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Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

Hoshina Anniversary returns to MUSAR for his fourth appearance on the label with Sankaku, a five-track EP offering the latest snapshot of his ever-evolving ‘Watechno’ sound.

Taking its name from the Japanese word for ‘triangle’, Sankaku opens with a storming, floor-focused title track, pairing hypnotic techno rhythms with shifting textures and sharp acid drops. Tsuppari follows, named after the rapid hand thrusts used in sumo. Driving percussion, Japanese instrumentation and a raw techno pulse give the track a physical, forward-moving energy, making it a natural club cut.

Side B opens with Kono Kanjitte, where acidic tones meet jazzy elements and a playful sense of uncertainty. Slower and psychedelic, it unfolds as a track for restless minds and hazy nights. Ariake, named after the Ariake Sea, moves into more spacious territory, with Japanese instrumentation creating an atmosphere of mystery and anticipation, like looking towards an unknown horizon. Closing the EP, Itsukushimi brings a melancholic blend of melodic touches and darker cinematic tension, recalling the atmosphere of a Hitchcock soundtrack.

With ‘Sankaku’ EP, Hoshina Anniversary turns Japanese imagery, psychedelic textures and club-driven rhythms into a world that feels both familiar and otherworldly.

A space is often described by its dimensions. The height of the ceiling, the expanse between walls. Division into functional elements of varying density follows. We have ideas of how such dimensions should be balanced to work well for sound — the classical concert hall, a Northward mastering room.

It’s tempting to try and use this idea of space to understand Space the group (Lisa Ullén, Elsa Bergman, Anna Lund). To calculate their cartesian co-ordinates: dynamics that run from whisper soft to punishing, shaking force; Ullén’s piano running the full expanse of the frequency spectrum; the mix of sudden, surprising and suggested variations in density (the space) that generates their musical structures.

But (a) space is a social phenomenon where meaning is accumulated and possibilities created by and through a constantly shifting set of social relations and their histories and entanglement inside and beyond the physical structures of a room or building. Reduced to its raw dimensions, Cafe OTO shouldn’t sound good: the low ceiling, the hollow void underneath the stage-not-stage, the hard glass windows out onto the street. But OTO as a social space — for gathering close to listen; the serious pursuit of a convivial good time (its productive mythology that an OTO audience is both up for it but also expects more); and then the idea of all that has happened before and what will come; that this is also part of ‘the music’ and changes what sounds to the point that none of those cartesian co-ordinates matter.**

It’s less of shock that Space sound good. Lisa Ullén is easily the most singular pianist in Sweden right now and Elsa and Anna’s ability to reroute in realtime reaffirms just how well they function as a group. The trio might have got their shit together holding down the rhythm section for the first incarnation of Anna Högberg Attack — but much like Högberg’s ongoing pursuit of artistic renewal, the trio avoid being shackled to any ideas about what a piano trio should be and there is something that happens (happened) in that room, on that night, with those people that made for something beyond just good.

It’s a gift that the sound of every concert at OTO gets recorded. A choice handful of these transcend their decoupling from that social space and radiate the room’s attendant energies. This record is one of them.

** See Jack Halberstam in Fred Moten & Stefano Harney, The Undercommons (2013): “…we must refuse the idea that music happens only when the musician enters and picks up an instrument; music is also the anticipation of the performance and the noises of appreciation it generates and the speaking that happens through and around it, making it and loving it, being in it while listening."

* Previously unreleased bonus tracks

West Coast luxury rap meets corner-store nostalgia on Two4Two, Jay Worthy's ode to late-night cruises and 40oz street dreams. Wrapped in artwork inspired by stacks of classic malt liquor bottles, the project captures the unmistakable G-funk-infused atmosphere that has made Worthy one of the most authentic voices in modern West Coast hip-hop.

For the very first time, Two4Two arrives on vinyl in a deluxe collector’s edition, including an exclusive liquid-filled pressing as bold and distinctive as the project itself.

This first-ever physical release also includes 2 previously unreleased bonus tracks, making this a definitive edition of Two4Two and an essential piece for Jay Worthy collectors.

Lord Sko’s Sophomore Album ‘UNITED PALACE’ is a record chock-ful of homage, past & present pop culture references & youthful exuberance expressed with a vintage New York attitude. With contributions from Meyhem Lauren, Da$H, Wiseboy Jeremy, LIFEOFTHOM & Kuriousul references to the entire cityscape, this is an album that thoroughly represents both Classic & Modern NY culture through the eyes of a Young Uptown MC. With contributions from Meyhem Lauren, Da$H, Wiseboy Jeremy, LIFEOFTHOM & Kurious Jorge, UNITED PALACE could sonically & aesthetically fit anywhere from the Golden Age to the Blog Era & Far Beyond into the future.

