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Naive Melodies is a bold and visionary tribute to the music of Talking Heads, reinterpreted through the lens of Black musical innovation. Curated by Drew McFadden — the creative mind behind BBE’s acclaimed Modern Love (David Bowie tribute album) — this new collection dives deep into the Afro-diasporic rhythms and experimental soul roots that helped shape Talking Heads’ unmistakable New Wave sound. Inspired by artists like Fela Kuti, Parliament, and Al Green — whose influences loomed large in the band’s rhythmic DNA — Naive Melodies shines a light on the Black music traditions that underpinned their artistry. Far from a conventional tribute, Naive Melodies reframes the band’s catalog through the voices and visions of a new generation of genre-defying artists. These interpretations illuminate the foundational grooves and sonic textures that fueled Talking Heads’ rhythm-forward aesthetic, bringing them full circle with authenticity. “With Naive Melodies, I wanted to spotlight the deep and often overlooked influence of Black music on the sound of Talking Heads, drawing from the rhythmic foundations of Afro-diasporic traditions, soul, gospel, Latin, and spiritual jazz. This project is a chance to reimagine Talking Heads’ legacy through the lens of the very innovations that helped shape it, bringing those influences to the forefront through the voices of today’s most forward-thinking artists.” — Drew McFadden The album features a globally minded lineup, including Liv.e, Bilal, Rogê, Miguel Atwood-Ferguson, Aja Monet, Georgia Anne Muldrow, Theo Croker, Kenny Dope, Rosie Lowe, Pachyman, W.I.T.C.H., and more — spanning Afrobeat, jazz, soul, funk, gospel, dub, electronica, orchestral, and Latin styles. It reflects not only the boundary-pushing ethos of Talking Heads, but also the influence of Black music as a cultural force that helped shape it. This is not just a tribute album — it’s a recontextualization. A cultural conversation. A rhythmic reawakening.

Originally released in 2001, Up The Country is the debut album by The Sixth Great Lake and a quietly revered title within the late-'90s / early-2000s indie scene. Rooted in jangly guitars, melodic songwriting, and a distinctly pastoral sensibility, the album sits at the intersection of indie pop, folk-rock, and classic guitar-driven pop. Although initially released with modest exposure, Up The Country steadily developed a loyal following, earning cult status among fans of understated, melody-focused indie. Its charm lies in its simplicity: clean arrangements, memorable hooks, and an unforced warmth that has allowed the record to age exceptionally well over the past 25 years. This 25th anniversary reissue presents an opportunity to reintroduce an overlooked catalogue gem to today's market, appealing both to original fans and to a new audience drawn to timeless, guitar-led indie records. With renewed interest in archival and heritage releases, Up The Country offers strong long-term catalogue potential beyond initial anniversary demand. A timeless, understated record with strong appeal for fans of melodic, guitar-driven indie.

Originally released in 2001, Once is the debut album by The Tyde and a quietly influential title from the late-'90s / early-2000s West Coast indie pop scene. Rooted in warm melodic guitars, subtle psychedelic textures, and introspective songwriting, the album occupies a distinctive space between indie pop, folk-rock, and California psychedelia. While never a mainstream release, Once steadily built a loyal following over the years, earning its reputation as a cult classic among fans and collectors. Its understated production, emotional restraint, and timeless melodies have allowed the album to age exceptionally well, making it as relevant today as it was upon release. This 25th anniversary reissue offers a strong opportunity to reintroduce an overlooked catalogue gem to both established fans and new listeners. With the continued demand for high-quality reissues and historically important indie titles, Once fits perfectly within current collector and indie-focused retail trends. The album's enduring appeal, combined with the anniversary context, gives it solid long-term catalogue value beyond initial release interest.

Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantle all borders and all styles of creative music.

On this second volume, the Intercommunal builds unprecedented soundscapes around a song of revolt, a dance tune, or a burst of dissonance. The journey is unforgettable, no question about it. On repeat listening, it even becomes… lunar!

“The music that we make is primarily meant to be listened to live,” warned a leaflet from the Intercommunal Free Dance Music Orchestra. This is precisely why the (restored!) reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is such an important event.

In 1971, after recording a series of albums that would leave a lasting mark on French jazz (Free Jazz, of course, with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais, but also Le Nouveau Jazz with Barney Wilen, or the solo Piano Dazibao), François Tusques founded the Intercommunal—a grouping whose very name called for the fraternization of the various communities making up the country: Our music will help, we hope, to resolve the contradictions that exist between workers be longing to different communities, by breaking down various forms of national chauvinism, and more particularly the chauvinism of certain French people toward the cultures of Third World countries… Long live the friendship between the peoples of the whole world!

Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first, before L’Inter Communal, Vol. 4, Le Musichien, and Après la marée noire (four titles already reissued by Souffle Continu). François Tusques and his companions (Michel Marre and Jo Maka on saxophones, Adolf Winkler on trombone, and Guem on percussion) performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded.

“We’re not among the Colonels,” the Intercommunal reassures us right away, performing a stride piano tune carried by African winds that the audience cannot resist for long. The energy is already striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk… The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together.

“We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially,” declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to “Le Temps des cerises.” The struggle was therefore serious—but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le- Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever—and once again, it is François Tusques who makes it heard.

Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantle all borders and all styles of creative music.

On this first volume, the Intercommunal takes its audience from New Orleans to Brittany and on to North Africa. The journey was bold, without a doubt—and its memory remains unforgettable.

“The music that we make is primarily meant to be listened to live,” warned a leaflet from the Intercommunal Free Dance Music Orchestra. This is precisely why the (restored!) reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is such an important event.

In 1971, after recording a series of albums that would leave a lasting mark on French jazz (Free Jazz, of course, with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais, but also Le Nouveau Jazz with Barney Wilen, or the solo Piano Dazibao), François Tusques founded the Intercommunal—a grouping whose very name called for the fraternization of the various communities making up the country: Our music will help, we hope, to resolve the contradictions that exist between workers be longing to different communities, by breaking down various forms of national chauvinism, and more particularly the chauvinism of certain French people toward the cultures of Third World countries… Long live the friendship between the peoples of the whole world!

Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first, before L’Inter Communal, Vol. 4, Le Musichien, and Après la marée noire (four titles already reissued by Souffle Continu). François Tusques and his companions (Michel Marre and Jo Maka on saxophones, Adolf Winkler on trombone, and Guem on percussion) performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded.

“We’re not among the Colonels,” the Intercommunal reassures us right away, performing a stride piano tune carried by African winds that the audience cannot resist for long. The energy is already striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk… The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together.

“We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially,” declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to “Le Temps des cerises.” The struggle was therefore serious—but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le- Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever—and once again, it is François Tusques who makes it heard.

