exploratory nature. Roth began his musical journey as a classical guitarist studying the canon works for the instrument, but he was never interested in playing fast or flashy. Instead, he wanted to roam down musical paths and see where they led him. He eventually became more interested in electronic music, where he found inspiration in subtractive properties and patterning. The music of watergh0st songs translates that electronic music to the guitar: many of the songs began as synth tones and later branched out through the physicality of his instrument." "When writing music, Roth wants melodies to feel comfortable in the body, focused less on setting a structure and more on letting music unfold how it happens in any given moment. His songs are fluid and his melodies are clear, plucked with careful attention but never too deterministically. His is the music of a traveler, floating around the strings of the guitar. It is about embracing the banal, or the everyday moments that shape a life." "Though Roth’s music often feels quite direct, there is a dreaminess that lives inside of it. His lyrics don’t feel too hot or cold, instead they have a wistfulness and melancholy of what it feels like to live through every passing day. His exploratory style bolsters these lyrics, giving the music its sense of ennui, as does his focus on texture. Each track takes on a different structure: 'Bunny Hop' unfolds like a squirrel jumping from branch to branch of a tree, while 'Private Boy' has a slower approach, growing from delayed harmonics that almost sound like bowed strings. His textures range from metallic and bristling to soft and feathery, evolving with gentleness. It is about ending up somewhere different than where it started, and watching the notes that fall in-between." The embrace of the routine colors Roth’s music. In it, there is a sense of presence, of admiring the smallest details and moments. Roth loves to take walks and look around, observing the beauty of his surroundings. Similarly, watergh0st songs feels like moving through the world at the pace of a comfortable trot and soaking in every sound as it emerges. It is a quiet evolution—but one that stays."—Vanessa Ague

APORIAMOR noun 1. The death of love’s contradiction.
| “Embody APORIAMOR”

Etymology
aporia-: an irresolvable internal contradiction or logical disjunction in a text, argument, or theory. from Greek aporos ‘impassable’, from a- ‘without’ + poros ‘passage’
-amor: love. Sentimiento intenso del ser humano que, partiendo de su propia insuficiencia, necesita y busca el encuentro y unión con otro ser. Del latín amor.
-mor: latin for death.

APORIAMOR explores the affective ontological and organic processes of love and lust in the turmoil of an urban existence, through the female lens. It expresses the process of strengthening through heartbreak in its various forms.

With her debut EP The Art of the Concrete, elsas knew that by giving that name to a record which was ironically expansive and experimental, she would be calling for a distilled and clearer path further down the line. This is what she’s been incorporating into the sonic world of this new EP, APORIAMOR, signifying the birth of a more matured and distilled version of herself as an artist.

With APORIAMOR (“the death of love’s contradiction”) elsas conveys a personal process of healing in the romantic space. Through different experiences of heartbreak, elsas builds a language - a coping mechanism attached to its subsequent artistic expression – that isn’t founded on hardness or a closing-off, but instead, on a playful but profound reckoning, and learning of self-worth.

APORIAMOR embraces the complexities of being a lover-girl: of moving through life with an open heart. It celebrates the clarity, sweet hindsight, and detachment that come from processing emotion. APORIAMOR is both an affirmation and a release.

elsas makes canonical blends with a forward boundary-bending vision. Her sound in this record is naturally referential of both her Mediterranean heritage and UK alternative music — intrinsic parts of her lived experience. She has had the opportunity to collaborate with artists she deeply admires, each exchange enriching her creative world.

The experience of working hand-in-hand with Sampha for the last 3 years and ongoingly has been a core of her evolution as an artist. She has also collaborated in many forms with artists like Florence + the Machine, Little Simz, Jordan Rakei, Jockstrap, Obongjayar, Black Country New Road, Genevieve Artadi (KNOWER) and Duval Timothy. Additionally, her ongoing work with the Idrîsî Ensemble, of which she is a core member, continues to inform her artistic depth.

The making of this largely self-produced record unfolded over four years — “it’s a well-kneaded dough,” she says. These songs evolved through exposure to multiple environments: from early writing sessions in her childhood home in the Spanish countryside, to stages across the U.S. while on tour supporting Sampha.

Experimentation and modulation are an intrinsic part of elsas’ method, conceiving songs as organisms that respond to their surroundings. Collaborators on this collection of songs include Shrink, Will Lister, Gabriel Gifford, Ethan P. Flynn and more. The record was mixed by David Wrench (a long-time supporter of elsas’) and Nathan Boddy, and mastered by Matt Colton.