,Sharp Pins" ist das äußerst starke Lo-Fi-Pop-Projekt des talentierten Musikers Kai Slater aus Chicago, bekannt von Lifeguard und Dwaal Troupe. Aufgenommen von Kai Slater. Abgemischt von Kai Slater. Gemastert von Amy Dragon. Aufgenommen im Stülo Gulo in Chicago, Illinois. Ursprünglich als Hallogallo-Kassette im Eigenverlag veröffentlicht. ,Youth Revolution Now". Von Kai: ,Der Soundtrack zu meinem 18. Sommer, in dem ich mit einem chinesischen Taotao 50-ccm-Roller durch die Gegend um die Taqueria Moran fuhr und meinen Sta-Prest-Träumen nachjagte. Ich dachte, es wäre cool, eine Reihe von Songs aufzunehmen, die nie wirklich aufgenommen wurden, und zwar auf eine etwas durchdachtere Art und Weise. Aufgenommen auf einem Tascam Porta One im alten Beton-Stulogulo mit einer imaginären Band namens ,Men in Green Striped Trousers". Der ursprüngliche, von Sharp Pins geprägte Garage-Pop-Sound in seiner ganzen rohen, rauen und kreischenden Pracht _ Ich glaube, ich habe davon etwa 50 Exemplare angefertigt. Nun gehört mein Teenagertraum Ihnen.".

Der Frontmann von Goblin Cock, Lord Phallus, ist eine in einen Umhang gehüllte Nicht-Präsenz in einer Band aus ebenso vagen Persönlichkeiten, die bewusst nebulös gehalten sind; doch während ihre zahlreichen Nachahmer dies als Vorwand nutzen, um eine kommerziell verwertbare Geschichte zu vertiefen, wünschen sich die Mitglieder von Goblin Cock tatsächlich , ignoriert zu werden. ,Traumanaut" ist die neueste LP des Projekts und klingt wie ein unerwartet frischer Lufthauch, insbesondere ausgerechnet aus einem solchen Sumpf der Neurose wie diesem. Zeitweise klingt sie so persönlich, dass jeder normale Songwriter wohl bis zum Absurden gehen würde, um sich von dieser Ehrlichkeit zu distanzieren.

Familiar. Usually reserved for things we think we know. A face, a place, a feeling, a record perhaps. Until, of course, they aren’t quite the same anymore. Or maybe you aren’t.
Jennifer’s debut album lives somewhere around there.
It’s a record about time, which is already a fairly ambitious subject considering nobody seems to have figured that one out yet. More specifically, it’s about what
time does to a person. The old versions, the new versions, and all the ones in between that you only notice when something suddenly brings them back. Someone you
haven’t seen in years. A room you used to know. A certain way the light falls. That sort of thing.

There’s a bit of a doppelgänger situation going on, too. Finding something completely new and somehow recognising it. Meeting yourself again without immediately realising who you’re talking to.
Which can be nice. Or strange. Usually both. The songs on Familiar sit comfortably with that contradiction. Looking backwards without wanting to go back. Missing things without necessarily wanting them
returned. Realising that people who once occupied most of your waking hours can become people whose address you don’t know. Meanwhile, some tiny, seemingly irrelevant detail from fifteen years ago remains perfectly intact.
Memory has its own filing system. Not a particularly sensible one.
Jennifer wrote a series of poems alongside the album. In them, familiarity appears in melting snow, rough coastlines, a kitchen already warm in the morning, somebody’s hands fitting into yours. Elsewhere she wonders about someone she
once knew everything about and now knows nothing about. They could live around the corner. They could live on another continent. They could, technically, be dead. Probably not. But that’s time for you.
Maybe Familiar is less about remembering who you were than realising you never entirely stopped being them. Things get added. Things disappear. Things come back looking slightly different.
And somehow, you recognise them.

Black Truffle is thrilled to announce a second volume of unheard concert performances from legendary Pakistani kyhal singer Salamat Ali Khan, recorded at Berlin’s Neue Nationalgalerie as part of the MetaMusik festival in 1974. Like the first volume, the immaculate recording by Michael Hönig (of krautrock legends Agitation Free) captures Khan performing a single extended raag in the company of Shaukat Hussein Khan on tabla and Hussein Bux Khan on harmonium. In addition to his stunningly inventive and moving vocal performance, Khan is heard accompanying himself on a specially tuned alpine zither (in place of the traditional swarmandal, an Indian style of zither). The lack of an underlying tanpura drone gives the music its characteristic floating quality, with the three instruments and voice masterfully dancing around one another as they sketch the outlines of this grand, 40-minute Raag Chandrakauns.

