Cerca:slow

THE CAPELLAS are a rhythm & blues / raw soulful Beat Quartet from the UK, featuring Elsa Whittaker on vocals (The Missing Souls, The Jack Cades), Mike Whittaker on Guitar (Thee Vicars, The Baron Four, The Jack Cades), Mole on bass (The Embrooks, The Baron Four) and Yan Quellien on Drums (The Barracudas, Chrome Reverse) The band have played shows in the UK, Germany and Spain, and they have slowly started conquering crowds with their highly danceable shows, so make sure to bring your dancing shoes! They have released their first EP "Take Your Chance with The Capellas" on Sweet Grooves Records (Spain) which has since then been repressed and they have just finished recording their first LP "Untamed" featuring 9 fabulous self-composed tracks plus one mind-blowing cover version of the classic "Love's Gone Bad" (Chris Clark). What a fantastic debut album by a fantastic group!

'the fun years', comprised of multi-instrumentalists Ben Recht and Isaac Sparks, have been making music together since the turn of the century, producing intriguing interrogations of ambient, drone, post-rock, and turntablism. Originally released in 2008 on the now-defunct Barge Recordings, 'baby it’s cold inside' is perhaps the high watermark of their discography. Equally concerned with microtonal nuance and harmonic intensity, it is both a product of its time and something well past it. The chief protagonist is surely the turntable, deployed to create woolly, evocative loops from unidentifiable source material that recall, at times, the work of Philip Jeck or Jan Jelinek—churning, roiling, hissing, atrophied textures further articulated with nuanced processing and buoyed by baritone guitar drones and anti-riffing.

The title of opener "my lowville" feels like a wink to the famed slowcore duo, with spare post-rock motifs hovering in a dusty ether, slowly consumed by distorted washes of rich, harmonic sound. One of the most satisfying aspects of the album is that despite the recumbent nature of most of their sound design choices and compositional proclivities, Recht and Sparks are loath to sit still. "auto show of the dead" is a serpentine piano/guitar exploration full of subtle detail, preceding the immaculately titled "fucking milwaukee’s been hesher forever," in which the tactile delights of clicks+cuts are liberated from the laboratory and allowed to slum it in the world of tape gunk and '90s plate reverb. Later, "re: we’re again buried under" presents an inky black ambience that feels truly expansive and almost overwhelming, and closer “The Surge is Working” tears apart an anthemic shoegaze dirge at the seams, leaving only billowing filtered noise and negative space in its wake.

Presented here with a brilliant remaster by LUPO, 'baby it’s cold Inside should be considered alongside records like Belong’s October Language and Polmo Polpo’s Like Hearts Swelling—an arresting early aughts ambient marvel that warrants ongoing investigation.

After a collage tape collab with Bardo Todol back in 2022 (SUC52, Magnetic Road to Hell) Robert Millis finally gets his Discrepant debut proper, a much overdue entryin our random catalogue of lost musical oddities.

The not so self explanatory title Interior Music explores Millis obsession with hidden sounds and its anomalies. An hermetic rearrangement of emptiness could be another more big headed title. But I leave the man to talk about his thing:

‘’The phrase interior music occurred to me a few years ago as a way to describe some recent work. It’s about the resonances inside of hollow wooden chambers (and hollow heads) like gramophones and talking machines, music boxes, instruments, metal containers, and resonant rooms. It’s about exploring tiny audio fragments—single notes, vinyl and shellac surface noise, recording mishaps and anomalies—and arranging them into something meaningful. It is about my own interior mishaps and anomalies and attempts to arrange THEM into something meaningful. It also references “interior design” with the placement of sounds in specific locations, layers or in juxtapositions.

Inspirations include Steve Roden’s lowercase work, Toshiya Tsunoda’s field recordings, Eliane Radique’s slowly shifting ambiances, and the musique concrete of Pierre Schaeffer, as well as the dhrupad and kayal traditions of Indian classical music—especially Kesarbai Kerkar and the Dagar family who have a sublime way of stretching out individual notes and exploring their endless permutations, combinations and connotations.’’

