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Hardcore thrash punks VITAMIN X return with a new album in 2026 via Svart Records Amsterdam’s hardcore legends Vitamin X are back with their seventh album Ride The Apocalypse, the band’s most intense and ambitious album to date — released by Svart Records in March 2026. Mastered by Joel Grind (Toxic Holocaust, Municipal Waste) and featuring apocalyptic artwork by Andrei Bouzikov (Municipal Waste), the record delivers 16 tracks of pure mayhem: faster, harder, and heavier than anything the band has done before. Everyone who’s heard the early mixes agree — this is the strongest Vitamin X album yet. For over two decades, Vitamin X has been one of the most explosive and influential forces in crossover hardcore punk. Emerging alongside the early wave of modern crossover and thrash-revival bands like Municipal Waste and Wolfbrigade, Vitamin X carved out a sound that is unmistakably their own: ultra-fast, razor-tight, socio-political, fun, and always completely unhinged. They’ve released albums on iconic labels such as Southern Lord, Havoc, and Tankcrimes, and worked with legends like Steve Albini, John Baizley (Baroness) and J Mascis (Dinosaur Jr.). Their video About to Crack reached millions of views. The band has played over a thousand shows worldwide and appeared at festivals such as Hellfest, Maryland Deathfest, EXIT, and Obscene Extreme. With Ride The Apocalypse arriving in March 2026, Vitamin X enters a new chapter — sharper, faster, and more devastating than ever.

Featuring a topflight quintet, Healing Songs includes Texier's son Sebastien on alto sax and clarinet, rising US trumpet star Hermon Mehari, plus internationally acclaimed drummer Manu Katche guesting on two tracks. Henri Texier, born in Paris in 1945, is a highly respected French double bassist and composer who has played a pivotal role in shaping modern European jazz. He began his career in the vibrant Paris jazz scene of the 1960s, quickly gaining acclaim for his work alongside vanguard musicians such as Don Cherry and Daniel Humair.

Over the decades, Texier became known for blending jazz with influences from folk, African, and Middle Eastern music, giving his sound a unique global flavour. His work has earned him several prestigious awards, including multiple 'Victoires du Jazz' (France's top jazz honour) and widespread international recognition. In the words of The Guardian newspaper, "Texier is one of Europe's consistently inspired jazz musicians, with a career that continues to inspire new generations.

The 7:45s are a soul collective from Manchester, UK – the brainchild of songwriter and bassist Sam Flynn. Inspired by the house bands of labels from Motown to Big Crown, the young collective spotlights guest vocalists on each tune. Named after 7-inch vinyl, The 7:45s write snappy singles that blend the vintage feel of rare groove with the songcraft of perfect pop. BBC Radio 6 Music has played seven songs by The 7:45s this year.

Clocking in at under three minutes, 'I'll Be Fine' is a short and snappy soul sensation. The guitar hooks your ear, the rhythm reels you in, and the arrangement keeps you on your toes – adding exuberant horns, break downs and build ups. Featured vocalist Yemi Bolatiwa shines through the song's bittersweet theme, that it's better to have loved and lost… 'I'll Be Fine' has been played on BBC Radio 6 Music. Craig Charles called it "Proper up-tempo soul of the highest order".

Constellation Tatsu welcomes US artist Brendan Principato aka Saapato for what is a hugely conceptual new album based around decomposition. It was sparked when Saapato saw a dead fox lying by the side of the road on his way home from a job in a local warehouse. He used that as a jumping-off point to interrogate "transformation, interconnectedness, and renewal" and the five stages of decomposition, namely fresh, bloat, active decay, advanced decay and dry/remains. Several collaborators help him on his way as he sketches out various instrumental textures which variously have occasional shards of light, lingering melancholy and a subtle sense of hope.

Narthex means railed-off western portico or ante-nave in earty Christian churches for women, penitents and catechumens.

Narthex is also a trio featuring (at the beginning) Daniel Denis (Universe Zero, Art Zoyd), Alain Neffe (Pseudocode, Human Flesh, Bene Gesserit) and Nicolas de Villemarqué (Nuwage Music). They had a very different musical background, mostly electric-electronic rock, and decided to work in the field of acoustic music recorded live (two microphones + portable DAT) in churches of their area. After several recording sessions, Nicolas de Villemarqué decides to leave the group. ln order to complete the trio, Daniel Denis and Alain Neffe ask the participation of some of their friends. Anna Homler, Michel Berckmans and Daniel Malempré have accepted the challenge and succeed to fit into their musical universe.

The instruments Church organ, harmonium, sitar, saxophone, oboe, bassoon, zither, valiha, senzas, tarang, voice, percussions, metal clarinet, classical guitar, mew's harp, ongolok, violin, dulcimer, mouth organ, etc.

The music Often dark, sometimes repetitive or experimental, sometimes rhythmical and exotic, always based on emotion inducted by the sound. One could define it as dark age music (as opposite to new age music), a sort of minimal come back to the roots and purity of acoustic sound without the cultural background linked to the 'academic' use of some instruments (for example African senzas are transformed and tuned to sound like Indonesian instruments, sitar or harmonium are used as rhythmical instruments, vahilla is played with a bow).

The places Churches located in an area of 20 kms in the region where Daniel Denis and Alain Neffe live for years and where they feel at home (and feel the vibrations. Every church, place emotionally loaded, has its own specific resonance and sound structure. Every church gave to the musicians a particular inspiration and fill the sound of the instruments with a natural reverberation/echo. The place but also the moment is important. They had the privilege to be allowed to record in the Ecaussines church at night lightened only by candles. lt was one of their most productive recording sessions.

Joyce Manor are California pop-punk legends and I Used To Go To This Bar is this epochal band operating at the top of their game. They continue to deliver relentlessly satisfying rock music in a manner that makes it look simply effortless. The Torrance, California-hailing trio of Barry Johnson, Chase Knobbe, and Matt Ebert are at a point in their career where their position as one of the most beloved rock bands is a foregone conclusion. Their seventh album finds the group continuing to find rich new veins to tap in their short-and sweet songcraft without losing an ounce of bite that gained them such repute in the first place. I Used To Go To This Bar further situates Joyce Manor in the rich lineage of their influences and inspirations. Think AFI"s rapid-fire burn, Weezer"s indelible power-pop acumen, and the dusky emotionalism of The Smiths while further establishing them as leading lights in the current rock landscape. The fresh burst of inspiration that fuels I Used To Go To This Bar proves that Joyce Manor are far from content to rest on such laurels, moving forward with their sound and style in a way that reminds you of how they got to this point in the first place. Catch them live at Coachella 2026.