With APORIAMOR, elsas creates a visual world from the fabulation of the past, as an act of playful historical revisionism in which she embeds herself as both subject and storyteller. The songs function like an archive of her experiences across various years, each one unearthed and presented as some sort of archaeological artifact. Through this body of work, elsas begins to conceptualize herself as a legacy artist: one who honors the archive of her own becoming while emerging as a distinct and resonant voice in today’s musical landscape.

Two of the most respected voices in the underground connect for a heavyweight collaboration that's been a long time coming — BULLETPROOF CHICKEN is out now!

CRIMEAPPLE, the bilingual New Jersey spitter known for razor-sharp wordplay and a steady run of cult-favorite projects like Aguardiente and his collaborations with DJ Muggs, cementing his spot as a force in modern hip-hop.

On the boards, V DON has become a staple for his signature dark, cinematic production style. From Harlem to the world, he’s laced tracks for the likes of Boldy James, Estee Nack, A$AP Rocky, Dave East, Benny The Butcher among several otehrs, while also building his own lane with the underground classics like Omerta and his Deutsche Marks and Blue Note series with Willie The Kid. His beats balance grit and atmosphere, making him one of the most sought-after producers in the underground and beyond.

With BULLETPROOF CHICKEN, the two bring their worlds together — sharp rhymes, moody textures, and guest appearances from T.F, Bruiser Wolf, and Primo Profit only add more weight. This album is a testament to where both artists are right now, rising higher with every drop, carrying the underground to new levels.

On Hungry Animal, Luke Temple continues to trace the invisible lines between the personal and the cosmic _ between what we feel, what we observe, and what we inherit simply by being alive. The album reunites Temple with Doug Stuart (bass) and Kosta Galanopoulos (drums), the core of his Cascading Moms ensemble, whose instinctive chemistry anchors the record's balance of rhythmic precision and melodic drift. Together they shape a sound that feels handmade and fluid, delivering sharp observations in soft focus. The album opens with "Clean Living," a tenderly libidinous groove, unraveling purity myths and self-discipline _ less a confession than a celebration of the futility of striving for perfection in a flawed world. From there, "Echo Park Donut" shifts into the memory of an unsettling vignette drawn from a violent incident outside Temple's Los Angeles home. The band moves with a quiet pulse beneath the story, suggesting both detachment and the surreal intimacy of fear. The title track, "Hungry Animal," grounds the album's broader questions: how well can we really know one another, or ourselves? Temple's lyrics circle around the idea that we are animals among animals, driven by instinct and affection alike. It's both playful and philosophical, one of the record's emotional centers. Temple's bandmates bring an understated mastery to these pieces. Stuart's melodic, infectious grooves converse fluidly with Galanopoulos's drumming, which breathes life into each song even as it gently propels them forward. The trio's interplay feels both weightless and deeply rooted _ commanding the listener's attention and empathy without ever forcing it. With Hungry Animal, Luke Temple and the Cascading Moms create a world where reflection becomes rhythm and consciousness gains texture _ a record of quiet revelations and deliberate grace.

Somewhere between jazz, progressive rock and cinematic soundscapes, Kabasse unfolds a world of intricate arrangements, bold sonic textures and heartfelt improvisation. The brainchild of Munich-based musician Sigmund Perner (also member of Carpet), this sextet blends composed structure with free exploration, layering lush harmonies, unexpected rhythms and a rich palette of wind, mallet and keyboard instruments. What began as decades of musical ideas-gathered quietly, never written down-found its shape through a group of close-knit musicians from Munich and Augsburg, including Perner's own son on drums. Together, they recorded in a live studio session, embracing risk and spontaneity. The result: a deeply personal debut album that feels both mature and raw, contemplative and gripping. Rather than demanding attention, the pieces invite it: About Sitting on Fences captures the art of waiting-for ideas to grow, evolve and resonate. Just like the name Kabasse, inspired by the calabash: a vessel, a resonator, a home for sound.

Am 13. Februar 2026 veröffentlicht Sony Music Austria die ersten beiden Hansi-Lang-Alben "Keine Angst" und "Der Taucher" auf einer LP neu in einer limitierten Auflage auf farbiger Vinyl.
Hansi Lang gilt als eine der charismatischsten Stimmen der heimischen Rock- und Popkultur. Mit seinem experimentierfreudigen Stil, der Elemente aus Rock, Pop, Punk und New Wave verband, prägte er maßgeblich die österreichische Musikszene der frühen 80er Jahre.

In bildhaften, existenzialistischen Texten griff Lang Themen wie Unsicherheit, die Selbstbehauptung in einer konformen Gesellschaft und Großstadtgefühl auf und traf damit den Nerv einer jungen, urbanen Generation.