If anything, this epic performance of the late-night Raag Chandrakauns is even more seductively spacious and psychedelic than the music heard on the first volume. Obeying the traditional shape of Hindustani classical vocal music performance, a gradual rise in both pitch and rhythmic activity, the music hovers for twenty minutes in a reflective calm, the pulse only gently stated by the tabla while harmonium ornamentation and zither strums float by. In this meditative space, Khan gradually orients us to the contours of the raag, beginning with long notes at the bottom of his register. His improvisation at once builds with a stunningly firm sense of internal logic and seems liberated to explore every melodic and ornamental byway that comes up along the way. By the time we turn to the record’s second side, the music has grown into something far more frenetic, with virtuoso tabla passages at times occupying centre stage between Khan’s increasingly rhythmic melodic variations. Concluding with a sequence of unison tabla and voice passages of breathtaking complexity, the performance is met with rapturous applause. Arriving in a blue-toned variant of the first volume’s sleeve, with acclaimed musicologist Peter Pannke’s liner notes in the original German, Metamusik Festival Berlin ’74 Volume II is not to be missed. Essential listening not just for Hidustanti classic aficionados, but for anyone who needs reminding of the magic of collective music making in the moment.

Re-release of Steffi's successful debut album Yours & Mine on her new imprint. The classic house album that reminds of early Detroit and Chicago tracks with a modern touch!!!

GER Erstes Album mit Hopeless der Atlanta Nu-Deathcore-Band LEFT TO SUFFER! Left To Suffer zählen zu den intensivsten und eindringlichsten Acts der modernen Heavy-Musik, eine Band, die mit der Wucht einer Abrissbirne und der Präzision eines Skalpells zuschlägt. Ihr Sound entsteht an der Schnittstelle zwischen Moshpit-tauglicher Brutalität und eindringlicher Melodik; er richtet sich an Hörer, die ihre Katharsis laut, körperlich spürbar und kompromisslos erleben wollen. Von zermalmenden Breakdowns bis hin zu unheimlicher, atmosphärischer Spannung haben sich Left To Suffer eine ganz eigene Nische geschaffen. Hier existieren Wut und Verletzlichkeit unmittelbar nebeneinander, getragen von messerscharfem Songwriting, gewaltigem Tiefenfundament und Hooks, die wie Nachbeben einschlagen. Left To Suffer jagen keinen Trends hinterher. Sie erschaffen etwas, das schwerer, schärfer und unüberhörbarer ist, und dieses Kapitel hat gerade erst begonnen. Oranges Vinyl, Digisleeve CD Hopeless debut from rising Atlanta Nu-Deathcore band LEFT TO SUFFER! Left To Suffer are one of modern heavy music's most visceral acts, a band that hits with the force of a wrecking ball and the precision of a scalpel. Their sound lives at the collision point of pit-starting brutality and haunting melody, built for listeners who want their catharsis loud, physical, and uncompromising. From pulverizing breakdowns to eerie atmospheric tension, Left To Suffer have carved out a lane entirely their own. One where rage and vulnerability coexist in the same breath, anchored by sharp songwriting, massive low-end weight, and hooks that land like aftershocks. Left To Suffer aren't chasing trends. They're building something heavier, sharper, and harder to ignore, and this chapter is just getting started. Orange coloured vinyl, digisleeved CD.

Chloe Slater’s debut album ‘Riot Youth’ unfolds in the fleeting, chaotic moments before doomsday – a coming of age record fit for the modern world. Arriving right on time in an era when hopelessness and nihilism run rife, painting the truest portrait of what it is to be young, British, and brave enough to be hopeful today. Across 10 tracks, she departs her signature, succinct commentary on the issues plaguing her generation: social divide, toxic internet culture, our dwindling sense of community, the climate crisis and, ultimately, the vampirish billionaire class cashing in on our collective misery. She playfully shifts from these frank descriptions of society to moments of gorgeous, gut-punching poetry, crafting anthemic choruses and intoxicating one-liners from the gripes many of us can barely muster the words for.