Clear w/ green marbled Vinyl To celebrate their seventh anniversary, Black Screen Records have repressed their first vinyl release in a very long time. The soundtrack to Oddworld: New 'n' Tasty is finally back in stock - this time on 180g clear w/ green marbled vinyl. Composed, mixed and mastered by Michael Bross, the soundtrack comes in a full-coloured gatefold sleeve with RuptureFarms artwork by Raymond Swanland. This repress does not include the poster and Steam Key. ABOUT THE GAME: It was a long way from Abe's debut in the 1997s Playstation One classic Oddworld: Abe's Oddysee to the beautiful ground-up remake Oddworld: New 'N' Tasty in 2014 but Abe is still looking great. Not only the graphics but also the complete video game soundtrack got an overall makeover - in 2015 Oddworld looks and sounds better than ever before.

EP2 Limited 2 x 12" Vinyl & Digital Release The second digital and vinyl EP from Brian Jackson and Masters At Work’s highly anticipated ‘Now More Than Ever’ project is a masterclass in soulful innovation, musical legacy, and collaborative excellence. Carefully curated and expertly packaged for true fans, this release brings together extended versions and rare cuts that were simply too expansive, deep, and powerful to fit on the forthcoming triple LP — but far too important not to be heard. The double pack also includes the title track off the forthcoming album ‘Now More Than Ever’, a brand-new, never-before-heard track birthed organically during the energy and creative momentum of the recording sessions. It stands as a testament to the spontaneous brilliance of Jackson, MAW and their collaborators, capturing a moment of pure musical inspiration. The EP features seven tracks, including reimagined and extended versions of classics such as Kenlou Cult Classic ‘Moonshine’, Jackson and Heron’s ‘Lady Day and John Coltrane’, and ‘Home Is Where the Hatred Is’, plus a deep focus on ‘Racetrack in France’ — first recorded by Brian Jackson and Gil Scott-Heron in 1977 for their landmark Bridges album. Highlights include: The MAW (Masters at Work) Live Mix of ‘Moonshine’, featuring former Midnight Band/Amnesia Express multi-instrumentalist Carl Cornwell on saxophone. A sprawling 12" version of ‘Home Is Where the Hatred Is’ — a jazz-fuelled dancefloor reinterpretation blending political fire with sonic elegance. The 12” version of ‘Lady Day and John Coltrane’, featuring Rahsaan Patterson’s soulful vocal performance set against a lush, cinematic arrangement. A masterful reworking of ‘Racetrack in France’ featuring legends Josh Milan, J. Ivy, and Moodymann, each bringing their distinct voice and flavour to this seminal piece. The instrumental version is also included in this 2 x 12” EP. Whether you're a long-time devotee of Brian Jackson and Gil Scott-Heron’s influential catalogue, a DJ or collector chasing rare wax, or a new listener drawn to future-leaning soul and jazz, Now More Than Ever ‘EP Two’ is an essential release — a bridge between the past, present, and the music still to come.

In the ever-evolving yet foundational landscape of instrumental groove music, F-Spot Records is proud to debut "Monkey Part 2 b/w Lully" from up-and-coming, multi-faceted keyboardist and composer Max Naseck. Raised in Dallas, Texas, but having worked throughout the Los Angeles music scene for almost a decade, Max Naseck, joined by guitarist Brandon Bae and drummer Julian Allen, brings his new trio project to life. After chasing this sound and style of playing for several years, Appropriately given the name "The Left Hand of God" by some of his musical peers, Max takes the classic soul jazz trio setting of holding down both the bass and melody elements and moves them to a unique combination of funky Moog synth (Key bass) and a Wurlitzer 200A electric piano. This 45 provides a fresh yet retro sound that is sure to leave listeners grooving and locked in.
From the first notes and tight 4-on-the-floor rhythm, "Monkey Part 2" kicks off the A-side with a unique psychedelic blend of soul, funk, and a touch of disco. With Allen's groovy touch, Naseck perfectly locks in with his left hand, followed by Bae's precision-picked electric guitar, which completes the trio's solid groove, further propelled by Naseck's right hand taking the melodic lead. Then on side B, "Lully" brings the tempo down to a more soulful, atmospheric blend that's equal parts Khruangbin & modern jazz pioneers, a la John Scofield. Recorded live together in one room, Max brings his strong compositional style to the table, showcasing how three musicians can interact in a playful, melodic, and groove-focused way.

Emerging artist Beifer presents his highly anticipated debut album "constant.transition": an eclectic fusion of electronic music with strong influences from dubstep, garage and drum&bass, enriched with captivating jazz elements. This cross-genre work takes listeners on a journey through dark atmospheres and avant-garde soundscapes, brought to life by the artist's complex percussion layers and interesting chord structures.
With great experimentation and a desire to break new ground in electronic music, Beifer has created an album that captures the listener's attention with its unique textures and unconventional soundscapes. Each track is an exploration of musical possibilities, with Beifer masterfully blending a wide variety of genres while creating a cohesive and infectious atmosphere.

The album also features notable collaborations with renowned musicians. Wanja Slavin, Moritz Stahl (Ark Noir/Lyder) and vocalist Enji have collaborated with Beifer to add an additional dynamic and layered dimension to the album. Their unique talents and empathy blend seamlessly with Beifer's vision, opening up new worlds of sound for the listener. Beifer has managed to push the boundaries of electronic music and make an impressive artistic statement with his debut album.

"constant.transition" is the first release on the newly founded tunnel.visions label. Starting as a event-series, the three members of the electronic alternative experimental jazz band Ark Noir have made it their mission to present progressive, contemporary music that includes acoustic and electronic instruments, takes up compositional and improvisational concepts and thus breaks down the boundaries between academic and autodidactic practice.
Over the past year, Ark Noir has featured Beifer several times at concerts and brought the music of "constant.transition" to the stage with live instrumentation. The program was enthusiastically received by the audience.