Composed by Christina Vantzou between 2023 and 2025 after being commissioned by INA GRM, »The Reintegration of the Ear« defines listening as a radical, embodied act of attention: a slower kind of presence rooted in care, intimacy, and reflection. Performed with John Also Bennett, Oliver Coates, Roman Hiele, and Irene Kurka, the work moves through intuition, breath, and resonance, forming an acoustic ecology between perception and expression.

Paired with »Observations, Edits, a Cure for Restlessness«, a companion suite of domestic fragments and temporal drift featuring harp by Sissi Rada, Ben Bertrand's bass clarinet, and others, time here is embodied, a porous medium where sound floats, reforms, and reveals itself as both instrument and witness.

Mannequin Records presents a special release that bridges two generations of electronic body music: DAF’s iconic track “El Que” reimagined by French techno and EBM pioneer Terence Fixmer.

A lifelong admirer of DAF, Fixmer has been playing El Que in his DJ sets for years, considering it one of the band’s most enduring and powerful pieces. His connection to the track and to DAF’s groundbreaking legacy is the core inspiration behind these two new remixes, created with both reverence and bold creative vision.

On the “El Que (Terence Fixmer Leather Remix)”, Fixmer remains close to the original’s raw, muscular pulse while injecting a sharp, modern club sensibility. The remix builds on DAF’s unmistakable rhythmics but adds a contemporary momentum that feels like a natural extension of the band’s DNA. “It was like imagining what I would do if I were a member of DAF today,” Fixmer says.

The second version, “El Que (Terence Fixmer Drive Remix)”, ventures deeper into Fixmer’s own territory: darker, hypnotic, and peak-time focused. Tension and release are crafted with surgical precision, taking the original’s spirit into a harder-edged, suspense-driven sound world. It’s a version built for late-night floors without ever losing the soul of El Que.

Fixmer explains:
“I’ve been playing DAF’s El Que in many of my DJ sets for years. It’s a track I deeply loved from the first listen. I’m super proud to have remixed DAF — one of my cult bands and a major influence on my sound and electronic universe. For the "Leather Remix", I wanted to stay close to the original while bringing modernity and club momentum. For the "Drive Remix", I pushed the track toward darker, peak-time and hypnotic techno, keeping the soul of the original intact. I wanted to make versions that make you think: ‘I know this track… but wait — what is this version? I want it!’ When I tested them, that’s exactly what happened.”

DAF remains one of the most influential bands in electronic music history. These new remixes by Terence Fixmer reinforce the timeless power of El Que while offering two striking, club-ready perspectives for a new generation of listeners.

BCUC – Bantu Continua Uhuru Consciousness – have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. Today they command festival stages worldwide: Glastonbury West Holts, Roskilde, Afropunk Brooklyn, WOMAD, Fusion, Sziget, FMM Sines, Beaches Brew, Boomtown, Colours of Ostrava, Couleur Café – to name just a few. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances.

THE ROAD IS NEVER EASY

The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs – a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. Songs like Amakhandela (Breaking All the Chains) connect history to daily life: "How is this precious metal inflicting so much pain in us," sing BCUC, "this government has been telling us we are free, but we don't benefit from being free." The album also talks about all the hopes and dreams that remain: "I have too many wishes and dreams in my head," BCUC sing in Um duma khanda, "I think I am losing my mind". The album ends with the soothing Matla a rona ke Bophelo, "our strength is life", praising the spirits and thanking the elders for protection. The Road Is Never Easy is about the harsh reality of life in Soweto, where "people always carry heavy loads". BCUC are street poets trying to deal with that burden: sometimes revolutionary, sometimes soothing, but always hopeful and compassionate. "When you are from Soweto you can't retreat nor surrender." (Sebenzela)

RECORDING

The album was largely recorded in Munich, Germany during tour breaks over two sessions, each three days long. It took place in a small studio located in a German WW II bunker converted into rehearsal spaces. The songs were recorded in one take altogether in one room, with only a few overdubs added, mainly backing vocals, by BCUC at Fourways studio in Johannesburg. BCUC have created their own distinctive way of writing, or rather, finding and creating their songs. The recording process is like an improvised live performance. They bring their ideas into a zone where the music, the rhythm and the spirits take over until the song starts to form. In this Afro-psychedelic zone BCUC create their unique poetry that feeds on the dreams still dreamt, the hopes, the fears and the temptations lingering everywhere. BCUC's songs need to breathe and time to build. The right take was the one when the song took over, and just like their live performances, no one knew beforehand where the song would take them. During the recording, BCUC just let it all flow out: inner turmoil, cries of rebellion, but also resilience and a search for healing, love, unity and compassion. You don't have to be from Soweto to feel the deep meaning and impact of this music. In these times of so much hate and division, BCUC are like a campfire for people to gather around.

PRODUCTION & ARTWORK

"BCUC have a unique magic," says Outhere's Jay Rutledge, who produced the album. "It blew our minds. It's like punk and pure gospel at the same time. Their music can make you dance and it can make you cry, all at the same time. And when the song is over, you feel you're not alone in this world anymore. We felt compelled to do this." The album cover is based on a matchbox design, matches being a common household item in South Africa even today. "These were the matches people used to burn government buildings and cars," explain BCUC. Little messages, addresses, or phone numbers used to be scribbled on the back of these boxes; each one a reminder of the strength, resilience, and resistance that once drove the struggle for freedom in Soweto. BCUC keep this flame burning. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs. "We bring fun and Afro-psychedelic fire from the hood," says vocalist Kgomotso Mokone.

Here comes a new Label of experimental and space Flashcore from Northeastern America. Introcuding us to the Art of the Heart of Core.
Discoveries of some new artists supported by solid and rare beauties.

Mastering by Gianmaria Dell'Aera.
Visuals by TLMitchel.
Logo by XX.SW9

LS002 marks the first vinyl chapter of 20, Eitan Reiter's two-decade retrospective, distilled through key collaborations and remixes. Featuring Patrice Bäumel, Infected Mushroom, Shpongle, Red Axes, and Echo, this six-track release connects psychedelic heritage with contemporary indie dance and deep electronic aesthetics.
20 (Part 1) is a 12-inch vinyl edition featuring exclusive vinyl cuts, available only on this pressing. The selection reflects Reiter's ability to honor his roots while maintaining a distinctly modern sound,blending psychedelic foundations with cluboriented precision.