Robert Millis is a sound artist known for his work with Climax Golden Twins, the Helen Scarsdale Agency, the soundtrack to cult horror film Session 9, the Victrola Favorites book and cassette series, and many releases on Sublime Frequencies including Indian Talking Machine, Paris to Calcutta: Men and Music on the Desert Road, compilations of the earliest music recorded in Korea, Japan and Myanmar, and the documentaries This World is Unreal Like a Snake in a Rope and Phi Ta Khon: Ghosts of Isan. Somehow he is a Fulbright scholar (to India 2012-13) and the recipient of a Guggenheim Fellowship (2020). He has or currently does play with AFCGT, Idol Ko Si, and/or Telescoping.

'Quiet Pieces' initiates Abul Mogard’s personal imprint Soft Echoes with a definitive self-portrait of calm, contemplative, and discreet inner landscapes made audible. It is the first solo album on vinyl in four years. RIYL Alessandro Cortini, William Basinski, The Caretaker.

While sifting through archived material left idle from earlier projects, a chance encounter with a late uncle’s trove of beloved 78rpm classical and opera records prompted the reworking and completion of what would eventually become the album. Spinning dusty records at 33 and 45rpm, Abul Mogard recombined their enduring spectres with unfinished sketches from his archive. The resulting soundscape blurs distinctions between his memories and those of another, exquisitely short-circuiting the senses with its waking, dream-like lucidity.

This was a process I hadn’t explored in my earlier works. I began sampling brief moments from these records, altering them with studio effects and playing them at slower speeds. In many cases, I wasn’t entirely sure how the original music sounded. These fragments, once further processed, became a source of inspiration for my new compositions. Over time, I realised that the old pieces from the archive and the new material derived from the samples naturally complemented each other.”

The resulting pieces hover over a threshold, a liminal space that harmonises the old and older material. Voluminous waves of quiet and loud undulate between consonance and dissonance, conjuring imagery of a decaying grandeur that humanity’s decadence has surrendered to the elements. Abul Mogard’s seemingly abandoned yet vast landscapes are nevertheless intimate with timbral frissons of red-lined distortion. Elusive, yet as tangible as sea spray or smog, they affect the olfactory senses with a rarified, synesthetic quality that modestly engages one’s emotional register – a hypnotic, distinguishing feature long hailed as one of the hallmarks of his work. A fidelity to memory and dream recall is sensitively probed in the journey from the stately symphonic stasis of 'Following a dream' to the almost industrial, untethered brutality evoked by a looming silhouette that’s never fully visible in 'Constantly slipping away', culminating in the foreboding coda of 'Like a bird'. Those pieces appear to shield the album’s sentimental core, where the tempestuous play of light and shadow of 'In a studded procession' escalates to breathtaking, panoramic climax, while 'Through whispers' evokes an out-of-body-like experience encountered with visceral poignancy.

Looking back, Mogard notes an unexpected influence: “I realise being inspired by Phill Niblock, whose work I had barely known at the time but explored after his passing in 2024. His album 'Boston Tenor Index' changed the way I approached dissonance. It encouraged me to push my sound further, to the edge of a space where I began to feel uncomfortable.”

The album artwork, created by longtime collaborator Marja de Sanctis, features a photograph taken at the Temple of Jupiter Anxur, an archaeological site overlooking the Mediterranean Sea. Captured with an iPhone, the image traces the residual presence of construction techniques and architectural forms of the Romans, where material history is transcribed through contemporary tools. The convergence of ancient and modern technology aims to reverberate the site’s lasting spiritual presence – an echo persisting in what is now perceived as a quiet, emptied space. The spiral gestures towards infinity and light. Past and present dissolve into one another, reflecting 'Quiet Pieces' meditation on sound, memory, and time.