Repress.

Just one week after the outbreak of the First Intifada in 1987, Riad Awwad brought his sisters Hanan, Alia and Nariman together in their living room and began recording The Intifada album on equipment he had made himself. One of these was co-written with their friend, the acclaimed Palestinian writer Mahmoud Darwish. Riad printed 3000 copies of the cassettes which he began distributing in the Old City of Jerusalem and across the West Bank. The Israeli Army immediately confiscated all the copies they could find, the vast majority of which remain in the military archives to this day. Riad was arrested, interrogated and detained for several months. Straight after his release, he formed a band, Palestinian Union, and put out a new album. He then founded a school, offering kids in the West Bank an alternative musical education, teaching them how to create their own electronic equipment. In 2005, Riad was tragically killed in a car accident. His legacy lives on through his family, his timeless music and his powerful story, which continues to inspire to this day.

Over several years, Mo’min Swaitat has amassed an archive of rare tapes and vinyl from Palestine and beyond. Many of these were acquired from a former record label in his hometown of Jenin, in the north of the West Bank. The Majazz Project is a research project and record label borne out of the archive, focused around sampling, remixing and reissuing vintage Palestinian and Arabic cassettes and LPs, shedding new light on the richness and diversity of Arabic musical heritage.

Atef Swaitat (yarghul) and Abu Ali (lead vocals) are popular Bedouin wedding musicians continuing a long family tradition in Jenin and the north of historic Palestine. The album is comprised of immersive field recordings from weddings across the Galilee in the 1970s.

Copyright of Majazz Project / Palestinian Sound Archive

Created by Mo’min Swaitat

***
Over several years, Mo’min Swaitat has amassed an archive of rare tapes and vinyl from Palestine and beyond, spanning field recordings of weddings to revolutionary tracks and synth-heavy 80s funk. Many of these were acquired from a former record label in Jenin in the north of the West Bank. The Majazz Project is a research project borne out of the archive, focused around sampling, remixing and reissuing vintage Palestinian cassettes. It is a collaboration between Arab and non-Arab DJs, producers and artists interested in shedding new light on the richness and diversity of Palestinian musical heritage.

PARKWAY returns with three beatin’ cuts on the HOUSE BREAKIN’ Ep.
Leading the charge is TRU LOVE, where house and freestyle combine in a love that lasts forever. Infectious keys and vocal hooks over snappy drum programming - the kind of house music that united warehouse crowds.

On the flip DUM DUM and EGYPTIAN GROOVE take the same melting pot of influences, electro meets freestyle and house, it’s music to run down your beatbox batteries.

All in all, it’s unmistakable PARKWAY. Don’t miss out

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

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

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

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

Technical Notes:

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

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

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

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

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

Taupe’s latest album release, waxing | waning delivers jazz experimentalism, ‘skronk’, avant-rock, and electronics, by the Glasgow-based trio, due out via Minority Records. Across its seven tracks, waxing | waning captures Taupe’s approach – bold and boundary pushing – shaped by a fresh shift in the band’s dynamic and compositional approach.

Taupe’s waxing | waning, co-composed and realised by its players in a studio that was once an undertaker’s premises in Glasgow, is an absolutely affirmative album, an act of cultural defiance in desperate times.

Comprising Mike Parr-Burman (guitar, bass guitar, electronics), Jamie Stockbridge (alto and baritone saxophones) and Alex Palmer (drum kit, percussion), Taupe work up a storm of skronk, free jazz and harmolodic frenzy whose closest relations include Zu, Melt Banana and John Zorn. However, waxing | waning is from its opening, stuttering blasts, an exercise in seeking out and claiming new territory, finding unique and novel permutations in which jazz, rock, electronics interbreed at breakneck pace. Here is a group determined to say and do things they don’t get to say and do elsewhere in their musical lives.

‘Lemonade Tycoon’ hits the ground skronking. It’s cubistic jazz, cumulative in its impact, avoiding the white lines of the conventional freeway, bridling, bustling, coming at you from all angles – a three way conversation of astonishing rapidity, fast track, telepathic communication – everyone from James Chance to Albert Ayler coming at you at once, before morphing in to a spidery scrawl of electronics and furious percussion. ‘Anti-Bird-Spike BirdNest’s‘ title somehow sums up the sort of mental images evoked by the music – its sheer creative disobedience, as if being chased in vain, like a delivery rider evading capture by ICE agents -– shapeshifting, assuming different shades, sprouting metal quills and, in its midsection, seeming almost to swallow itself alive, before regurgitating itself in a sublime mess.

‘Interlude (Stride)’ is not exactly ambient, more a horizontal enmeshment of percussion, drones, reverberant noise, electronics, a sonic mulch. ‘allcapsallbold' reminds of early Aksak Maboul, in its playfulness, a haywire series of short phrases, subject to mechanical interference, a complex weave of irregular rhythms, increasingly eloquent sax phraseology and caustic guitars, which land heavier and heavier. ‘Pet Boss' is the new jazz equivalent of a highly evolved, mature conversation among brilliant equals, sharp, empathetic, complementary, rising to a collective, joyful noise. On the title track, electronics descend like a shower of bright particles, intensifying in their luminosity, whitening the skies, as sax and drums kick up a tempestuous, spontaneously sculpted noise that summons the ghosts of the great free jazz players, before a dark calm descends slowly. Finally, ‘Turn Push Kick’, a burgeoning chatterstorm of electronics, before the group kicks in, at angles to one another, led by abrasive guitars, reminiscent of Sunn O))) in their ritualistic concussion, riffing, digging deep amid squealing sax and piledriving percussion.

Thelonious Monk, considered one of the greatest Jazz pianists of all time, recorded Underground in '67-'68. It's the last recording with the Thelonious Monk Quartet (Larry Gales on bass, Charlie Rouse on tenor sax, and Ben Riley on drums) and one of the last album he made for Columbia.