A1 - Eitan Reiter - Blue Planet (Remix) Vinyl Cut
The A-side opens with a spacious, atmospheric rework of Blue Planet, balancing restrained tension with melodic clarity.
A2 - Eitan Reiter - X-Vision feat. Echo Vinyl Cut
Echo's vocal performance anchors the track, presented here in a refined vinyl cut that enhances its emotional depth.
A3 - Eitan Reiter & A. Balter - E0E (Eitan Reiter Remix) Vinyl Cut
A driving, hypnotic groove where rhythmic focus meets evolving textures.
A4 - Infected Mushroom & Yahel - Electro Panic (Eitan Reiter Remix) [Vinyl Cut]
A confident reworking of a psytrance classic, reshaped into an 80s-leaning indie dance format.
B1 - Eitan Reiter - Eat You (Patrice Bäumel Remix)
Patrice Bäumel heightens the track's underlying tension with a slow-building, immersive reinterpretation.
B2 - Out of Orbit & Shpongle - No Disco (Red Axes Remix)
Red Axes flip the original into a dark disco framework, adding weight, swing, and late-night character.

LS002 presents a vinyl-focused snapshot of Eitan Reiter's collaborative output, with each track adapted for turntable playback.

(Extrawelt Remix) The second vinyl installment of 20 shifts focus toward cinematic structure, melodic depth, and genre-crossing reinterpretations. Collaborations and remixes involving Extrawelt, Noga Erez, Perfect Stranger, PRZ, and A. Balter underline Eitan Reiter's refined and flexible production approach.



20 (Part 2) is a 12-inch vinyl release featuring exclusive vinyl cuts that are not available digitally, offering collectors insight into Reiter's evolving sonic language.



LS003 completes the vinyl-only snapshot of 20, presenting carefully selected collaborations adapted for the physical format.

_NRV011 welcomes Romanian craftsman Firesc for a deep, stripped and deliberate three-track journey built for long blends and late-hour tension.

“Travelling Monk” unfolds across eleven patient minutes — a rolling, meditative groove anchored by subtle low-end pressure and finely detailed percussion. The arrangement breathes, evolves and locks into a steady hypnotic stride designed for extended transitions and heads-down floors.

“Resiclap” tightens the focus. Snapping drums and elastic rhythm work drive the groove forward with crisp minimal precision, balancing restraint with just enough swing to keep things playful.

On remix duties, Andrei Ciubuc reinterprets “Resiclap” with a darker, more driving edge. His version sharpens the rhythmic framework and reinforces the low-end weight, turning it into a focused, late-night weapon without sacrificing the original’s subtlety.

A refined, functional release that stays true to the understated aesthetic _NRV is becoming known for — built for selectors who value patience, space and control.

180 GR Records is proud to present a new release by N-Zino, reimagining two tracks previously released by Four Flies Records: Mo... and Living Disco Club, offering two distinct yet complementary interpretations. Mo... (180 GR Disco Mix) takes its cue from the original Banda Maje version, itself a contemporary homage to Peppino Di Capri, already given a club reinterpretation. N-Zino elevates the track with a nu disco approach, emphasizing its elegant groove and sunnier, funkier side, blending disco influences with pulsing basslines, shimmering percussion, and warm synth textures, all infused with contemporary sensibilities while keeping the original melody alive. The result is a bright, danceable reinterpretation designed for both listening and the dancefloor. In a different yet perfectly complementary direction, Living Disco Club (Don Ciccio Tribute Mix) explores a deep house dimension, turning Banda Maje's disco-inspired original into a hypnotic, late-night groove. Deep bass, soft drum machines, essential rhythms, and atmospheric pads create a rich, warm, immersive vibe, ideal for after-hours or more refined, introspective club moments. Together, these remixes highlight N-Zino and 180 GR Records' vision: celebrating strong musical roots, connecting Italy's musical past with contemporary club culture, offering tracks that honor the tradition and the originals released by Four Flies, while speaking directly to modern dancefloors.

Lenxi's debut album on Nous'klaer Audio receives a well-deserved remix treatment, breathing new life into its original dream world. Kindred spirits Polygonia, oma totem, Human Space Machine, and Daisy Moon each reimagine the material through their own distinct sound. A powerful and diverse collection of reinterpretations: From intricate, hypnotic textures to driving, dancefloor-ready energy, each remix opens a new pathway towards a vibrant second life primed for club systems and festival stages alike.

Zum ersten Mal seit einem Jahrzehnt sind die lebenden Fuzz-Legenden Truckfighters mit brandneuem Material zurück und entfachen die Rockszene erneut mit ihrer rohen Energie.MASTERFLOW - das Gleichgewicht zwischen Disziplin und Freiheit. Eine vibrierende Resonanz auf mehreren Ebenen - Körper, Geist, Raum, Zeit und Publikum in perfekter Harmonie.Tauche ein in MASTERFLOW und lass dich von den donnernden Klanglandschaften mitreißen, die nur Truckfighters erschaffen können.Das neue Album entfesselt eine unerbittliche Welle aus fuzz-getränkten Hymnen, massiven Riffs und hypnotischen Grooves, die die Desert-Rock-Wurzeln der Band widerspiegeln und ihren Sound zugleich in neues, weitläufiges Terrain vorstoßen lassen.Ganz im klassischen Truckfighters-Geist ist die Musik auf MASTERFLOW sowohl dynamisch als auch reich an Variationen - sie wechselt mühelos zwischen erdrückender Schwere und ausgedehnten, psychedelischen Passagen. Von erdbebentiefem Bassfundament bis hin zu aufsteigenden, melodischen Spannungsbögen balanciert die Band meisterhaft rohe Kraft mit Feingefühl und Flow. Jeder Track atmet, entwickelt sich und trifft mit klarer Absicht - eine nahtlose Reise, angetrieben von Schweiß, Fuzz und dem rein verzerrten Geist des Rock 'n' Roll.Dieses Album ist gemacht für überfüllte Clubs, endlose Highways und Lautsprecher am Limit - ein klangliches Monolith, das noch lange nach dem Verklingen des letzten Tons nachhallt.Eine große Europa-Release-Tour startet Mitte April und zieht sich durch den gesamten Mai, bevor sie nahtlos in den Festival-Sommer übergeht. Ob im Studio oder live auf der Bühne: Truckfighters liefern ein unvergessliches, überwältigendes Klangerlebnis.