RIYL Alessandro Cortini, William Basinski, The Caretaker

2025 Repress

Om Unit surprises us with a second volume of his 'Acid Dub Studies' project, once again fusing his love for the 303 with studio techniques given to us by musical heroes such as King Tubby, Adrian Sherwood, Jammys and Basic Channel

This second volume further solidifies the convincing narrative created by its best-selling predecessor, heading in a more groove-based direction in places whilst being underpinned by the same sonic narrative that has been enjoyed by many music fans from a variety of different spheres for the past 18 months or so

Support so far for the Acid Dub Studies project has come from many corners including some of the most highly respected names in UK Radio such as Don Letts and Steve Barker, Benji B and Tom Ravenscroft as well as a whole host of truly global worldwide underground support both via radio and in the dance

Om Unit says of this record: 'I felt encouraged by the sheer love for the original selection of works to go back in again and continue to experiment with this approach to writing whilst refining some of the process. Being able to combine processes and influence has been the mainstay of my creative life and I hope this next volume of Acid Dub will be enjoyed by everyone who was a fan of the first'

The beloved 303 bassline continues to inspire every new generation and Acid Dub Studies II is another storybook of sound in that vast continuum that shows no sign of slowing down.

Much has changed for Ilan Pdahtzur since the release of his Night City Life compilation six years ago. Back then, he was a little-known record collector who shared obscure, synth-heavy music that “captured the night-time glow” of the city he calls home, London, via a dedicated Instagram page. Fast forward to 2025 and Ilan is now a respected member of the international digger-selector community, having delivered must-check mixes for the likes of Bordello A Parigi, Bayete, Hunee’s Lifetones and Sound Metaphors.

It seems a fitting time, then, for Spacetalk to unleash Night City Life II, a second deep dive into Ilan’s distinctive, neon-lit sound world – a place where European synth-pop rarities, Italo-dance treats, dancefloor-focused post-boogie instrumentals soundtrack strolls around shuttered skyscrapers, dockside housing estates and wharf-side warehouse conversions.

In the six years that have passed since the release of Night City Life, Ilan has uncovered many more rarities, private-press gems and slept-on treats, with 14 of these featuring on the dusty-fingered crate-digger’s sublime sequel. As with its predecessor, much effort has been made to track down the artists behind the synth-heavy songs on show, with the vinyl edition featuring extended liner notes where some tell the story of their track in detail. Musically, there’s much to set the pulse racing within Ilan’s superb selections, from the slow-motion shuffle of Playground’s self-released 1984 B-side ‘Rainy Day Woman’ and the brilliance of Shamor’s 1985 South African synth-pop special ‘Close To You (Bwela Pafupi)’, to Sharon & Tracy’s ‘The Sheik’ – a belly-dancing inspired slab of TB-303 bass-driven house – and the kaleidoscopic, piano-rich 1992 Euro-house brilliance of ‘Come Into My Life’ by Jennifer.

Dive deeper into the collection and more under-appreciated musical masterpieces make their presence felt. There’s Sicilian musician Claudio D’Ignoti’s lesser-known boogie-era single ‘Anche Per Noi’, where rubbery bass guitar, Nile Rodgers style disco guitar licks and spacey synths dominate the sound space, Lena’s fashion circuit-inspired, early Pet Shop Boys-esque ‘Embrasse-Moi (Strumentale)’ – one that members of Milan’s Paninaro movement would surely have enjoyed – and a sublime, spaced-out and effects laden dancefloor dub of ‘Rescue Me (Imagination)’ by Jimmy D, a genuinely sought-after jam originally released on a now impossible-to-find seven-inch single. Offering another genuinely distinctive, carefully curated collection of lesser-known musical treats, Night City Life II is another essential, immersive and synthesizer-powered journey through Ilan’s unique sonic world.

Following the departure of Wire's drummer Robert Grey in 1990 WIR had risen phoenix like from the ashes of the acclaimed UK post-punk band after and were created to fulfil the final phase of Wire's Mute Records contract. With a more sequence based sound, WIR saw the band breaking all their own rules by creating a new sparse electronic music with Graham Lewis singing most of the vocals and even cannibalising their own catalogue by sometimes sampling their own older material. WIR was, however, not a long-term project and besides completing their only album, The First Letter, their only other activities were a very small number of gigs and two multi-artist "conceptual happenings" under the name I Saw You. One of these was in Clapham in April 1992 on election night and the other in Vienna in Feb 1993. On that Vienna trip, in addition to playing the gig, the band recorded a radio session for the Austrian national broadcaster ORF which was organised by Peter Rehberg - later the person behind MEGO & sadly no longer with us. This was released in 1996 by Touch on CD and consisted of two long tracks with a running time of almost 25 minutes. Once the short run of CDs had sold out, the rights technically fell to the band, and pinkflag released it - digital only - in 2007 and now released on vinyl for the first time. The remastered 2025 vinyl / CD / digital edition adds a newly recorded, Taylor Swift style re-recording of what is undoubtedly WIR's most pop moment, the dark brooding shadows of So and Slow. The version released here is based on how the band played it live, so, inspite of being instantly recognisable, it does not follow the arrangement of any previously released version.