What makes Underground special is that unlike his other Columbia recordings, four out of the seven songs were newly composed and recorded. The album cover depicts Monk as a member of the French Resistance and is meant as an homage to Pannonica "Nica" de Koenigswarter. She was a member of the aristocratic Rothschild family and became a patron of leading jazz musicians, hosting jam sessions, driving them to gigs and sometimes even help out with paying the rent. In 1969 the cover won a Grammy for Best Recording Package.
Underground is available as a limited edition of 2000 individually numbered copies on orange vinyl and comes in a deluxe, heavy duty sleeve.

Jay-Jay Johanson returns with his new EP Where's the Cat?, a 7-track project featuring unreleased and reworked material from his latest album Backstage. Highlights include an unexpected collaboration with New York rapper LoftBlue, an extended version of Trompe L'oil featuring actor Harry Goaz (Twin Peaks), a refined remix by Alex Gopher, and two dub versions. The EP closes with Voice Memo No. 234, an intimate recording that offers a glimpse into the Swedish artist's creative process.

Der postklassische Komponist, Klangkünstler und Kurator Matthew Patton ist mit seinem zweiten Album als Those Who Walk Away zurück. "Afterlife Requiem" ist eine Elegie für seinen Freund und Kollegen Jóhann Jóhannsson. Drones, Elektroakustik und fast vollständige Stille, extrahiert aus unvollendeten Aufnahmen auf Jóhannssons Festplatten, bilden die Grundlage für zwei Streichquintette - Ghost Orchestra (Reykjavík) und Possible Orchestra (Winnipeg) -, die in einem traurigen, langatmigen Werk verarbeitet und ausgelöscht werden. Patton hat auch wieder mit Andy Rudolph (Guy Maddin) und Paul Corley (Sigur Rós, Ben Frost) an der Koproduktion und dem Sounddesign gearbeitet, um eine brodelnde Körperlichkeit zu schaffen, die brodelnde Tiefen mit eindringlichen Bewegungen gespenstischer Streicher kontrastiert. ,Alles, was ich je geschrieben habe, ist ein Requiem. Alles ist ein Ende. Der Tod ist überall in dieser Musik präsent. In meinen Werken geht es um das Verschwinden - der Gegenwart, der Vergangenheit, von allem. Afterlife Requiem wird im Laufe seiner Dauer immer langsamer, es ist ein einziges großes Ritardando, die Zeit verlangsamt sich nicht nur, sie verschwindet. Ohne dass ich darüber nachgedacht hätte, ereigneten sich zwei miteinander verbundene Tragödien, die während des Schreibens, Aufnehmens und Arbeitens organisch an die Oberfläche kamen: der Tod meiner Mutter und der Tod des Komponisten und Freundes Jóhann Jóhannsson. Wenn ich mit dem Schreiben anfange, denke ich an nichts Bestimmtes, ich schreibe einfach, komponiere, nehme auf und höre zu ... aber irgendwas macht sich immer auf unvorhergesehene Weise bemerkbar oder drängt sich in den Vordergrund. Nach dem medizinisch assistierten Tod meiner Mutter wurde mir beim Ausräumen ihrer Wohnung klar, dass ich auch die physische Manifestation ihrer Welt auslöschte - und dass ich genau dasselbe mit der Musik tat, die ich schrieb und aufnahm. Während dieser Zeit wurde mir auch Jóhanns Tod immer wieder bewusst. Für Afterlife Requiem habe ich kurze, verlassene Fragmente aus Jóhann Jóhannssons Festplatten genommen und diese körperlosen Audio-Geister abwechselnd in meine eigene Musik eingebaut, wobei ich sie unrein gelassen habe - und dabei die Grenze zwischen Schaffen und Zerstören verwischt habe. Nach seinem Tod hatte ich diese Festplatten aus Jóhannssons Berliner Studio zum Anhören bekommen. Diese Musik war aufgegeben worden, in verschiedenen Stadien der Entstehung und Auflösung: ein Verzeichnis zerfallener und toter Erinnerungen, vergessen und jetzt nur noch in einer Reihe ineinandergreifender mechanischer Teile vorhanden, die mit der Zeit selbst versagen und verschwinden werden, wie alles andere auch. Monatelang hörte ich mir diese Überreste von Jóhanns Musik obsessiv an und versuchte, Hinweise auf Jóhann vor seinem Tod zu finden. Oft stellte ich fest, dass er das Aufnahmegerät noch lange nach Ende der aufgenommenen Musik laufen gelassen hatte. Er schien nicht zu bemerken, dass die Musik aufgehört hatte, oder registrierte nicht, dass dies das Ende der Musik war, oder vielleicht war er durch etwas anderes abgelenkt. Aber ich fand diese langen Stillephasen zutiefst emotional und berührend. Die verschwindenden Elegien von Afterlife Requiem sind weniger Musik als vielmehr Überreste von Musik. Auf diese Weise arbeite ich immer auf die Subtraktion von Bedeutung hin. Die Musik ist fern und verschwommen, beschädigt, geisterhaft und gespenstisch und deutet nur wie eine halb vergessene Erinnerung an das, was einmal existierte, eine verdichtete Darstellung von Verfall und Auslöschung. Ich habe dieses neue Stück von Anfang bis Ende mit diesen körperlosen Stillephasen aus Jóhanns eigenem Werk, Raum und Zeit unterlegt. Jetzt für immer verschwunden, bleibt seine aufgezeichnete Stille zurück; eine monumentale Leere, die der Welt verloren gegangen ist. Im gesamten Stück, insbesondere in den Abschnitten ,Memorial Environment", habe ich auch unzählige Geräusche aus der Natur integriert, von vulkanischer Lava über Lastenaufzüge bis hin zum menschlichen Blutfluss, dem Zischen von Turbinen und Selbstmordinjektionen. Der Künstler Robert Smithson sagte vor Jahrzehnten: ,Es ist die Dimension der Abwesenheit, die es noch zu finden gilt." Für mich misst diese Musik auch, wie die Zeit abläuft. Tatsächlich ist die Zeit bereits abgelaufen. Die Ewigkeit hat bereits begonnen." - Matthew Patton (Those Who Walk Away)

There's one thing that everyone readily agrees on: Live concerts are the icing on the cake for musicians and fans alike. Every show is a very special experience and sometimes even creates an almost magical performance. Such moments are beyond explanation, you just have to be there to believe it or, in a best-case scenario, have them recorded for posterity – as American metal act Prong have done with their latest live album. Which is exactly what guitarist/vocalist Tommy Victor and bandmates Christopher Dean (bass) and Tyler Joseph (drums) have achieved on ‘Live And Uncleansed’: Recorded over seven nights in July and August 2025, they are now ready to present eleven powerful live songs (plus three live bonus tracks), all pure and unadulterated, authentic and honest, which is the reason why the result is so incredibly captivating.