White vinyl. Signed Print Edition. When Jack Tatum began work on Life of Pause, his third full-length to date, he had lofty ambitions: Don't just write another album; create another world. One with enough detail and texture and dimension that a listener could step inside, explore, and inhabit it as they see fit. "I desperately wanted for this to be the kind of record that would displace me," he says. "I'm terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn't need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before." What came before: a rightfully acclaimed, much beloved display of singular pop craftsmanship. Tatum's dreamy, unexpected 2010 debut, Gemini, was written while he was still a student at Virginia Tech University. Its equally disarming follow-up, 2012's Nocturne, marked the first time he'd been able to bring his bedroom recordings into a studio, to be performed and fully realized with the help of other musicians. There has been a set of wonderfully expansive EPs in between_each hinting at new directions and punctuating previous ideas_but with Life of Pause, Tatum delivers what he describes as his most "honest" and "mature" work yet, an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. "I allowed myself to go down every route I could imagine even if it ended up not working for me," he says. "I owe it to myself to take as many risks as possible. Songs are songs and you have to allow yourself to be open to everything." After a prolonged period of writing and experimentation, recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn and John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran Pelle Jacobsson, to contribute drums and marimba. In California, at Monahan's home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists. From the hypnotic polyrhythms of "Reichpop" to the sugary howl of "Japanese Alice" to the hallucinogenic R&B of "A Woman's Wisdom," the result is a complete, fully immersive listening environment. "I just kept things really simple, writing as ideas came to me," he says. "There's definitely a different kind of `self' in the picture this time around. There's no real love lost, it's much more a record of coming to terms and defining what it is that you have_your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new."

Broadside has never been a band to stay in one place for too long—musically or otherwise. The Richmond, Virginia-based band has spent the past decade carving out their own space in the pop rock scene. Drawing influence from The Killers, AFI, Kings of Leon, and Taking Back Sunday, their sound seamlessly fuses nostalgic rock energy with a fresh, modern edge. Their evolution has been nothing short of remarkable, taking them from underground favorites to genre staples, all while embracing the idea that growth and change are not just inevitable but necessary. With Oliver Baxxter (vocals), Domenic Reid (guitar), and Patrick Diaz (bass/backup vocals) at the helm, Broadside has built a career on crafting music that feels both deeply personal and universally relatable.

Their last full-length album, Hotel Bleu, served as a bold chapter in their story, using the transient nature of hotel stays as a metaphor for self-reflection, fleeting moments, and personal reinvention. The album marked a significant milestone in their career, amassing over 100 million streams and standing as their boldest, brightest, and most ambitious work to date. Now, as they prepare to enter their next era, the band is gearing up to release their most dynamic music yet, continuing to evolve while staying true to the energy and authenticity that first captivated listeners.

Broadside has never been a band to stay in one place for too long—musically or otherwise. The Richmond, Virginia-based band has spent the past decade carving out their own space in the pop rock scene. Drawing influence from The Killers, AFI, Kings of Leon, and Taking Back Sunday, their sound seamlessly fuses nostalgic rock energy with a fresh, modern edge. Their evolution has been nothing short of remarkable, taking them from underground favorites to genre staples, all while embracing the idea that growth and change are not just inevitable but necessary.

With Oliver Baxxter (vocals), Domenic Reid (guitar), and Patrick Diaz (bass/backup vocals) at the helm, Broadside has built a career on crafting music that feels both deeply personal and universally relatable. Their last full-length album, Hotel Bleu, served as a bold chapter in their story, using the transient nature of hotel stays as a metaphor for self-reflection, fleeting moments, and personal reinvention. The album marked a significant milestone in their career, amassing over 100 million streams and standing as their boldest, brightest, and most ambitious work to date. Now, as they prepare to enter their next era, the band is gearing up to release their most dynamic music yet, continuing to evolve while staying true to the energy and authenticity that first captivated listeners.

Blue Hour is Nick Schofield’s first foray into ambient jazz music. The album is an ambient ode to Miles Davis’ In A Silent Way, and opens up Schofield’s sonic palette to introduce his childhood instrument, drums, with his contemporary ambient-electronic practice. Blue Hour features the intuitive, and totally improvised, trumpet playing of Scott Bevins (No Cosmos, Busty and the Bass).

Schofield grew up playing drums, but turned to creating experimental-electronic music when studying Electroacoustics at Concordia University. Well-known for his signature ambient aesthetic, Schofield has been called a “dazzling electronic artist” by Aquarium Drunkard and a “synth maven” by Constellation Records. Blue Hour marks the first time that he has merged his percussion practice with his ambient electronic explorations, and it is all in the service of reinterpreting Miles Davis’ 1969 watershed recording In a Silent Way.

Schofield improvised all of the drumming and main synthesizer parts over the course of a single day, recording in a church in Ottawa. These foundational layers comprise tender Moog pulses and Roland Juno-6 pads, some of which would not be out of place on the back half of Another Green World or Music Has the Right to Children.

If this was to be a reflection of In a Silent Way, of course there would need to be trumpet. Schofield invited Bevins to record the missing piece of the album during a one day recording session, where Bevins improvised all his trumpet parts having never heard the songs before. Scott Bevins’ contribution gives the music a leading instrumental voice, and his intuitive approach shows a perfect understanding of how to both integrate and elevate the compositions.

Blue Hour is itself a profound reference, an ambient adaptation, a dream realized and an uncanny synthesis of sounds, styles, and personal history.

Blue Hour is Nick Schofield’s first foray into ambient jazz music. The album is an ambient ode to Miles Davis’ In A Silent Way, and opens up Schofield’s sonic palette to introduce his childhood instrument, drums, with his contemporary ambient-electronic practice. Blue Hour features the intuitive, and totally improvised, trumpet playing of Scott Bevins (No Cosmos, Busty and the Bass).

Schofield grew up playing drums, but turned to creating experimental-electronic music when studying Electroacoustics at Concordia University. Well-known for his signature ambient aesthetic, Schofield has been called a “dazzling electronic artist” by Aquarium Drunkard and a “synth maven” by Constellation Records. Blue Hour marks the first time that he has merged his percussion practice with his ambient electronic explorations, and it is all in the service of reinterpreting Miles Davis’ 1969 watershed recording In a Silent Way.

Schofield improvised all of the drumming and main synthesizer parts over the course of a single day, recording in a church in Ottawa. These foundational layers comprise tender Moog pulses and Roland Juno-6 pads, some of which would not be out of place on the back half of Another Green World or Music Has the Right to Children.

If this was to be a reflection of In a Silent Way, of course there would need to be trumpet. Schofield invited Bevins to record the missing piece of the album during a one day recording session, where Bevins improvised all his trumpet parts having never heard the songs before. Scott Bevins’ contribution gives the music a leading instrumental voice, and his intuitive approach shows a perfect understanding of how to both integrate and elevate the compositions.

Blue Hour is itself a profound reference, an ambient adaptation, a dream realized and an uncanny synthesis of sounds, styles, and personal history.

Following his debut appearance on HABITAT in 2024 with his standout ‘My Eyes Are Failing’ remix, Echonomist returns to serve up his ‘Dominator’ EP - a five-track release that captures the Greek artist’s unmistakable tension, groove, and analogue character, paired with high-caliber remixes from Fango and Toto Chiavetta. With previous releases on Innervisions, Exit Strategy, TAU, and Kompakt, Echonomist has steadily built a reputation for fusing raw emotion with forward-leaning sound design. His prolific output and effortless ability to experiment with various styles have long made him a respected figure within the global electronic landscape. Now, with his ‘Dominator’ EP, he brings that creative force back to Mind Against’s imprint in commanding form.