Während "Keine Angst" und die bahnbrechende gleichnamige Single den Grundstein für Hansi Langs Solokarriere legte und lautstark und zeitgeistig eine Brücke zwischen Wiener Underground und Mainstream-Pop schlug, präsentierte sich das zweite Album "Der Taucher" komplexer und konzeptioneller als der Vorgänger und stellt möglicherweise Langs künstlerisch ambitioniertestes Werk dar. Mit "Monte Video" und "Ich spiele Leben" enthält es zudem zwei absolute Klassiker aus dem Repertoire des Ausnahmekünstlers.
Die limitierte coloured Vinyl Reissue vereint beide Alben in einer hochwertigen Edition - ideal, um das einzigartige musikalische Erbe Hansi Langs wieder oder auch neu zu entdecken!

Beide Alben werden zum Release der Vinyl-Edition endlich auch vollständig im Streaming erhältlich sein.

Explosive Ukrainian metalcore force SPACE OF VARIATIONS returns with Poisoned Art, out on February 13, 2026 via Napalm Records. Blending furious brutality with heartfelt emotion, the four-piece band sheds their skin and continues to push the boundaries of modern metal, their new record showing a new facet of their ever-evolving sound—a new era. Twice crowned Ukraine’s best metal band, and former tour partners of genre giants Jinjer, SPACE OF VARIATIONS are raising the bar for metalcore with the twelve new tracks of Poisoned Art. Mercilessly honest, the opening track “TRIBE” sees the band battle existential fears in both English and their native Ukrainian. Driving in the urgency are diverse stylings, ranging from djent in “HALO” to fitting sirens in “MAYDAY”, showing that SPACE OF VARIATIONS doesn’t shy away from adding a certain edge to their catchy choruses. “PARALLEL REALITIES” cleverly combines soft melodies with brutality, staging captivating desperation and neck-snapping breakdowns as parallel realities. Explosive outburst “DOPPELGÄNGER” powerfully blends groovy distorted guitars and unrelenting intensity, contrasted by haunting melodic passages and subtle electronic textures, making this song especially hard-hitting. The mix of pummeling ferocity with emotional depth continues throughout “GODLIKE” and “GHOST TOWN”, before “COLDHEAVEN” stands out from Poisoned Art through its exploration of hip hop elements and cold industrial grain. “BACK TO DIRT” continues the djent vibe, while “SNAKE SKIN” delves into electronic territory.

With Spam Vol.2, KVR - Niels Broos, Dries Laheye & Lander Gyselinck - delivers its second statement.



Recorded in a beautiful studio tucked beneath a bridge in Rotterdam, the album distills a week of free improvisation into vivid, shape-shifting pieces. A beautiful chaos of bass guitars, synths stacked on clavs, drums and machines to get lost in, in between coincidence and intention. Jungle rhythms, elastic time, open structures and organic textures come together in a lively sound that feels playful as well as restless and deeply intuitive.



KVR is Niels Broos (Jameszoo, Binkbeats) on keys, Dries Laheye (STUFF., Selah Sue) on bass and Lander Gyselinck (STUFF., Lander & Adriaan, BeraadGeslagen) on drums.



For fans of Thundercat, Hudson Mohawke, The Comet Is Coming, Jameszoo, etc.

Vijan, originally released in 2003 by I Grade Records, is a seminal release from the “golden era” of St. Croix roots reggae, now available for the first time on 12” vinyl courtesy of Before Zero Records.

Produced by the legendary combination of Vaughn Benjamin and Laurent “Tippy I” Alfred, Vijan balances the raw, spiritual intensity of Vaughn’s songwriting with the sophisticated, melodic arrangements that became the hallmark of the I Grade sound.

This album features an incredible lineup of musicians who helped shape the sound of Virgin Islands reggae. The production credits boast the textured guitar layers of Tuff Lion , the deep, driving bass of Kenyatta Itola , and the rhythmic precision of Dion “Bosie” Hopkins. Uniquely, this album also showcases Vaughn Benjamin’s versatility as a multi-instrumentalist, contributing drums, bass, and keys on standout tracks like “All Ye Naashan” and “Thanks for Life”.

Akae Beka’s inimitable style of rich, deep, multi-layered songwriting and uncompromising devotion to RasTafari is on full display here. At the point of his untimely passing in 2019, Vaughn Benjamin had released over 70 albums, solidifying his place as one of the most prolific reggae artists ever known. Vijan remains
a glowing highlight in this expansive catalogue, capturing a specific moment of creative brilliance in the early 2000s.