Rathmann spielen dunklen Gitarrenpop. Ungeschliffen und roh. Schmutzig, räumlich und mit einem Sinn für Romantik. Auf ihrem Debütalbum "Die Goldenen Zwanziger" haben sie zu einem klaren Selbstverständnis - einem eigenständigen Sound - gefunden und erzählen darin ehrlich und nahbar. Wenn in ihren Songs ein junges Paar ungewollt schwanger wird, Menschen aus der Bahn geraten oder sich dystopische Zukunftsaussichten breit machen - dann vertonen Rathmann abgründig und introspektiv, eingängig und wunderschön die Zwanziger. Ihre eigenen und das Jahrzehnt, in dem sie sie erleben. Vom Indierocker "Warum tut Liebe so" über den folkigen "Trauriger Geist" bis zum Italo-Western-Titeltrack des Albums - überall ist die klare Handschrift zu erkennen: Eine Band, die sich erlaubt, Band zu sein. Eine Band, die sich nicht am Zeitgeist, sondern ausschließlich an ihren eigenen Interessen orientiert. Und so findet man auf ihrem im Herbst 2026 erscheinenden Debütalbum mehr Anleihen von Leonard Cohen, Big Thief, Dr. Dog und Bands der Hamburger Schule als vom zeitgenössischen, deutschen Indiepop. Bei ihren Konzerten wie auch im Songwriting, Rathmann fangen in ihren Liedern den Moment ein: Die Unsicherheit unserer Zeit und die Tristesse einer soliden Quarter-Life-Crisis - immer aber auch die Freude an der Gemeinsamkeit und die Aufregung eines Lebens, das es noch zu entdecken gilt. Inklusive der Singles Wenn alles vorbei ist, Der Test in Deinen Fingern, Warum tut Liebe so & Trauriger Geist.

Bachs h-Moll-Messe (BWV 232) ist seine einzige vollständige lateinische Messe. Sie entstand in den letzten Jahren seines Lebens und vereint neu komponierte Sätze mit überarbeiteten früheren Sätzen zu einer
musikalischen Synthese seines Schaffens, die einen Höhepunkt der Barockmusik darstellt.
Karl Richters Aufnahme von 1961 mit dem Münchener Bach-Chor und dem Münchener Bach-Orchester
gilt bis heute als legendäre Referenzaufnahme. Sie besticht durch ihren geschlossenen Klang, ihre klare
Interpretation und ihre herausragenden Solisten.
Um die bestmögliche Klangqualität zu erzielen, wurden die Aufnahmen neu gemastert und erstmals rein
analog von den originalen Zweispur-Bändern geschnitten.
Die audiophile Vinyl-Reihe „The Original Source“ präsentiert herausragende Aufnahmen in einer völlig
neuen Klangqualität. Dazu haben die renommierten Emil-Berliner-Studios die originalen Mehrspurbänder
in 100 % analoger Qualität (AAA) unter Verwendung von Technologien, die speziell für die Produktion
dieser Reihe entwickelt wurden, neu gemastert und geschnitten.
Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: größere Klarheit, mehr
Feinheiten und Verbesserungen im Frequenzgang bei gleichzeitig weniger Hintergrundrauschen, Verzerrungen und Kompression ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Diese limitierte und nummerierte Auflage erscheint auf 180-g-Vinyl in einem luxuriösen 3-LP-Box-Set und
enthält zusätzliche Fotos sowie Faksimiles der ursprünglichen Aufnahmeprotokolle und Bandkartons.

Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more

Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.

Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.

Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.

Jazz, Soul, Highlife and spoken reflection co-exist without apology on 13 new songs co-produced with Benjamin James and featuring his group The Cavemen as well as saxophonist Lakecia Benjamin. For the Grammy-nominated vocalist/songwriter Somi, each new album is an act of place-making. The catalogue of the Rwandan/Ugandan-American artist reads like a map of migration and memory, with records rooted in Lagos, in Harlem, and in the spirit and political inheritance of Miriam Makeba. 'What Does It Take To Bloom? Is her ninth album overall and her first collection of original songs in six years. Musically, it also represents a new chapter in collaboration. During sessions in Lagos, Somi connected with Benjamin James, whose partnership would become pivotal. As one-half of the Nigerian duo The Cavemen., James brings a contemporary approach to heritage-centred sound. The collaboration proved so seamless that Somi invited him to co-produce the full album, with moods and rhythms ranging from upbeat Highlife-Soul-Fusion ('Aiwah'), via jazzy statements ('Throw Something'), to soulful reflection ('What Does It Take To Bloom?').

FKJ returns with Tyber— a project that captures a period of personal and creative transformation following the release of his acclaimed album ‘V I N C E N T’. Written and recorded across multiple continents, the album reflects years spent navigating movement, solitude, collaboration and renewal.

The result is FKJ at his most expansive and uninhibited. Across ‘Tyber’, groove-driven compositions sit alongside jazz-led instrumentals, sample-heavy explorations and more direct songwriting moments, moving seamlessly through genres without ever losing cohesion. The album feels both deeply personal and globally informed, spotlighting an artist documenting his evolution in real time. It captures musical snapshots across London, Los Angeles, Paris, Brazil, and beyond to create music that combines intricacy and intimacy seamlessly.

Anchored by themes of emotional equilibrium and self-care, Tyber balances vulnerable storytelling with an unmistakable, groove-laden optimism. The album seamlessly weaves together spontaneous, late-night collaborations with artists like Labrinth, Bas, and Baby Rose, alongside deeply personal solo compositions. Ultimately, Tyber is a vibrant celebration of human connection and resilience, offering listeners an immersive, cinematic invitation into FKJ’s newly restored world.