Opening with the title track, ‘Dominator’ immediately sets the tone: bustling energy, driving drums, and siren-like synths cut through a deep, Detroit-leaning atmosphere. ‘Modulator’ follows with a pulsing, oscillating bassline and rattling percussive breaks that coil around warped vocals. On ‘Use Your Illusions’, the pace becomes chuggier as he combines raw industrial drums with a thudding kick, dubby chords, and fizzing synths. The package is then elevated by two heavyweight reinterpretations, with Fango’s remix of ‘Dominator’ pushing the cut into a more intense, pressure-driven space, upping the ante with amplified rhythmic density. To close, Toto Chiavetta delivers an electro-laden rework, sculpting the track into a dense, atmospheric journey that prioritizes ever-evolving groove and textural depth.

Echonomist 'Dominator’ EP drops via HABITAT on 10th April 2025.

Movetone Wax returns with a new release from label head Maik Yells: Maya EP, featuring two originals and two remixes from close collaborators DJ W!ld and Diego Krause.

On the A-side, Real B unfolds like a space in suspension — light pads hovering over a rhythmic base that insists on movement, yet denies narrative closure. while Maya locks into a hypnotic vocal loop and driving low end.

On the B-side, DJ W!ld delivers a phat-beats reinterpretation of Real B, and Diego Krause closes the EP on B2 with a precise, floor-focused take on Maya — all tracks sitting comfortably within the release while extending its reach on the dancefloor.

Fides Records continues its 10-year anniversary journey with X5. This instalment widens the emotional spectrum while staying locked to the club: dub-soaked pressure, sunrise euphoria, cinematic tension, and leftfield elegance: six tracks that underline the label’s taste for both functionality and narrative depth.

Side A opens with Jon Hester’s “Oblique”, a timeless cut where dubby undertones meet crisp percussion, crowned by a high-pitched saturated motif that results warm, powerful, and sharply functional. “Caballo Azul (Z.I.P.P.O Rework)” follows, reshaping Franzizca’s original through Z.I.P.P.O’s lens into a dub-infused, precise reinterpretation, layered with meticulous sound design and understated force. Closing the side, Pink Concrete’s “Now We Are” keeps the emotional momentum alive with euphoric tones and introspective energy that feel built for sunrise closings.

Flipping to Side B, Tal Fussman’s “Ghost” adds cinematic weight, driven by an organ-inspired chord progression and dynamic percussion showing his bold, colorful, and razor-precise creative process. Aasthma is the project of Swedish heavyweights Peder Mannerfelt and Pär Grindvik and land on FIDES with “The Love Bees”, a genre-defying anthem where disco and house flair shine through a peak-time techno skeleton. The record closes with Hiver’s “Restless”, an IDM-infused finale rich in harmonic complexity and breaky elegance, perfectly capturing the Milan-based duo’s distinctive, emotionally charged signature

Scorsese Sounds - A Tribute To Martin Scorsese - The Finest Selection of Martin Scorsese"s Soundtracks Martin Scorsese ist nicht nur ein Meister des Films, sondern auch ein Virtuose der Musikauswahl. Mit "Scorsese Sounds" erleben Sie die unverwechselbare Klangwelt seiner größten Werke - von epischen Gangster-Sagas bis hin zu psychologischen Dramen und zeitlosen Klassikern. Diese exklusive Doppel-Vinyl vereint die Essenz der Soundtracks, die Scorseses Filme zu Kult gemacht haben. Jeder Track ist sorgfältig ausgewählt, um die Atmosphäre und Emotionen der legendären Szenen einzufangen - von der rauen Energie des New Yorker Untergrunds bis zur eleganten Nostalgie vergangener Zeiten. Ein Muss für Cineasten, Vinyl-Liebhaber und alle, die die Magie von Bild und Ton schätzen. Tauchen Sie ein in die musikalische DNA eines der größten Regisseure unserer Zeit.

Sweden’s celebrated super-group Backlura unveils yet another brilliant collaboration
following up the success with Bob Hansson. This time Backlura are joined by two of the country’s most luminous musical voices: vocalist Isabella Lundgren and accordion virtuoso Lisa Långbacka.
Together they craft a timeless homage to ”Kärleken” (Love - in English), weaving stylish, emotionally charged reinterpretations of classics by legends such as Édith Piaf and Rufus Wainwright among others

Far Out Recordings proudly presents Ladeiras De Santa Teresa, the debut collaboration between Rio-jazz maverick Antonio Neves and carioca percussion master Thiaguinho Silva. In what could well be the first ever Brazilian jazz album centered around two drummers, Ladeiras De Santa Teresa is an uncompromisingly groove-rich recording, steeped in trad-samba roots and brass power.

Since his acclaimed 2021 album A Pegada Agora E Esssa Antonio Neves has remained a mainstay of the international facing Brazilian scene, performing both as a trombonist and drummer. His instrumental contributions to contemporary classics like Ana Frango Eletrico’s Little Electric Chicken Heart, Bruno Berle’s No Reino Dos Afetos 2, and Bala Desejo’s Sim Sim Sim will be marveled upon by future generations. His partner in crime Thiaguinho Silva happens to be the son of percussion icon Robertinho Silva, who has played on more or less every canonical Brazilian record, Arthur Verocai (1972), Clube Da Esquina (Milton Nascimento and Lo Borges, 1972), and India (Gal Costa, 1973) to name barely a few. Thiaguinho himself has worked with Marcelo D2, Gal Costa, Liniker and Alice Caymmi, and upon listening to Ladeiras De Santa Teresa, it’s clear that Thiaguinho is more than a worthy successor to carry the Silva family torch.

Some listeners may already be familiar with “Das Neves,” which appeared on Mr Bongo’s Rio De Janeiro-focused Hidden Waters compilation in 2023. The track showcases the profoundly skilled Neves brothers brass section (Antonio alongside brother Edu, who has performed with Hermeto Pascoal), the fiery elegance of pianist Luiz Otávio (Dora Morelenbaum), and Thiaguinho’s pulsating samba breaks. This synergised combo continues across the album, notably on “Fendas Vocais” with Neves doubling up on drums, exhibiting his inventive and fearless skill as an arranger. The album also features street-artist, musician and rapper Joca, adding vocalised dynamism and swagger to an otherwise entirely instrumental record on “Viagem de Trem”.

The album’s title Ladeiras De Santa Teresa (The hills of Santa Teresa) is named in tribute to Rio De Janeiro’s famed Santa Teresa neighborhood, a bohemian enclave with scenic views of the iconic cityscape. The spirit of Santa Teresa with its expansive city views and bustling energy is embodied in the album which encapsulates the jazz and samba histories felt within the neighborhood’s windy alleyways and cobbled streets.