The vinyl reissue allows listeners to engage with the album’s analogue richness and features the striking original artwork by Marcus Wilson, presented here as a 12” square masterpiece.

In einer Zeit, wo alles immer mehr Digital und von KI dominiert wird, setzt Angelo Kelly auf Authentizität
und zwar auf allen Ebenen
Die Songs auf dem neuen Album „ALIVE“ wurden komplett von ihm geschrieben, arrangiert und produziert. Wer sich die Texte der Lieder anschaut wird schnell merken, dass sich einiges in seinem Leben
verändert hat. Er öffnet sich in seinen Songs mehr, als er es jemals in einem Interview tun würde.
Die Art, wie dieses Album produziert wurde, könnte auch nicht authentischer sein!
AK: „Mir war es wichtig das Album komplett analog auf einer Bandmaschine aufzunehmen ganz ohne
Computer. Meine Band und ich waren dabei alle im gleichen Aufnahmeraum und haben meine neuen
Songs gemeinsam in „One Takes” aufgenommen. Nichts wurde korrigiert und es gab auch keine Overdubs
/ Zusatzaufnahmen! So sind die Aufnahmen sicherlich nicht perfekt, und im Radio werden sie höchstwahrscheinlich nicht laufen, aber das ist die einzige Art Musik zu machen, die mich heute noch reizt und
interessiert.“
Das Album wurde dann auch komplett analog auf Band gemischt.
Und für alle, die sich dieses Werk auf Vinyl holen: Das Mastering wurde im letzten Schritt von Chris
Bellman analog vollendet.

In einer Zeit, wo alles immer mehr Digital und von KI dominiert wird, setzt Angelo Kelly auf Authentizität
und zwar auf allen Ebenen
Die Songs auf dem neuen Album „ALIVE“ wurden komplett von ihm geschrieben, arrangiert und produziert. Wer sich die Texte der Lieder anschaut wird schnell merken, dass sich einiges in seinem Leben
verändert hat. Er öffnet sich in seinen Songs mehr, als er es jemals in einem Interview tun würde.
Die Art, wie dieses Album produziert wurde, könnte auch nicht authentischer sein!
AK: „Mir war es wichtig das Album komplett analog auf einer Bandmaschine aufzunehmen ganz ohne
Computer. Meine Band und ich waren dabei alle im gleichen Aufnahmeraum und haben meine neuen
Songs gemeinsam in „One Takes” aufgenommen. Nichts wurde korrigiert und es gab auch keine Overdubs
/ Zusatzaufnahmen! So sind die Aufnahmen sicherlich nicht perfekt, und im Radio werden sie höchstwahrscheinlich nicht laufen, aber das ist die einzige Art Musik zu machen, die mich heute noch reizt und
interessiert.“
Das Album wurde dann auch komplett analog auf Band gemischt.
Und für alle, die sich dieses Werk auf Vinyl holen: Das Mastering wurde im letzten Schritt von Chris
Bellman analog vollendet.

Ushering in a new era, Berlin based, New Zealand heavy psych duo Earth Tongue lower the castle gates on their third album Dungeon Vision, a trove of fuzz-drenched anthems produced by garage rock luminary Ty Segall in Los Angeles. Guitarist Gussie Larkin and drummer Ezra Simons spent the Berlin winter of 2025 refining the album’s twelve tracks in their self-described “windowless cave” rehearsal space, crafting a record that channels both isolation and the duo’s live intensity. With the songs finally taking shape and a studio deadline looming, they flew to Los Angeles to turn their hard-won ideas into the real thing. Once there, the band and Ty captured lightning in a bottle, recording and mixing Dungeon Vision in just ten days at Altamira Sound. Tracked live to tape, Dungeon Vision pulses with human energy, fuzz guitars, bone-battering drums, and hauntingly tuneful vocals. Ty Segall’s influence is all over the record with Ty choosing the best takes based on feel rather than technical perfection. The “king of fuzzy guitar tones” pushed the duo to find new sonic textures while championing their raw chemistry. “Ty’s been a big driving force,” says Ezra. “We supported him in New Zealand back in 2023, and he’s backed us ever since even bringing us on tour through Europe and the UK in 2024.” Since their emergence in 2016, Earth Tongue’s world-building, visuals, and relentless touring have earned them global attention and a cult-like following. Their 2024 album Great Haunting, also released on In The Red Records, received a Taite Music Prize nomination and saw them win Best Group at the 2025 Aotearoa Music Awards. They’ve toured extensively, sharing stages with the likes of Queens of the Stone Age, IDLES, Acid King, Brant Bjork and Kikagaku Moyo. With Dungeon Vision, Earth Tongue deliver their most immersive work yet, a richly human, fuzz-soaked journey that bottles the magic of their live show and cements their reputation as one of the most exciting psych rock acts on the planet.