Following a hugely successful debut, the LA collective Boogie Down Edits return with a second volume that turns its attention to one of hip-hop's most untouchable catalogues - A Tribe Called Quest. The approach remains as tasteful as ever: the defining vocal fragments and musical DNA of the originals stay fully intact, while the grooves and rhythms get subtly reworked for DJ-friendly, peak-time impact. 'Award Tour' opens proceedings with that unmistakable vocal hook gliding over a chunky, rolling house beat built for packed floors, while '4Momz' takes things deeper and more atmospheric, warm bass pressure and dreamy textures giving it a genuine late-night feel. Golden-era hip-hop attitude meets contemporary house production. Mad respect.

Following the events of Pussy Disco (SCCD 021) ...
The nights in Hong Kong did not remain a secret for long. Word spread silently through the feline world, and the gatherings grew until the music no longer belonged to a single hidden basement. The cats had found something of their own.
Their new destination became Macau. Long after midnight, when the casino floors fall silent and the roulette wheels come to rest, they emerge from hidden passages and forgotten service corridors to throw their own secret parties. The gaming tables become dance floors.
The remixes played during these nights were all commissioned by the legendary feline Primadonna Disco Queen Beast (PDQB), reimagining tracks from the original Pussy Disco album. The most celebrated DJ cats perform with nothing but their claws, tracing the grooves like perfectly balanced styli. Their oversized ears become living loudspeakers, carrying every microscopic detail through the vast halls.
Before dawn, the music fades. The cats disappear without a sound, leaving the roulette tables exactly as they found them. When the first employees arrive, there is no sign that anything happened during the night.
Over the years, PDQB commissioned countless remixes of tracks from Pussy Disco. The eleven collected on this double vinyl were all played during the legendary Sunrise Sessions - the final hours before daybreak, when the parties reached their absolute peak. These are the remixes the cats returned to again and again, making them the undisputed classics of Macau's underground feline nightlife.

We release our second record, COPPIES002. Another hand stamped white label EP, collecting tunes from thecommunity, for the community. This time with tracks by Kerr Wilson, Salomo, illousion and APRS. Kerr starts on A1 with his "The Key To My Heart". He showed the first version of the track to Robert around 4 years ago in a memorable summer spent together. We made the promise that this will be pressed on record one day and, here it is! Thanks Kerr! It's a melancholic late-summer tune that makes you tear up and feel like the warm euphoria won't last forever, but it will surely return if you're patient. Salomo follows with a similar moody approach on "Say less (on the DF)", even though we can argue about the meaning of the title ;). illousion builds more tension on the flipside with "Masc or Mask". Entering dubby, rolling terrains with more high intensity drum patterns for later moments of the night. APRS is closing the EP with "I Want to Speak" on B2, maybe the counter argument to Salomos desire of a less noisy dancefloor. He crafted a minimal, loopy trip that drags you down the rabbit hole and won't iet you go til the party is over. COPPIES002 is available on vinyl only with digi download option

Reissue from the legendary Proto Garage Record Label Same People, which released some of Persian & DJ Texsta's most pioneering UKG E.P.s.

The Duo helped define the early sounds of UKG & the then unheard sound of Speed Garage, Dubstep & Grime. The Duo had massive success with records like Dangerous & Well Well Well.

Thursday, 2025. Philadelphia. South Philly, to be precise. A basement, to be even more precise. And not just any basement, but the subterranean headquarters of Zillas On Acid.

Which is where Roman Flügel found himself, presumably with good intentions. Some time before that, he had decided to wake Sister Midnight from its slumber.
But rather than simply carrying on where things had left off, a new idea was needed. Enter Sister Midnight Special Products: a new series dedicated to collaborations, chance encounters and other musical situations that deserve to become records.

No grand manifesto, no five-year plan. Just making music with people you like, in places you happen to find yourself, and seeing what happens. Special Product 01 is “Conga Dream,” born from a basement jam with Zillas On Acid and apparently unwilling to behave itself ever since.

Three musical free spirits meet somewhere between the basement, the dancefloor and the more pleasantly confused corners of the mind. Club music is involved, certainly, but functionality has been politely asked to wait outside. Instead: pocketprotector synthesizers, a little E-mu Proteus 3, assorted electronic activity and, as advertised, congas.

The result is less a tool than a small trip. Or perhaps a tool for taking small trips.
Either way, it works.

Zillas On Acid put it like this:
“A basement jam deep beneath the streets of Zilladelphia yields surprising results: pocket protector synths, a dash of E-mu Proteus 3, and yes of course the aforementioned congas.”

And with that, Sister Midnight Special Products is officially open for business.