Ladeiras De Santa Teresa by Neves E Silva is out on vinyl, CD and digital on Friday 20th March 2026.

High-quality FERRO cassette tapes, printed on 160g premium paper.

Release info
XERO marks the beginning of a new series in which Saša Delimar invites artists he has long admired to reinterpret his original works. Each release features original compositions alongside one or two remixes, offering a new perspective on the material.

The first edition welcomes Steve Braam, aka Orca Silent (Canada).

The series focuses on minimalism and explores deeper, more experimental soundscapes beyond conventional dance floor structures

Letztes Jahr erschien in Blue Notes audiophiler Tone Poet Serie mit “In The Wee Small Hours“ erstmals
ein Klassiker von Frank Sinatra. Die Überraschung ging voll auf: das Album wurde einer der größten
Verkaufserfolge der Serie. Jetzt folgt mit ”Songs For Swingin’ Lovers!” ein zweites Sinatra-Album in gleicher luxuriöser Aufmachung und Verarbeitung: Wie bei der Serie üblich wurde auch diese Produktion
von “Tone Poet” Joe Harley persönlich überwacht, von Kevin Gray bei Cohearent Audio rein analog von
den Originalbändern gemastert, bei Record Technology Inc. (RTI) auf 180-g-Vinyl gepresst und in einer
luxuriösen Tip-on-Gatefoldhülle verpackt.
So gut wie in dieser Fassung hat das relaxed swingende Album ganz sicher auf LP noch nie geklungen.
Es wurde 1956 in den Capitol Studios in Hollywood aufgenommen und enthält großartige Nelson-RiddleArrangements von Klassikern wie ”You Make Me Feel So Young“, ”Love Is Here To Stay“ und ”I’ve Got
You Under My Skin“.

As collaborative projects often do, 33 has in time found a more fixed form, a kind of structure that turned it from a loose collection of collaborators gravitating around founders Bill John Bultheel and Alexander Iezzi into something resembling more of a traditional band. Not that there is anything conventional in their creative process tho, nor in the music itself… Nontheless Tripolar - their second album and first for Haunter - seems to take them closer to song territory than ever before.

The (progressive) graduation of multi-instrumentalist Cem Dukkha and vocalist/clarinet player Ivan Cheng from collaborators to full-time members has brought 33 to a more refined awareness of their possibilities as a creative unit, although their compositional process has retained a high level of spontaneity and musical madness. Tripolar was in fact assembled by editing hours of improvisation that Bultheel, Iezzi and Dukkah recorded with no specific endgame in mind. The sessions saw them exchange a variety of acoustic, electronic and electric musical instruments: percussions, guitars, strings, piano, hurdy gurdy, synthesizers and even CDJs as a tool of live sampling manipulation.

By molding the pieces into what they are now, the band managed to concoct some beautiful vignettes of contradictory mental and emotional states, as sonically playful as a renaissance fair happening within a broken timestream. Cheng’s lyrical and vocal contributions helped them coalesce even further into proper songs, adding a melodic presence that’s at once seductive and uncanny. But vocal duties are often ceded to guests, namely Danish pop-neoclassicist Astrid Sonne, Kenyan metal guru Lord Spikeheart, Irish goth raconteur Olan Monk and Japanese body-poet Golin.The amount of different sounds arranged into each of the tracks produces a unique sense of awe and bewilderment, a testament to the incredible talent and craft the musicians have employed into putting together such a broad range of influences and approaches into a coherent and extremely effective musical journey.

An equally erratic thematic thread seems to run through all the tracks, one ultimately preoccupied with mental health and its ramifications. Without turning the project into a concept album, 33 and their collaborators have sprinkled it with references to personality disorders and mental conditions that are all too relevant to the contemporary age, reflecting on the lineage of human inner life. A wide display of lyrical and musical tools is employed to explore these themes, ranging from Sonne’s expressionist depiction of ADHD in the opener, to Cheng’s queer-themed reinvention of an Irish murder ballad in closing track ‘Babymusicc’. Tracing lateral trajectories for introspection, Tripolar is not only highly captivating, but it ultimately sounds esoteric in the best possible way: progressively revealing layer after layer of incredible aural magic, its true meaning living in the form and in its manic scope of energies.

While many have tried to emulate the ancient German (black)thrash sound, CRUEL FORCE brimmed with an authenticity that could not be denied, as well as songwriting that added to that noble tradition rather than lazily picking at its corpse. Their two successive albums, 2010's The Rise of Satanic Might and 2011's Under the Sign of the Moon, made CRUEL FORCE a certifiably CULT name in the international metal underground. Sadly, the band fell into a hiatus following that second album, but returned reinvigorated with the comeback 7" EP Across the Styx in 2022 and, a year later, the glorious full- length Dawn of the Axe at the hands of new label home SHADOW KINGDOM. Continuing to make up for lost time, CRUEL FORCE storm back with swords gleaming high on their fourth full- length, Haneda.

Where a line could be drawn between the band's "first era" of The Rise of Satanic Might / Under the Sign of the Moon, so continues this Second Era that began with Dawn of the Axe - one that harkens to the "Jurassic period" of heavy metal, when everything was rawer, less polished, and more energetic and powerful. As displayed by that pivotal predecessor, Haneda further proves that CRUEL FORCE are more so an old-style speed metal band, largely bereft of that blackened edge during their First Era. The tradeoff is that there's a prominent mysticism coursing through that speed, and the blue-collared aspect of Dawn of the Axe is now spit-shined to a lethal slickness that makes Haneda hit that much harder.

However, it must be stressed that, while it follows logically from Dawn of the Axe, Haneda is very much its own headspace, its own continuation of a still-vital aesthetic. At times more epic, exuding both more and different atmospheres, CRUEL FORCE here take the listener on a journey from old temples to desert planes, from deep jungles to mountain tops, and other mysterious locales beyond; indeed, the whole record is like a journey through mystical realms. Although no concept album, Haneda is very conceptual in its aesthetics, even down to its production: BIG and naturaltoned, from the guitars to especially the drums, everything here is as '80s and authentic as possible, underlining

Clock Poets returns with Get Down, the seventh release on the label and a floor-focused statement from Spanish producer Baltazar, based in Palma de Mallorca and founder of the Sapernika platform. Known for selecting and developing distinct, groove-centred voices from the underground, Clock Poets hands the reins to an artist who understands hypnosis, repetition and tension as tools rather than effects.