The late pedal-steel guitarist Susan Alcorn leaves a final surprise hinting at new directions left underexplored on her collaboration with Nomad War Machine, the improvising metal duo of drummer Julius Masri and guitarist James Reichard. Their death-metal-influenced pummel adds new fire to her molten flow across a suite of improvised tracks that show off the vast range and simpatico of the trio. Julius Masri and James Reichard of Nomad War Machine: “An unexpected opportunity arose out of a catching-up conversation where Susan had revealed a recent fascination with death metal, confessing, ‘I’m 70 years old—I think about death!’ She had learned a couple of Arch Enemy songs on her pedal steel, particularly compelled by their frontwoman’s intensity and vigor as a performer. Voicing an appreciation for the hook-oriented sound of Swedish death metal made sense for a melodic thinker whose roots as veteran pedal steel player reached into the Texan Western swing circuit in the ’60s and ’70s. For her, ever the explorer, metal was a new, appealing point of departure into fresh musical territory. When she expressed an interest in playing with Nomad War Machine, it felt like there was a whole world of shared or complementary interests to explore.” Though known for her fluency in jazz, country, and free improvisation, Alcorn had also studied Arabic, the oud, and maqam, with all holding a deep curiosity for her. Pre-’70s country & western music had also been a lifelong presence for both members Nomad War Machine. Masri, a Lebanese free-jazz and metal drummer, and devoted fan of Texas swing legends like Speedy West, Jimmy Bryant, Leon Rhodes, and Joe Maphis, was also steeped in Arabic music traditions. James Reichard, before coming to “freely” improvised metal, xenharmonic music, and non-Western tuning systems, had grown up being subjected to countless singalongs to numerous pre-’70s country records, entranced by the pedal steel.

Turner Cody first collaborated with Nicolas Michaux and the Soldiers of Love (Clément Nourry, Ted Clark, and Morgan Vigilante) on his album Friends in High Places (2021). This album marked a turning point for Turner Cody, in which he started to incorporate country influences to his songwriting. But that was only the beginning, and Out For Blood is without question a country album. This new album offers the perfect canvas for him to express his poetic lyricism, and to paint portraits inspired by American mythologies. The songs explore such themes as freedom, individualism, destiny, sin and redemption. Rooted in traditional narratives yet resonating with our times, these songs are to be seen as parables: imaginary characters faced with the dichotomy of good and evil. In the vein of Kris Kristofferson, Townes Van Zandt, or John Prine, Out For Blood stands as a major contribution to the great repertoire of American song. ut For Blood bears witness to a transformation in Turner Cody"s life. While his songwriting already hinted at a certain Americana, it primarily reflected his twenty years spent in New York and the legacy of the anti-folk scene-closer to the Velvet Underground than to Hank Williams. Then came the move: Cody and his family left New York to settle in St. Louis, on the banks of the Mississippi. This change of scenery and perspective fueleda new way of writing. The challenge was clear: maintaining the subtlety and textural work characteristic of his previous works while integrating the country heritage of the new songs. The collaboration between Turner Cody and Nicolas Michaux signs the perfect communion between an artist who writes in the language of poetry and another who crafts sound and textures. The Soldiers of Love, far more than a backing band, have influences ranging from jazz to fusion, from pop to Congolese rhythms. Their subtle, atmospheric sound merges with Turner Cody"s "three chords and the truth" to create this unique magic!

Remix EP featuring remixes by Justin Robertson and Hawksmoor
Magick Knives is a four-piece band conjuring cinematic post-punk from the sandy shadows of the Sonoran Desert. Drawing from gothic rock, darkwave, and cinematic atmospheres, their music is less composed than summoned, blending hypnotic basslines, ghostly guitar textures, and synths that shimmer.
Formed by vocalist/bassist Sonia Campbell and visual artist + guitarist/synth wizard Daniel Martin Diaz (Trees Speak), the band emerged through instinct and alchemy. Rounded out by lead guitarist Daniel Singleton and drummer Daniel Thomas, Magick Knives quickly found a shared sonic language that is brooding, immersive, and otherworldly.

Notti Senza Fine is the second album by the post-avant-garde theater company Magazzini Criminali, released in 1983 on the independent label Riviera Records and now reissued for the first time by Soave Records in a very limited edition of 200 copies. This work breaks away from linearity and meaning, creating a dizzying collision of voices and sounds that blend theater, punk, and experimental elements. Through montage and collage techniques inspired by the visual arts and poets such as Antonin Artaud, the album explores a dense and layered soundscape.