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

Out of Baltimore, Maryland comes The S.E.T. who are crafting 100% unapologetic hardcore music. Formed between bassist Che (founder of Flatspot Records), guitarist Brady (formerly of Turnstile), and drummer Ryan (formerly of End It), the band started through jam sessions in early 2024. Before they knew it, they had instrumentals for seven songs written and were ready to put lyrics to the tracks, and the search for a vocalist began. Che spotted Tim hopping on stage and grabbing the microphone at Disturbin’ The Peace Festival, invited him to try out for vocalist, and The S.E.T. was then complete.
The S.E.T. will release their debut Self Evident Truth EP, on February 27th through Flatspot Records. It’s 15 minutes of fury and groove, taking cues from Baltimore acts such as Gut Instinct (whose Sebastian Gorgone features on “White Lies”) and Stout and the crossover sounds of New York like Leeway and Judge. Recorded and mixed by Justin Day at New Noise Recording and mastered by Brad Boatright at Audiosiege, the tracks roar with thick bass lines, fast-paced drums, and rage fueled vocals. Lyrics come from a place of candor, expressing the basis of equal rights and defying the propaganda the current administration is spewing.
As The S.E.T. comes into fruition, the band wants to exist as a place to put words to action and come together as a community through both their music and live shows

Out of Baltimore, Maryland comes The S.E.T. who are crafting 100% unapologetic hardcore music. Formed between bassist Che (founder of Flatspot Records), guitarist Brady (formerly of Turnstile), and drummer Ryan (formerly of End It), the band started through jam sessions in early 2024. Before they knew it, they had instrumentals for seven songs written and were ready to put lyrics to the tracks, and the search for a vocalist began. Che spotted Tim hopping on stage and grabbing the microphone at Disturbin’ The Peace Festival, invited him to try out for vocalist, and The S.E.T. was then complete.
The S.E.T. will release their debut Self Evident Truth EP, on February 27th through Flatspot Records. It’s 15 minutes of fury and groove, taking cues from Baltimore acts such as Gut Instinct (whose Sebastian Gorgone features on “White Lies”) and Stout and the crossover sounds of New York like Leeway and Judge. Recorded and mixed by Justin Day at New Noise Recording and mastered by Brad Boatright at Audiosiege, the tracks roar with thick bass lines, fast-paced drums, and rage fueled vocals. Lyrics come from a place of candor, expressing the basis of equal rights and defying the propaganda the current administration is spewing.
As The S.E.T. comes into fruition, the band wants to exist as a place to put words to action and come together as a community through both their music and live shows

First-ever official reissue - Clear blue vinyl edition.

"Itinerario Beat" is as intriguing as it is mysterious. Performed by a group of largely unknown musicians called The Blue Sharks—previously heard on the excellent "It Became Crystal" (reissued by Redi Edizioni in 2021, Cat. No. REDILP001)—the album features ten easy-listening instrumental compositions for bass, drums, piano, and Hammond organ. The tracks are arranged and performed with distinctive taste, blending elements of beat, jazz-funk, and symphonic pop. Officially credited to Rigol, the pseudonym of composer Duilio Radici, the music also appears to include an uncredited contribution from Ugo Fusco, composer of several soundtrack LPs published by Edizioni Leonardi.

Beyond their use in television and film, library music tracks are highly sought after by renowned musicians and DJs and are frequently sampled. A notable example is "Itinerario romantico," included on this LP, which was sampled by rapper Travis Scott in his 2016 track "90210."

vladimir dubyshkin has always stood sideways from the rest of the techno world whilst attaining the highest achievement for a musician: having an unmistakable signature sound.

possessing a level of instinct that can only be called supernatural, vladimir is the sort of visionary who can chop up some vocals, mix them with an insane melody that no ordinary person could ever dream to imagine, and turn it into a surreal circus that feels like the entire room has tipped over.

along with contributions on several concept albums and hot steel compilations, trip has been honoured to have released five of vladimir's solo masterpieces: ivanovo night luxe, the botox queen, pornographic novel, budni nashego kolhoza and cheerful pessimist. each one expands the strange, addictive universe only he could map out.

his new record, "jane doe's secret" is sharply futuristic, charged with quirky rave energy. "jane doe" might be a placeholder, but this collection of tracks is far from it. it's a reminder of how rare it is to witness someone create their own gravitational field.

Continuing the remix saga with global flair: Deadbeat Knockout punches up Lover's Rock with punchy dubbed out beats. While Quantic reimagines Forrowest into a soulful, rhythm-driven journey. More cross-genre magic from Nublu's remix vault.

For our first split, we’re thrilled to welcome Alicante-born, Berlin-based producer Hurtado.

Hurtado headlines our seventh Prophecy with two powerful tracks featuring his signature Birmingham sound, plus a noise/ambient track to complete the A-side.

The samples on “Choose Your Fighter” will transport you to a 90s arcade as you gallop through its distorted percussion.

“Avoiding You” feels like stepping into a terrifying tunnel from a horror movie, while the most primal rhythms resonate in your head.

Hurtado finishes his contribution with “Catacombs of Niagara,” a fantastic noise tool for starting or ending sets.

Side B is handled, as expected, by Elías the Prophet, with two more techno bangers and a short ambient track.

“Resurrection” is a dark track with a melancholic melody fused with powerful beats—Elías’s signature recipe—while “Underdog” is a strong tool ready to be mixed with anything.

To close the album, we have “Good or Evil,” an ambient track divided into two parts: one celestial and the other more tenebrous, ideal for opening sets.