The A-side, “Get Down”, is a pumping minimal cut shaped by slightly tribal percussion loops and a locked-in groove that builds momentum through subtle shifts rather than overt peaks. Hypnotic male vocal samples circle like a mantra, weaving ritual into rhythm as the track steadily tightens its grip on the floor. On “Try On Trust Me”, the formula expands: a female vocal, washed in reverb and echo, floats between melodic textures and soft pads, creating a more spacious, emotive framework while maintaining the same disciplined drive and forward motion. Closing the record, “On My Way” dives deeper — a stripped-back 4/4 minimal construction infused with Arabic and double harmonic scale influences. Spatial, meditative and profoundly hypnotic, it stretches time and space, offering a moment of emotional suspension within the dancefloor continuum.

With Get Down, Baltazar doesn’t chase trends — he commits to groove, sophisticated repetition and unique atmospheres. In doing so, he both reinforces Clock Poets’ sonic identity and injects it with a fresh, trance-like intensity, proving once again the label’s consistency without predictability.

Mit 30 eindrucksvollen Tracks laden Svein Berge und Torbjørn Brundtland die Hörer:innen auf eine klangliche Reise ein, die tief in atmosphärische Klangwelten eintaucht. Das Album, eine Hommage an das Ambient-Genre, verbindet hypnotische Texturen, subtile Melodien und immersive Soundscapes, die den Geist beruhigen und gleichzeitig inspirieren. Als Erweiterung ihrer gefeierten Profound Mysteries-Reihe beweist Nebulous Nights einmal mehr Röyksopps unerschöpfliche Kreativität und ihr Gespür für emotionale Klangkunst. Röyksopp: "Analoge, rohe und immersive Klänge. Das ist „Nebulous Nights“ – eine ambient hafte Neuinterpretation unseres Albums „Profound Mysteries“. Live aufgenommen, fängt diese After-Hours-Session die Essenz von Nostalgie und Verweisen ein: Huldigungen und Anspielungen, die auf verschiedene Elemente des Röyksopp-Kosmos zurückgreifen. All das ist sorgfältig in eine esoterische Hülle gewickelt, durchzogen von analoger Wärme und voll kleiner Details, die aufmerksame Hörer:innen entdecken können. Doch „Nebulous Nights“ ist mehr als ein reines Hörerlebnis: Das Album möchte die Bedeutung von kritischem Denken und neugierigem Nachforschen hervorheben. Es lädt dazu ein, die eigene Vorstellungskraft und das Streben nach Erkenntnis nicht durch ein festgelegtes Weltbild oder starre Denkweisen einzuschränken, sondern offen für Wachstum und Erkundung zu bleiben. Diese Idee wird perfekt durch ein Zitat von Albert Einstein zusammengefasst: „Das Schönste, was wir erleben können, ist das Geheimnisvolle. Es ist die Quelle aller Kunst und Wissenschaft. Wer diese Empfindung nicht kennt, wer nicht mehr staunen und sich in Ehrfurcht verlieren kann, der ist so gut wie tot – seine Augen sind geschlossen.“

Für ein vollständiges, intensives Erlebnis empfehlen wir, das Album mit Kopfhörern zu hören. "

DJ Support: Garnier, Opolopo, Worldwide FM, Marcia Carr, Bill Brewster, Timeout Moscow, Craig Smith, Delfonic, Tony Nwachukwu, Marcel Dettmann, DJ Rocca, Shuya Okino, Borrowed Identity, Titonton Duvante, Alex Attias, Rainer Truby, Sol Power All-Stars, Kyri R2, Robert Luis, Severino Panzetta, Lars Behrenroth, Kassian, Alkalino, Getdown Edits, Moodymanc, Gerd, Lea Lisa, Young Pulse, Mark de Clive-Lowe, Mark Grusane, Alex Barck….

International dance music heavyweight, producer and DJ Alexander Lay-Far returns with a powerful new chapter - Lay-Far Dance Orchestra (LFDO) - a fully-fledged live band project that reconnects him with his jazz-funk and fusion DNA while pushing dance music forward with unmistakable groove, musicianship and emotional weight. Formed in early 2024, LFDO is no nostalgia exercise. With Lay-Far at the helm as bassist, bandleader, composer, arranger and sound engineer, the orchestra has already been turning heads with explosive live performances, reinventing classic Lay-Far cuts, and now unveil their first album “Skybreak” with all new and original material written and produced by Lay-Far together with his bandmates and star guests, including Lipelis, Antoha MC and Seven Davis Jr. This work shows the departure from the predominantly electronic sound of Lay-Far's previous solo albums in favour of live instrumentation recorded to analogue tape and effortlessly bridging the gap between Jazz, Library Music, Disco-Funk, House, Broken Beat and Drum’n’Bass. “Skybreak” is dynamic, passionate, spiritual, cinematic, playful, heartfelt, life-affirming, dreamy and deeply romantic. Ultimately, there’s something profoundly romantic in recording and releasing such music in this day and age!


“Take Flight (Part 1)” is opening the album with style. It takes us on a beautifully orchestrated journey, blending the sensuality of Library Music with high-octane Jazz-Funk and raw b-boy breaks, propelled by breathtaking flute and Rhodes solos of Timur Nekrasov and Maxim Glonti. This aural symbiosis of “beauty and the beats” will become more and more prominent as the album unfolds.



It’s time for “Aquarius Love” created with the inimitable artist and vocalist Seven Davis Jr. (Secret Angels, Ninja Tune). In this composition cinematic soul and heavy jazz meet the restless energy of live drum & bass with deep and heartfelt vocals - timeless sound combined with a timeless message about love and life!



Next is “Head In The Clouds” - a theme for an imaginary rom-com, an ode to all the dreamers - sweet, light, naive and heartwarming. Space-Disco-Funk at its best!

“Where You From” is a fiery Soulful House number with heavy Afro-Latin influences recorded in collaboration with Lipelis. It’s full of Sun, joy and passion. Its irresistible rhythm is emphasised by funky octave bass, wah-wah guitar, catchy piano riffs, guitar solo by Lipelis and seemingly light conscious message delivered by Lay-Far and Maryag. Summer is here!

Now the album takes an unexpected twist in the form of “The Harp of Boom” which at first glance appears to be a classic-sounding Boom-Bap banger. Yes, It’s loud, raw, and gritty, yet it gradually evolves into something delicately-touching and deeply-soulful thanks to a memorable flute melody and lush string arrangement. Definitely recorded with tongue in cheek.


Next is “Feel The Moment” a remarkable collaboration with one of the most recognisable and distinctive Russian artists, singer, trumpeter and cultural icon Antoha MC. It’s a feel-good song, hopeful, life-affirming and bittersweet. A stylish excursion into Brit-Funk and Soviet Jazz-Fusion sound, drawing inspiration from the likes of Atmosfear, Light Of The World or Soviet Jazz bands like Allegro and Arsenal, but reimagining the influences through the modern West London broken beat lens.