Composed by Federico Tiezzi, Sandro Lombardi, and Marion d'Amburgo, “Notti Senza Fine” uses sounds and fragments to create an experience that transcends conventional music. The song titles evoke geographical spaces without clear definition, while the sound textures, which include tribal percussion and synthesizers, intertwine without resolution. The album is a “meaningful object,” a musical vehicle that challenges conventions and rejects institutional distribution channels, remaining a rarity appreciated by collectors for over forty years.

The cover, designed by Mario Schifano, adds another layer of meaning to the work, making it a timeless sonic and visual experience.

SACRED COWBOYS are a moody hard rock band with a dry sense of humor. They started playing in murky Melbourne dive bars in 1982 attracting a rabid following. With the release of their iconic first single, Nothing Grows in Texas, they were catapulted to national TV notoriety on Countdown, Australia's version of Top of the Pops. 2025 saw founders Garry Gray and Mark Ferrie enlist Timothy Deane, Anthony Paine, and Damian Fitzgerald. You will soon be holding in your hands the new album, 'In the Manifesto.' 'In the Manifesto' was mastered by Mikey Young, who worked on the last six Mark Lanegan records and plays in Eddie Current Suppression Ring. All new songs are written by Garry and the band. 'In the Manifesto' shows the Sacred Cowboys do not indulge in one musical style. It's a complex, atmospheric soundtrack with Gray's uber cool delivery over sometimes sparse, sometimes weaving guitars and rich harmonies. Channeling a Sonic Youth ethos and grinding the gears in the engine room of the Cosmos Factory, 'In the Manifesto' is as wide and expansive as the Australian desert skies. Radio 3CR's Paul 'Dr Gonzo' Elliott got a sneak preview and says. "Garry Gray returns with Sacred Cowboys and a brand-new album . a 12-track tour de force titled, 'In the Manifesto'. The Sacred Cowboys have performed intense live shows and transported that energy and mood onto this new album, 'In the Manifesto.' It is all killer and a tour de force. Garnering the attention of Andrew McGee at Torn & Frayed Records, Australia and combining with French allies Seb Blanchais and Romain Michon at BEAST Records, France, the rest is about to become history.

Wishbone Ash's self-titled debut album, released in 1970, introduced a distinctive sound that would become highly influential in British rock. This re-issue faithfully replicates the original UK release in it's gatefold sleeve and is pressed on 180gm vinyl. Blending blues-rock, folk melodies, and emerging progressive elements, the album is defined by the bands signature twin-lead guitar approach, with Andy Powell and Ted Turner weaving melodic, harmonized lines rather than relying on a single dominant lead. Tracks like Blind Eye and Queen Of Torture balance hard-edged riffs with spacious, reflective passages, while acoustic moments add a pastoral, almost medieval atmosphere. The rhythm section, understated yet precise, allows the guitars to breathe and develop organically. Rather than chasing commercial immediacy, the album favours mood, texture, and musical interplay, giving it a thoughtful, exploratory character. As a debut, Wishbone Ash feels confident and forward-looking, laying the groundwork for the bands later classics and helping to shape the twin-guitar sound later adopted by countless rock and metal acts.

From the opening notes – arriving as if in mid-air – to its final, cheerful burblings, Sean Mac Erlaine and Caoimhín Ó Raghallaigh’s Old Segotia is an album about friendship: both musical and human, the product of two distinctive musicians visiting each other’s worlds with a sense of veneration, and a sense of joyful wonder.
Here, Mac Erlaine (This is How We Fly, Quiet Music Ensemble) and Ó Raghallaigh (The Gloaming, This is How We Fly) meet on common ground developed over 20 years of playing together, with Mac Erlaine’s musical language rooted in jazz and sonic experimentation, and Ó Raghallaigh emerging from an Irish traditional music that he has shaped and reshaped in a deeply personal way.
In this place, Mac Erlaine and Ó Raghallaigh’s music is profoundly integrated and emotionally textured: at times bursting with explosive energy, at times almost sighing into life, but always searching. Here are the touching unison duets of ‘Cantandor’, the lyrical wanderings of ‘Swallow Dive’, or the flirtations with finding a groove in ‘Reverse Burst’.
The palette of instruments speaks to the album’s feeling of abundance, with Mac Erlaine performing on clarinets, chalumeau d’amore, three different flutes, car hooter, percussion, live electronics, Wurlitzer, synthesiser, vocals and alto saxophone; and with Ó Raghallaigh bringing his signature hardanger d’amore sound plus a turn on the flute and live electronics, too.
With the title echoing a well-worn Dublinese expression for “friend”, Old Segotia plays out with ‘Oiche Crua Sna Sleibhte’ (A Hard Night in the Mountains), with ornithologist Seán Ronayne’s field recordings of birdsong rising out of the musicians’ playful explorations, offering a taste of life echoing music, echoing life.