Dream on.

Mastered by Mike Grinser at Man Made Mastering.

Artwork by Saskia Randt.

Fidel Kato is a producer based in Rome, Italy. In its sound we hear reminiscences of the boom hip-hop mixed with Latin jazz and today's Lo-Fi trends. In his upcoming full-length “Black Pepper” his productions are enriched by the presence of live instrumentation. Record drops on all digital platforms November 6th and Tuff Kong Records will be releasing it on vinyl November 23rd.

Recently unveiled Norwegian Heavy Metal act Avrak was founded in 2023 by guitarists Anders Hegna & Ted Skjellum; himself notable for being half of legendary duo, Darkthrone. The pair had known each other for many years, & with a mutual passion for old, classic rock & metal they finally embarked upon this new journey together under the banner of Avrak.

Ted had declared from the beginning that he would in fact not carry out main vocal duties in the band, & so Anders - with his own voice befitting of the style - took on this task.

Still quite early on within the formative stages, Terje Kråbøl was brought in on the drums &, from there-on, with his percussive presence backing up some thunderous riffing, the creative work accelerated until enough material was produced (and relentlessly refined), culminating in the self-titled, hook-laden & doom-laced rock debut, ‘Avrak’.

Suitably & epically defined as a monumental “Heavy Metal voyage from the peak of the mountains to the depths of the seas”, & delivering themes relating to empowerment in the face of increasingly corrupt times, ‘Avrak’ is a combination of a vast multitude of influences, as the eclectic, deceptively nuanced nine track offering features a classic heavy metal & doom rock backbone, with further experimentation including synth passages, & even some traces of black metal riffing in its DNA.

Avrak subsequently held its debut show in their local town of Porsgrunn in late April 2026, backed by the brand new bassist & final piece of the puzzle, Steinar Gundersen, with more live shows intended in future to support the release.

This edition of ‘Avrak’ is presented on limited silver vinyl, including printed inner sleeve with full lyrics.

Recently unveiled Norwegian Heavy Metal act Avrak was founded in 2023 by guitarists Anders Hegna & Ted Skjellum; himself notable for being half of legendary duo, Darkthrone. The pair had known each other for many years, & with a mutual passion for old, classic rock & metal they finally embarked upon this new journey together under the banner of Avrak.

Ted had declared from the beginning that he would in fact not carry out main vocal duties in the band, & so Anders - with his own voice befitting of the style - took on this task.

Still quite early on within the formative stages, Terje Kråbøl was brought in on the drums &, from there-on, with his percussive presence backing up some thunderous riffing, the creative work accelerated until enough material was produced (and relentlessly refined), culminating in the self-titled, hook-laden & doom-laced rock debut, ‘Avrak’.

Suitably & epically defined as a monumental “Heavy Metal voyage from the peak of the mountains to the depths of the seas”, & delivering themes relating to empowerment in the face of increasingly corrupt times, ‘Avrak’ is a combination of a vast multitude of influences, as the eclectic, deceptively nuanced nine track offering features a classic heavy metal & doom rock backbone, with further experimentation including synth passages, & even some traces of black metal riffing in its DNA.

Avrak subsequently held its debut show in their local town of Porsgrunn in late April 2026, backed by the brand new bassist & final piece of the puzzle, Steinar Gundersen, with more live shows intended in future to support the release.

This edition of ‘Avrak’ is presented on limited silver vinyl, including printed inner sleeve with full lyrics.

"Loving You To Death is very much about being with someone who is hurting you by hurting themself, knowing you should leave but that you can’t live without them. It’s mostly about one night, or one period of time? I don’t really know anymore, but maybe you can relate.

Before writing this I was obsessed with stretching out my little moody riffs into long drawn out ambient pieces, throwing them through the morphagene and seeing what happens. But there is just way too much sound design around me, everything is so slick and impressive and boring and unmemorable. So I tried to keep everything bare, to accept the recordings as they are and to do it without a band.

Long live mid-fi, dramatic relationships, obsessiveness, sing-song melodies and unprofessionalism, and huge thanks to Ariana, Matt, Adam, Yas, Nik, Victor, Ouri, Ziggy, my mom, Alan, and everyone else I drove crazy while making this.

- Richard"

Tip-on Cover, Special Varnish

Available in the following Territories: Wordwide minus Japan & Korea

NOTON is pleased to announce12 Conversations, a collaborative album by Ryuichi Sakamoto and Alva Noto to be released on 18 September 2026.