All of this makes up Split Grooves EP, a complete, fully equipped release, just the way we like it.

8-page lyric / drawing booklet, glossy poster, download card (inc. mp3s), white inner paper bags, sticker on cover.

After 7 strange years of relative silence, and 13 years of being a band, Dog Chocolate have returned with ‘So Inspired, So Done In’. Their fourth album is their most focused, cohesive and song-y yet. They still sound like a bin full of wasps, but now the bin has double-cream or a Viennetta or something at the bottom. While many of the 16 songs on here barely make it past the 3-minute mark, each one is bursting with all the textures and colours of an office cupboard: full of old sweets, fluorescent markers, and multiple ways to fix paper together.

Thematically, a lot of ground is covered, with songs tackling subject matter as diverse as overheard conversations, healing fungal toenails, the Rogerian concept of the Actualising Tendency, bronze age living conditions, dreaming songs into being and human-plant relations. Work (and anti-work) is a recurring theme, as is artistic inspiration and burnout. Dog Chocolate revel in the mundane and incidental, to explore bigger, existential questions. Recorded and mixed by POZI’s Toby Burroughs and mastered by Sofia Lopes, ‘So Inspired, So Done In’ charts a long and confusing period in the band’s collective life, marked by major life changes, losses and shifts, colouring the band’s trademark frantic, daft and anxious energy with a contemplative glaze. Dog Chocolate continue to investigate their internal and external landscapes with playful curiosity, frustration, silliness and empathy.

Pre/history of the band: In the early 2000’s Andrew (vocals), Rob (guitar, vocals) and Matthew (guitar, vocals) played together as teenagers in South-East London-based maximalist, costumed surrealist punk band Yeborobo. They met drummer Jonathan playing with his instrument-swapping masked band Limn at art space Utrophia in Deptford. Later, when both bands had split, Dog Chocolate formed with a shared desire to make a band that was simpler than their theatrical past: small amps and light guitars, no more than 2 drums at any one time, a keyboard no longer than a ruler and a shared ethos… “it’s about giving a shit, but at the same time not giving a shit, but not ‘whatever’, not giving up never!”. The band floated the term “pencilcase punk” to describe their jumbled, colourful, dense and instant music.

Dog Chocolate built on this early scrappiness, bedding into their sound over several albums. Their first “Or” (2014) was a split with Ravioli Me Away, soon followed by “Snack Fans” (2016) and “Moody Balloon Baby” (2018). Along the way they played gigs with bands as wide ranging as Deerhoof, No Age, Dry Cleaning, Palm, Daniel Wakeford, Shopping and Pozi.

With a tendency to converse with each other both lyrically and musically cultivated over many years, the members of Dog Chocolate bounce off each other, respectfully disagree, try to make each other laugh and share some of their most vulnerable feelings with each other. ‘So Inspired, So Done In’ is their own unique offering during these unsteady times: a language of friendship translated into songs.

**Cassette release

SELN Recordings is proud to present DJ Gonz’s first solo outing on the label.

The label’s co-founder explores dissonant terrain over seven
tracks, all rooted within his own brand of techno.

From the pumping frontrunner “Who Do You Ride For?” to the
neo-noise industrial blackout title track “Magical Negro
Overdrive”, the EP lays out DJ Gonz’s talents in compact style.

With Severance, IGLO returns to Figure with a focused yet exploratory EP that reflects his open-ended approach to contemporary techno. The release moves fluidly between restraint and expression, combining functional structures with subtle, unconventional elements that give the tracks a distinct sense of character. Rather than settling into a fixed formula, Severance highlights IGLO's curiosity and willingness to push his sound forward while remaining grounded in precision and control.

Connection opens the release with a restrained, heads-down groove. A firm low-end foundation and sparse percussion lock into a steady momentum, while understated melodic elements add depth without breaking the track's linear drive.
On Kauriraris, the energy tightens. Nervous synth motifs and crisp rhythmic details create a sense of urgency, pushing the track forward through constant micro-variation. It's a lean and effective tool built for sustained pressure.
Flipping the record, Blink Twice moves into darker, denser territory. Murky textures and a weighty groove unfold gradually, building tension through repetition and space. The track thrives on its slow burn, making it well-suited for late-night transitions.
Alive introduces a more open and flowing feel. Warmer tonal elements and a subtle swing soften the edges, while the groove remains firmly anchored and forward-moving.
Digital-only track Forlornly closes the EP with a spacious and introspective mood. Reduced rhythms and airy melodic layers create a calm, drifting atmosphere that rounds off the release with control and restraint.
With Severance, IGLO delivers a tightly structured EP that emphasizes clarity, tension and functionality - a confident addition to the Figure catalogue.

World Of Echo announces the reissue of two remastered albums by Japanese guitarist and songwriter Naoki Zushi, 1988’s Paradise, and 2005’s III. Two classics of Japanese psychedelia, both Paradise and III were originally released on Org Records, the imprint of Shinji Shibayama of acid-folk group Nagisa Ni Te, with whom Zushi has guested on second guitar for decades. Both intimate and expansive, rich with revelatory songwriting and blasted, sky-scouring guitar, these reissues return these albums to print for the first time since the 2000s. It’s the first time III has been officially released on vinyl, with an extra, previously unreleased track, “Under The June Moonlight.”

Recorded in Kyoto’s Townhouse Studios in mid 1987 and released in limited-to-500 vinyl pressing in 1988, Paradise emerged from a scene in Kansai, Japan that was embracing the idiosyncracies of 1970s singer-songwriters, the soaring solos of early seventies psychedelia, and the DIY impulse of 1980s post-punk. While Zushi’s musical history stretched back to the early eighties – he was a founding member of Jojo Hiroshige’s noise outfit Hijokaidan – he found his feet with groups like Hallelujahs, whose dream-pop collection Niku O Kuraite Chikai Wo Tateyo was recently reissued by Black Editions, and Idiot O’Clock.