A rising and genre-defying figure in the French electronic scene, Goldie B continues her ascent with Who Says Night’s For Sleeping?, a five-track EP that asserts her distinctive signature: an instinctive blend of club energy, cinematic storytelling and UK rave influences. Conceived as the soundtrack to a night lived in full intensity, the record moves through the fire of the dancefloor, the collective trance, and those suspended moments where one floats between dream and wakefulness.

“I imagined this EP as the soundtrack to a night experienced in its entirety. From the first rush of adrenaline on the dancefloor to that floating walk home, still carried by the music. My influences range from Moby and Air to Floating Points and Joy Orbison, artists who know how to combine power and emotion. I love connecting the raw energy of the club with more dreamlike textures, because you can absolutely dream while dancing. Each track is an instinctive snapshot of my inner world.” Goldie B The EP’s opening act, “The Space Between” blends ethereal pads, organic strings and a steady crescendo, recalling the elegance of Air or Moby. It opens a suspended space, equally suited to inner drift or physical release. “I wanted it to feel like a threshold, a gentle hand pulling you into a trance state.”

On “U Make Me Feel So Good”, a sensual and narrative breakbeat track, a flowing bassline gradually tightens into trancier energy. Seductive female vocals weave through broken rhythms, creating a piece that is as tactile as it is hypnotic. “It’s about contrast, the softness and caress at the start, then a tension that rises and electrifies.”
Instagram | Youtube | TikTok | SoundCloudAt the heart of the project, “Rêve de Rave” channels 90’s breakbeat spirit with old-school samples, an euphoric central break and voices urging to move your feet. Urgent and liberating, it embodies the dreamlike essence of the rave. “It’s how I imagine the rave: a lucid dream where joy and collective energy feel almost unreal.”

Next comes the most incisive cut of the EP, “Purple FX”, driven by a grating central bassline that evolves relentlessly until its explosive drop. Minimalist yet implacable, it captures the sheer force of a peak-time track. “I wanted a track purely designed for the club, where the tension just keeps rising until it explodes.”

Closing in chiaroscuro, “Snake Waves” shifts from breakbeat into a half-house, half-techno 4/4 groove, carried by a sinuous, hypnotic bassline. The track plays on tension and release, with a rich harmonic break before fading like a suspended farewell, where the party recedes but the energy lingers. “It’s a farewell piece that keeps the intoxication alive, like a final vertigo before slipping back into the night.”

Goldie B is a multifaceted force on the French electronic scene. A producer, multi-instrumentalist, singer, MC, DJ, and co-founder of the label Omakase Recordings, her sets blend bass, jungle, UKG, and breakbeat, captivating audiences with their contagious energy. Based in Marseille, she has released music on renowned labels such as D.KO, Banoffee Pies, and YUKU, and has performed on some of the biggest French stages and festivals: Peacock Society, Astropolis, NDK, Marsatac, Delta, Le Bon Air, and even the Festival d’Avignon. In 2024, she was selected by Apple Music for its Women In Electronic series. Her new Who Says Night’s For Sleeping? EP confirms her status as an instinctive and distinctive artist to watch on the French electronic scene.

"At Your Pace" is the second full-length album from Berlin-based duo Modha - drummer/producer Dhanya Langer and multi-instrumentalist Max Scholl. Following their acclaimed 2023 debut "Through The Cycle", which tackled mental health and vulnerability through soulful, genre-blurring compositions, "At Your Pace" doubles down on their signature approach: raw textures, emotional honesty, and deep collaboration.

Under a sky of short days and long nights, Notta Records from Finland unveils Dog Sleep, a deeply immersive EP by Cyclic/Random. Known for crafting slow-burning, atmospheric excursions at the intersection of dub techno and deep, dubbed-out house, Cyclic/Random extends the labels mission of a warm, hypnotic winter soundtrack.
Across the EP, soft-focus chords drift like snow over steady, smoked-out grooves, basslines pulse with understated weight, and echoes curl around the edges of the stereo field. These are tracks built for long, nocturnal sessions, the moments when the outside world is frozen and the dancefloor feels like a shelter. Dog Sleep is intimate yet expansive, perfectly tailored for winter: crackling dub house, deep dub techno and distant ambient textures that invite you to slow down, sink in and dream with your eyes open.