The partnership between the legendary musician and composer Ryuichi Sakamoto and the German artist Carsten Nicolai (aka Alva Noto) has produced some of the most distinctive and enduring works in contemporary electroacoustic music. Beginning with Vrioon in 2002, the artists spent more than two decades fusing and expanding their disciplines, with Sakamoto's evocative, sustain-drenched piano compositions finding their counterpart in Nicolai's skilful and sensitive electronic detailing.
Each successive project further deepened their artistic dialogue: from the five studio albums of the V.I.R.U.S. series (Vrioon, Insen, Revep, Utp_ with Ensemble Modern, and Summvs), to their score for Alejandro G. Iñárritu's The Revenant; Glass (2017), a wholly improvised performance inside Philip Johnson's iconic Connecticut landmark, in which the pair fixed contact microphones to the glass walls, playing the architecture itself as an instrument; and Two (2019), a document of their live performance at the Sydney Opera House.

Across these works, their distinct approaches achieved a rare synthesis, a brilliantly sustained dialogue between piano and electronics, Sakamoto's warmth and melodic finesse meeting Nicolai's abstract electronic formalism to invoke a mesmeric quietude as deeply satisfying in its melodic resolutions as in the merger of its filmic romanticism and meditative subtlety.
12 Conversations brings together musical exchanges recorded in November and December 2022. Rooted in the same creative period that gave rise to Sakamoto's final solo album 12, these recordings were not originally intended as a standalone release. It was only after the completion of 12 that Sakamoto and Nicolai decided to present these exchanges as a work in their own right.
The album reflects the vitality and curiosity that defined more than two decades of shared inspiration: fluid, exploratory, and forward-looking. Created with openness and trust, it captures a creative process in constant transformation - sounds expanding, altering, and evolving through attentive listening.

Conceived as the continuation of an artistic dialogue extending beyond the physical, 12 Conversations honours Sakamoto's wish that these encounters should exist beyond the archive, offering an enduring testament to one of contemporary music's most revered collaborations.


Carsten Nicolai writes:
"A heavy breath can be heard in the recordings. Yet this work is not about remembrance but continuation, vitality, curiosity, and the spirit of experimentation that shaped an artistic relationship over decades.
The twelve pieces we exchanged in November and December 2022 possess extraordinary density: sounds expanded, altered, recontextualized. Initially, every intervention felt almost inappropriate. Yet this was part of our openness and trust: adding, shifting and radically yet softly transforming.
Even in these final exchanges, plans for future projects continued to take shape, mindful of finite yet firmly believing in the power of new ideas. We chose the name Conversations, which has become a space of memory and vision, where past, present and future intertwine.
For a long time, releasing this music seemed impossible. The loss felt too sudden, and the emotional connection too profound. As time passed, it became clear that these twelve musical encounters should have life outside the archive. To honor Ryuichi's wish, these pieces are now being released as the continuation of a dialogue that extends beyond the physical."

The first single, Conversation 3, will be released on Tuesday, July 14, 2026. The second single, Conversation 6, will be be released on Wednesday, August 26, 2026.
12 Conversations will be available worldwide on vinyl, CD and digitally. A Japanese edition will be available on Ryuichi Sakamoto's commons.

MCRV019 – VA – Phase Drift. Passage is a graceful and emotionally nuanced four-track journey through modern deep tech house. Blending reimagined echoes of early 2000s deep sounds with forward-thinking production, the release moves between moods and textures with surgical control and quiet sophistication. It’s an EP that balances warmth and restraint, melancholy and motion — built for selectors who appreciate finely tuned emotional arcs.

A1. Stephano Franca – Arriving opens with a fluid, introspective piece. Gentle and melancholic, it glides with cinematic poise, drawing listeners into a state of suspended reflection.
A2. Dot – Distance Call introduces a percussive, tribal undercurrent — earthy and grounded, yet full of bounce. It energizes the space while maintaining depth and groove.

Flipping over, B1. Reenday – Last Call (Nicolas Barnes Remix) brings a refined sense of cold elegance. Dubby and atmospheric, it’s a minimalist piece that evokes distance and stillness — a cool breath in the night.
Closing the release, B2. Jeronimo Watson – On The Prowl is a deep tech gem — emotive, seductive, and sharply detailed. With a slow-burning energy, it brings the record to a confident and composed close.

From Brazilian talent Stephano Franca to Dot and Nicolas Barnes, two of the label’s most precise and consistent producers, and rising standout Reenday, a finalist of the ANTS: NEXT GEN Artist Program 2025, this release represents the current essence of MixCult. It is sealed by the distinct touch of Jeronimo Watson, whose Los Angeles–rooted sound closes the circle with style.

Phase Drift. Passage is not just a collection of tracks — it’s a refined toolkit for navigating emotional shifts and dancefloor narratives, framed by elegance and intention.

Limited Edition.