Paradise appeared two years after that Hallelujahs album and share much the same membership – Zushi’s backing band on several of the songs includes Shibayama on drums and Ken-Ichi Takayama (aka Idiot) on electric guitar, though just as often, Zushi plays all the instruments himself. The coordinates here are wide-reaching – you can hear the volume and intensity of Neil Young & Crazy Horse (on “Hallelujah: Left Side” and “Paradise: Midday”), the slow-motion magic of Galaxie 500, the idiosyncratic spirit of The Only Ones, all mixed up with tender guitar miniatures and stumbling garage-psych-pop moves.

Seven years later, after the transitional album Phenomenal Luciferin, Zushi released III. Perhaps his masterpiece, it’s already been bootlegged on vinyl, but this reissue is the real deal. The album was recorded at Studio Nemu over seven years, and sees Zushi backed by Shibayama (bass) and Masako Takeda (drums), his erstwhile bandmates in Nagisa Ni Te. By this stage, Zushi had started to really stretch out, and many of the songs on III swoon languorously, taking their sweet time to say what they need to say. It’s rich with lovely, melancholy songs, in a similar realm to bandmates Nagisa Ni Te, of course, but you can also hear traces of everything from Syd Barrett’s The Madcap Laughs, through seventies private press loner folk, to the slow-burn meanderings of the likes of early Low or Damon & Naomi.

When interviewed by Shibayama in the mid-nineties, Zushi said of Paradise, “it was a sort of collection of songs that had meant something to me up to that point… it was my paradise. I wanted to create paradise.” That’s something Zushi achieves on both of these albums – visionary Japanese psychedelia, en route to paradise. - Jon Dale

PinkPantheress announces a suite of physical products available to pre-order now.

Fancy Some More? sees PinkPantheress bring together an international spectrum of artists, delivering 22 remixes. Remixes come from artists including Anitta, Bladee, JADE, JT, Kylie Minogue, Oklou, Rachel Chinouriri, Ravyn Lenae, Yves, and Zara Larsson; genre-defining groups and collectives such as Basement Jaxx, Groove Armada, SEVENTEEN (THE 8, MINGYU, VERNON.), and Sugababes; and acclaimed producers and DJs including Adame DJ, DJ Caio Prince, Joe Goddard, Kaytranada, Kilimanjaro, Leod, Loukeman, Mochakk, Nia Archives, and Sega Bodega. Each track offers a new perspective to the signature PinkPantheress sound, expanding the Fancy That universe.

Released in May this year and written and produced by PinkPantheress, Fancy That was created alongside aksel arvid, Count Baldor, phil, Oscar Scheller, The Dare and others, bringing together a collective of creative minds to shape her latest sonic evolution. As she steps into her fun and kitsch-y era, rooted in British culture, the 9-track project showcases her signature vocals and genre-blurring sound.

Originally released in 1988.

San Francisco–born singer-songwriter Ben Kweller returns with Cover The Mirrors, his seventh studio album — and perhaps his most personal work to date. Known in the late ’90s as a member of post-grunge outfit Radish, who were signed to Mercury Records and even counted Nils Lofgren among their fans, Kweller has since carved out a long and prolific solo career rooted in melodic indie rock and unfiltered emotion. Cover The Mirrors is a deeply poignant record, written in honour of what would have been Kweller’s late son Dorian Zev’s 19th birthday. It also marks Kweller’s first release since Dorian’s tragic passing in 2023 — an event that reshaped both his life and his music. Far from retreating into silence, Kweller channels his grief into a collection of songs that explore loss, love, and renewal with raw honesty. “This is the most personal, emotionally raw project I've ever worked on,” he reflects, and every track bears that truth. The album features an impressive roster of collaborators from across the indie landscape: Waxahatchee joins on “Dollar Store,” a sparse and arresting song built on two vocals and a guitar that eventually erupts into a distorted, soaring finale; MJ Lenderman lends his touch to “Oh Dorian,” a tender tribute steeped in warmth and melancholy; Jason Schwartzman resurrects his mid-aughts project Coconut Records for the haunting “Depression”; and psych-rock icons The Flaming Lips appear on the shimmering, otherworldly “Killer Bee.” Musically, Kweller’s craft is as sharp and sincere as ever — intimate yet expansive, stripped-down yet powerful. Cover The Mirrors captures an artist walking through grief with purpose, turning heartbreak into something both fragile and transcendent. It’s the sound of Ben Kweller looking loss directly in the eye — and finding beauty, courage, and connection reflected back. - “One of the great American songwriters” – Jack Antonoff TRACKLIST: A1. Going Insane A2. Dollar Store (feat. Waxahatchee) A3. Trapped A4. Park Harvey Fire Drill A5. Depression (feat. Coconut Records) A6. Don't Cave B1. Optimystic B2. Brakes B3. Killer Bee (feat. The Flaming Lips) B4. Letter To Agony B5. Save Yourself B6. Oh Dorian (feat. MJ Lenderman) Clear Vinyl LP

I started writing the songs for V at the beginning of 2023, and the demos were finished by the end of that year. While creating this material, I kept returning to one thought: everything we take for granted - everything that feels stable and permanent - is, in reality, incredibly fragile. Nothing lasts forever, and the sense of things slipping away can hit much sooner than we expect. I tried to translate those feelings into sound. At that time, a lot of difficult things were happening in my life, things I didn't know how to cope with. Music became a form of therapy - a way to process emotions I couldn't express in any other way. In early 2024, we began working through the songs together as a full band. After finalizing the arrangements, we spent the rest of the year recording them. The process stretched over many months, split into several sessions across different studios. I didn't want to rush anything. I wanted, as always, to refine every detail the best we possibly could. Soon you'll be able to hear the result for yourselves. For me, this album is something deeply personal. It's an act of opening up to anyone who chooses to listen - a glimpse into things I can't fully describe with words, into what I felt and who I became during that period. I'm incredibly happy that together with my friends from the band, we've created another record. What comes next_ time will tell.