Ascension marks the Manjumasi debut of Brazilian producer Canavezzi, distilling the label’s trademark quirky sophistication through a distinctly South American lens. The EP drifts between deep house, dub-soaked textures, micro-details and tech-driven grooves, always subtle, never obvious.
Across the record, Canavezzi works in tiny movements: flickers of percussion, vapor-trail chords and basslines that feel less “written” and more sculpted over time. Nothing shouts, everything glows. It’s the kind of sound that sneaks into a warm-up set and is still echoing in your head when the lights come on.
True to the San Francisco imprint’s ethos of deep, complex, melodic grooves with a playful twist, Ascension is built for dancers and listeners alike, equally at home on a smoky after-hours floor, a rooftop at sunrise or late-night headphones.
A thoughtful slice of contemporary house from Brasil to Manjumasi, Ascension is less about peak-time fireworks and more about that slow, undeniable lift: a steady climb into its own hypnotic orbit.

Thanks All is an EP that fuses nostalgia and futurism through hypnotic textures and dancefloor-ready grooves, highlighting Braga Circuits' knack for blending the ethereal with the grounded. "Break It Down" opens with classic house-inspired piano and organ layered over a modern groove. "Too Much to Ask" drifts into dreamy, hypnotic territory, while "Walk With Me Gentle" builds a shamanic vocal into a mesmerizing peak. Closing track "With the Bats" grounds the journey in rhythm, maintaining Braga Circuits' melodic and surreal sound design.

Força Maior combines the vital saxophone explorations of Pedro Alves Sousa with the infinitely subtle electronic processing of Pedro Tavares. Sousa (aka Má Estrela) is known for manipulating his woodwind through guitar pedalboards & amplifiers, creating far-from-ordinary sonics rooted in unceasing curiosity. For his part, Tavares (aka funcionário) conjoins video & sound work to create space for the pensive wanderings where memory and imagination interlace.

The album Morte Lilás was recorded over a week in June 2023 in Pedro Alves Sousa's family farm, located in the village of Ferreirim, near Lamego, in Portugal. The partly abandoned farm served as the residency, studio, and inspiration for the album: it is a 400-year-old granite farm that belonged to a member of the "40 conspirators"—a group that led the revolution for Portugal's independence from Spain in the 17th century.

Morte Lilás is a remarkable album of committed meditation. Each day on the farm was a recording day for the two Pedros: Sousa on sax & electronics, Tavares on sampler & processing. Apart from slight sonic incursions from the surrounds—the birds on 'Quinta à tarde'—and the sporadic use of sine tones, the source sounds all start from the saxophone. It is then processed both by Sousa & Tavares. The album unfolds as a saxophonic tapestry that breathes with quiet intensity. Each piece invites close listening, revealing fine gestures and tonal shifts that shape a contemplative, ambient space. Força Maior move with calm precision.

The album opens with the unhurried overture 'Quinta à Tarde' a Portuguese pun on Eno's Thursday Afternoon that announces the textures at play. Sousa's breathy entrance is paired with a soft, delicately shifting, backdrop. As the track progresses, time seems to stretch. The arrangement resists urgency, favouring subtle evolution over dramatic turns. Pensive layers shift & drift, creating a sense of suspended motion that brings the listener into the environs of Morte Lilás. 'Quinta à Tarde' is a long-form fade, shifting emphasis from Sousa to Tavares.

'Cubos' continues the gauzy feel, but with a more up-tempo tilt. Rhythmic clicks & pings setup a swung time for the sax to interpose melodic lines that are fed back & bent with cascading delays. Força Maior in distilled form.

Força Maior is in top form on the title track 'Morte Lilás', a sprawling centrepiece that showcases their command of atmosphere & emotional pacing. By turning up the reverberation & leaning into a continuous format, they dissolve the gap between hypnotic trance & articulate reverie. Then, a moment of stillness. The track pauses, not abruptly but like a tide pulling back, revealing the contours beneath. What follows is a return to the album's more relaxed architecture: understated rhythms, softened textures, and a sense of spaciousness that opens space for reflection. It is a transition that feels organic, as if the song itself needed to exhale before settling back into its contemplative groove.

'Menta' is another short-form miniature of the band's signature contours: beautiful loops of air pressure gradients that carry an emotive weight & light.

The album closes with 'Cascata do Inferno'. The title suggests violence, but the music whispers instead—an atmospheric cascade of breath & tone that emerges in slow, deliberate waves. Short melodic cycles are matched by shimmering electronic chords. It's a piece that rewards patience, draws the listener in to drift downstream, eyes closed, into the serene turbulence of its current.