"The third part of "The Nightstalker" Saga emerges from the depths of dystopia, the last part of a Childhood Intelligence original tale written/produced by Dan Piu & Gary Rich. After "The Tragedies Of A High-Tech World" (2020) and "Genetic Constitution" (2022), the final chapter "Flowers Of Agony" (2026) // Child 22 materializes through a 2x12 Lp. "Flowers Of Agony" presents yet another shade of the duo's analogue machine soul. Technoid brain dance electro from alien mysterious worlds. The album travels through various types of electro infused works, the live-arrangement dynamics and "The Nightstalker" Klangbild shines through each of the traxx, taking the listener through psychedelic cybernetic universes with strong techno force, bridging elements of the past works and taking them further into the future. Deep mind Influence intensifies the more listening time spent... This last chapter of a 3-Story Saga, is the essence, yet evolution of an analogue band, a 20 year friendship - the current zeitgeist & the partnership with Childhood Intelligence. For the future listener, we hope you might unravel the keys to this puzzle and find your own means to define and represent your true self in underground culture..."

This is the 13th vinyl release of the DOBRO label. A purple vinyl release from Nicolas Kotowicz, the label's resident artist. Also, inside are remixes by Iner, the owner of the DOBRO and legendary Balearic and Italo disco producer, Lauer.

Uyama Hiroto, one of the most important artists behind Nujabes works, released his debut album 'a son of the sun' on 2LP after 12 years.

Uyama Hiroto provided "Letter From Yokosuka" for Nujabes "metaphorical music" released in 2003 and was featured on the title track of "modal soul" released in 2005.

A son of the sun" was released in 2008 and continues to fascinate many listeners to this day.

Bestselling second album from 2009 with eleven songs recorded in Mexiko, no overdubs, no effects ! - "Rules" followed the successful debut album "Dreams" from 2006. The song "1517" was used in the video game FIFA 10.

C r e d i t s
Bass: Marcin Öz
Drums: Sebastian Maschat
Electric Piano, Synthesizer: Daniel Nentwig
Vocals, Guitar: Erlend Øye
Vocals (A2): Denitza Todorova, Marcin Öz, Simone Rubi
Mixed by Norman Nitzsche
Recorded by and written-by The Whitest Boy Alive
Lyrics by Erlend Øye
Recorded at Glass Cube Studio and Funkhaus Nalepastraße, Berlin
Mixed at Villa Qrella
Artwork by Geoff McFetridge
Mastered by Bo Kondren

Cultivated Electronics celebrates two decades at the forefront of electro with its landmark 50th release on the main label, returning to the very beginning with a new release from Signal Type - the collaborative project of label head Sync 24 and Matt Whitehead. The anniversary EP pays homage to the sound that launched Cultivated Electronics back on CE001 A1, with Signal Type delivering "Break Through", a snappy, driving and psychedelic electro workout built firmly for the dancefloor. Funky, spacey and packed with the restless energy that has defined the label since its inception, the track feels both like a nod to CE's roots and a statement of where the label stands today. The celebrations continue with three remixes from long-standing Cultivated Electronics collaborators and influential figures within the electro scene. Keith Tenniswood, aka Radioactive Man, brings an old-school, Mad Mike-esque Underground Resistance flavour to his rework, injecting the original with raw Detroit-inspired energy and machine-driven propulsion. Carl A. Finlow, operating under his Silicon Scally moniker, takes things deeper, delivering a heady after-hours interpretation built around immersive, late-night club sonics. Rounding out the EP, Finnish electro pioneers Morphology deliver a hypnotic, 90s-inspired roller, bringing their distinctive analogue sensibility and futuristic groove to the original. The vinyl edition arrives on blue marbled translucent coloured vinyl, housed in a full-sleeve package featuring artwork from Geometric Love. From its first release to its 50th, Cultivated Electronics has remained dedicated to forward-thinking electro, connecting classic machine funk with contemporary club sounds. CE050 marks both a celebration of the label's history and a salute to the artists and sounds that continue to shape its future. Here's to another 50 releases.

ZC-ELEC020 — Electro Guilde VII continues Zodiak Commune Records’ established Electro Guilde series with five tracks by Nasty Boxes, Akkaelle, Vema-Diodes and 303 Vision, including a mix by Elektrotechnik. Underground electro remains at the core, with acid elements surfacing across parts of the release. Electro Guilde VII also introduces the new standard Zodiak Commune Records sleeve, now forming the visual presentation for current label releases.

A whole host of red-hot The Reflex flips have landed recently and this time it's TMB who drop a pair of disco delights. The opener is a smooth and low-slung cruiser with neatly knotted bass riffs and sparkling melodies that lead to a slow but sensual takeoff. On the flip, 'Lady' reworks a classic into a steamy late-night sundown sound with jazzy chords and the original vocals turning up the heat. Both are masterfully tweaked and touched up by a true titan of the dit game.