Magenta Vinyl, limited to 450 copies. I started writing the songs for V at the beginning of 2023, and the demos were finished by the end of that year. While creating this material, I kept returning to one thought: everything we take for granted - everything that feels stable and permanent - is, in reality, incredibly fragile. Nothing lasts forever, and the sense of things slipping away can hit much sooner than we expect. I tried to translate those feelings into sound. At that time, a lot of difficult things were happening in my life, things I didn't know how to cope with. Music became a form of therapy - a way to process emotions I couldn't express in any other way. In early 2024, we began working through the songs together as a full band. After finalizing the arrangements, we spent the rest of the year recording them. The process stretched over many months, split into several sessions across different studios. I didn't want to rush anything. I wanted, as always, to refine every detail the best we possibly could. Soon you'll be able to hear the result for yourselves. For me, this album is something deeply personal. It's an act of opening up to anyone who chooses to listen - a glimpse into things I can't fully describe with words, into what I felt and who I became during that period. I'm incredibly happy that together with my friends from the band, we've created another record. What comes next_ time will tell.

Scupltures is composer and pianist Derek Hunter Wilson’s third solo album, an ode to the ancient and contested shorelines of the Pacific Northwest. Deeply embedded in place, the six longform pieces that make up the album reflect the artist’s journey through grief (including losing his father) and the passage of time, each one built upon loops created from extended sessions with harpist Joshua Ward. Like the foggy, moss-encrusted locations that inspired the album, Sculptures has a timeless feel to it, shadowed by the rumblings of a colonial system in decay.

Award-winning poet Mathias Svalina composed a poem for the album, entitled “A Dream for Sculptures”. It is reproduced on an insert that accompanies each LP.

Derek Hunter Wilson is a composer and multi-instrumentalist based in Portland. He has released two solo albums on Beacon Sound (Travelogue, 2017; Steel, Wood, & Air, 2019), as well as a collaborative album with Location Services entitled Wake (2022). In 2018 he collaborated with visual artist Gregory Euclide for his Thesis Project label, resulting in a split 10" with Spanish musician Rauelsson. He has additionally worked with poets Zachary Schomburg and Brandi Katherine Herrera for several sound and performance pieces, and has performed live on the West Coast and in Berlin, sharing the stage with artists such as Colleen, Amulets, Patricia Wolf, Pulse Emitter, and Liima.

This is Jah Wobble"s first post punk LP in recent years following travel and dub records. The brash guitar driven tracks reflect his continuing preoccupation with the declining state of the nation. Driven by his experience working each week at a music based community project in Merton, with Jon Klein, it is reminiscent of Mark Stewart. Angry in an empathetic, constructive way it resolved with the beautiful instrumental "Brockwell Lido". Like much of his work these days, much of the lyrical content comes while traversing London"s transport system. Jah Wobble, is an English bass guitarist and singer. He became known to a wider audience as the original bass player in Public Image Ltd (PiL) in the late 1970s and early 1980s; he left the band after two albums. Following his departure from PiL, he developed a solo career. In 2012, he reunited with fellow PiL guitarist Keith Levene for Metal Box in Dub and the album Yin & Yang. Since 2013, he has been one of the featured pundits on Sunday morning"s The Virtual Jukebox segment of BBC Radio 5 Live"s Up All Night with Dotun Adebayo. His autobiography, Memoirs of a Geezer, was published in 2009. Jon Klein Is an English guitarist and producer, best known for being a member of Siouxsie and the Banshees for seven years, from 1987 until 1994. He also founded Specimen and The Batcave nightclub. Klein has worked for other artists including Talvin Singh and Sinéad O"Connor. More recently he has worked as a co-producer and guitarist with Jah Wobble.

With `The devil's door' And Also The Trees, one true original Post-Punk/New Wave band, presents a quiet storm of an album. At times filmic, poetic and intense with an undercurrent of dark psychedelia. It completes a trilogy of works `The Bone Carver', `Mother-of-pearl Moon' and now `The devil's door' created by the current line-up. Here there are signature `And also the trees' poetic lyrics, orchestral guitar and soundtrack influenced songs inspired by newsreel, oil paintings and folklore. But with this work we have the addition of some surprising instruments that skew the album towards a world where John Barry meets Bela Bartok. And also the trees (AATT) formed during the original post-punk era in rural Worcestershire, an environment that has provided a constant inspiration to a group whose music has often explored the dark underbelly as well as the beauty of the British countryside. They are renowned for their captivating live performances, a unique style of mandolin-like electric guitar, evocative lyrics and dark jazz rhythms - not to mention a creative independence fiercely preserved for over four decades. Back then AATT immediately caught the attention of Robert Smith of The Cure, who invited them to tour with his group on several occasions. Smith was also involved with their early recordings alongside his bandmate Lol Tolhurst, who produced their first records. This longterm friendship and mutual respect was further solidified when AATT were invited to perform at the Robert Smith curated 2018 Meltdown festival in London. This July AATT appear as The Cure's special guests at the Nimes festival. Founded by singer Simon Jones and his guitarist brother Justin, AATT have maintained a continuous presence on the post-punk, and alternative rock scenes worldwide, with a solid fanbase e.g. in Germany.

"Tonight At Noon" compiles tracks from two earlier recordings sessions: one session from 1957 with Jimmy Knepper on the trombone, the drummer Dannie Richmond, Saxophone player Shafi Hadi and the pianist Wade Legge, which were released on the album "The Clown" (Atlantic 1260). The second session took place in 1961 with Booker Ervin and Roland Kirk on the saxophone, Knepper, the bassist Doug Watkins, Mingus at the piano and Richmond on the drums, and was released on "Oh Yeah" (Atlantic SD 1377).

The two sets differ in mood, but this does not mean that it is an album that uses leftovers. While Mingus in the first session strives for European harmonics and melodic approaches with a hard bop tempo (particularly on the title track) in the direction of the blues, the second session with its vespertine elegance and spatial explorations comes over rather as a sort of exercise à la avantgard Ellington with sophisticated harmonies that pave the way for sluggish marches and gospel-like blues. Kirk and Ervin complement one another particularly well, their swing is appararently boundless. Mingus’s piano playing is deeply rooted in the blues, and his sense of tempo and lightness anhances these numbers, particularly in "‘Old’ Blues for Walt’s Torin".

In these compositions one already finds hints of Mingus’s later recordings. The most beautiful number is taken from the 1957 session and concludes the album: "Passions Of A Woman Loved", almost ten minutes in length, feels like an Ellington suite. Although, or maybe simply because several years passed between the two sessions, one cannot deny this album’s magic.