The spectacular music journey continuous with “Take Flight (Part 2)” - it’s all about the deep infectious jazz-funk groove, heavy beats, rolling percussion and the glory of the soloing instruments - saxophone and flute by Timur Nekrasov, demonstrating the wide range of emotions from thoughtful and lyrical to restless and borderline vicious. One for freestyle dancing!

As the album draws to an end a vibrant musical triptych “Soul Constant” awaits, mixing together the deep and sensual mood of spiritual jazz with heavy syncopated drum’n’bass rhythms by Michail Fotchenkov, lush orchestration, expressive saxophone solos and the ending which can simply be described as “aural bliss”. It’s breath-taking!

A pleasant bonus is the exclusive version of “Where You From” by Lipelis himself, who is taking it into dub territories, further enhancing the rhythm section and enriching the song with his trademark playful synth flourishes and dreamy guitar solos for maximum effect (and appeal).

The album “Skybreak” by Lay-Far Dance Orchestra is the work of real artistry and craftsmanship with timeless sound that’s not only deeply-rooted but also forward-thinking.

Tim Maia’s second album, published in 19671, deepened and refined the Brazilian artist’s groundbreaking fusion of soul, funk, R&B, and MPB, firmly establishing him as a unique voice in Brazilian music. Compared to his 1970 debut album (HE70014), this second album features more sophisticated arrangements, tighter grooves, and a stronger command of American soul influences, reinterpreted through a distinctly Brazilian sensibility. The alcum features Tim Maia’s most widely recognized hit “Não Quero Dinheiro (Só Quero Amar)”. This vinyl edition is the first after 10 years and the first European one.

Developer returns to his personal vinyl imprint Developer Archive with the label’s 17th release, continuing a focused exploration of raw, hypnotic techno built for physical spaces. Known globally as the driving force behind Modularz, Developer uses the Archive series as a more direct and uncompromising outlet—stripped back, functional, and deeply immersive.

This latest release locks into groove-based cuts powered by tension and restraint, where repetition becomes ritual and subtle shifts create sustained drama. The rhythms are dense and forward-moving, designed to work equally well in the pressure of a warehouse or the precision of a darkened club.

With Developer Archive 17, Developer reinforces his commitment to vinyl as a medium and to techno as a tool for controlled intensity—music that doesn’t chase trends, but instead sharpens its purpose with each release.

Mit "Galgenlieder" präsentiert der Club der toten Dichter sein Jubiläumsprojekt zum 20-jährigen Bestehen - eine außergewöhnliche Neuvertonung der legendären Gedichte Christian Morgensterns. Dessen skurriler Humor, philosophische Tiefe und spielerische Leichtigkeit bilden die ideale Grundlage für Reinhardt Repkes musikalische Neuinterpretationen, die den berühmten Texten wie "Der Lattenzaun", "Das Mondschaf" oder "Der Werwolf" ein zeitgemäßes, berührendes Klanggewand verleihen. Für dieses achte Programm des Clubs konnte Schauspieler Hans-Werner Meyer als Gastsänger gewonnen werden. Seine spontane Begeisterung - und seine persönliche Verbindung zu Morgensterns Lyrik - prägen den intensiven Vortrag zwischen Ironie, Wärme und feiner Melancholie. Begleitet wird er von Markus Runzheimer (Element of Crime), der Bass, Percussion und Gesang beisteuert. Bandgründer Reinhardt Repke zeichnet erneut für die Kompositionen verantwortlich und formt mit Gitarre und Stimme den charakteristischen Sound des Projekts.

EXODUS resurge at full force with their 12th studio album and Napalm Records debut, Goliath, out March 20, 2026! The top-charting band reinforces their eternal foothold at the top of thrash metal's hierarchy with 10 of their most diverse, anthemic tracks so far. Goliath marks the return of legendary singer Rob Dukes to the band. Produced, mixed and mastered by Mark Lewis (Whitechapel, Nile, Undeath), Goliath beams with the explosive authenticity that has set EXODUS eons apart from their peers since the release of their groundbreaking 1985 debut, Bonded By Blood.

Fuzzy Bears offers a forward-thinking and immersive listening experience that pushes the boundaries of jazz and electronics — equal parts experimental laboratory and live concert. On stage, the adventure takes its most daring form. Instead of relying on the original vintage synths, the trio reinterprets the studio’s electronic textures with a streamlined setup designed for live performances.

The songs of this exciting experiment are collected on a self-titled album, to be released on March 20th 2026 via Marcel Records. First single 'The Happy Are Being Born' is out on January 8th.

credits
Fulco Ottervanger: Synths, Piano - Harmonic and Melodic info
Lieven Van Pée: Synths, Bass - Low-end info, Mastering
Simon Segers: Synths, Percussion - Rhythmical info
Peter Desmedt: Serge Patching & Sound processing, Recording & Mixing
Special Thanks: Rikkert Brok & Hans Kulk
Recorded at Willem Twee Studios, ‘s Hertogenbosch
Mixed at Studio Ledeberg, Gent

New “Inversions” of drone rock pioneers Earth’s debut release. A collaboration between Dylan Carlson and Black Noi$e (Armand Hammer, Danny Brown, Earl Sweatshirt) formed in mutual respect and appreciation for one another. Both artists were intrigued by the creation of vast musical landscapes and the connection of music, with its ability to transport the listener. The music of Earth was recognised and celebrated for moving at a glacial pace and yet this new collaboration surprisingly saw Black Noi$e slowing things down even further.
The debut, which originally came out in 1991, notably featured Kelly Canary and Kurt Cobain on vocals on the tracks “A Bureaucratic Desire for Revenge Part 2” and “Divine and Bright”. Black Noi$e reimagines the original recordings with his experimental sensibility and innovative multi-instrumental, cross genre exploration. Applying contemporary electronics to the heavy droning bass and guitars and languid rhythms, this inversion oscillates and reverberates with a different kind of energy whilst simultaneously highlighting the much loved low slow and distorted properties of the original.

‘Extra Capsular Extraction’ was the first music Dylan made with Earth and his first time in a recording studio, which he recalls at the time as being “terribly exciting”. It also marked the first time collaborating with others and seeing it reified into a tangible object or product, a spirit that Dylan has carried through to the present. The original album is a document of a specific period and Dylan’s creative development. These inversions of Extra Capsular Extraction are, to quote Dylan, “an exciting way to reintegrate them into the present time and with my more expanded conceptions of musical endeavours”.
"Doom-metal innovators" Pitchfork.

"With guitars ramped up to the nth degree, but tuned to gut-wrenchingly low frequencies, Earth carved out a veritable canyon of pure molten drone, one which would have a profound influence on modern metal music." The Quietus