Die bahnbrechende britisch-japanische Newcomerin Miso Extra unterstreicht mit ihrem herausragenden Debütalbum, warum ihr 2025 der ganz große Durchbruch gelingen könnte. 'Earcandy' wurde im Sommer 2024 mit Ricky Damian (dem mit einem Grammy ausgezeichneten Toningenieur, der für seine Arbeit mit Ezra Collective, Jorja Smith und Sampha bekannt ist) in Damon Albarns Studio 13 geschrieben und aufgenommen. Mit ihrem innovativen Synthie-House Popsound erschafft die selbstbewusste junge Künstlerin ihr eigenes genre-fluides 'Misoverse', das Musikliebhabende aus aller Welt in den kommenden Monaten in ihren Bann ziehen wird.

Das slowenische Metalcore-Trio Within Destruction präsentiert eine verdrehte und futuristische Vision der virtuellen Liebe mit gefühlvollen Strophen und explosiven, melodischen Refrains. Die Band, die den Sound ihrer Zeitgenossen wie Bad Omens, Architects und Wage War kanalisiert, veröffentlicht ihr sechstes Album 'ANIMETAL', ihr erstes auf Sumerian Records, gemischt und gemastert von Zach Jones (Ma

Das slowenische Metalcore-Trio Within Destruction präsentiert eine verdrehte und futuristische Vision der virtuellen Liebe mit gefühlvollen Strophen und explosiven, melodischen Refrains. Die Band, die den Sound ihrer Zeitgenossen wie Bad Omens, Architects und Wage War kanalisiert, veröffentlicht ihr sechstes Album 'ANIMETAL', ihr erstes auf Sumerian Records, gemischt und gemastert von Zach Jones (Ma

Quickly on the heels of their debut, Cuneiform Tabs return with Age, an LP that takes a massive leap forward in both melodic sensibilities and inventiveness. Bathed in late night psychedelia and the looping repetition of a drone sample, the group's experimental penchants remain, yet this time wrapped around tunes too sweet to be denied. In pulling back a little of the crackle and haze that made their first album so inviting, the Tabs have revealed more of their pop instincts. The overall effect is a perfect set of early Animal Collective demos or Syd Barrett attempting a Television Personalities cover at 3am.

The duo of Matt Bleyle and Sterling Mackinnon continue their system of trading 4-track tapes between the Bay Area and London, a furtive correspondence until sonic nuggets are fully formed. While these songs are very much the product of the Tascam and rudimentary software that is integral to the band, this album is truly the embrace of their songwriting talents – not unlike the recent breakthrough of labelmate Cindy Lee.

With the dream-like strum of "Ivy," slow shimmer of "Orbital Rings" and enchanting, madcap swirl of "Blended Medal," this is hypnagogic pop at its finest. Age is the record Bob Pollard hears in his head every time he steps down to the basement to pick up a guitar. This is the sound of riding in an elevator hearing McCartney singing "Blackbird" in the distance, only to have it draw closer and closer with each floor as you finally race down the hallway, putting your ear to each door searching for the source. This is Leonard Cohen smoking in the middle of the street outside a Suicide show. If all of this sounds phenomenal, it is.

Revered as one of London’s ‘leading disco labels’, The Disco Express slows no signs of slowing down. Steaming in HOT with with seven Summer sizzlers, the much loved label serves up certified dance floor heat ahead of the sunny season.

Oozing in top tier quality, the Summer Heatwave vinyl compilation encompasses the best new music forthcoming on The Disco Express. Including superb remixes by the scintillating Bosq and Dr Packer, Summer Heatwave features 100% original music by label regulars Magnolia, Maryag, Rayowa, Third Attempt and label boss Bustin’ Loose.

Pulsating with pure infectious Summer grooves, this compilation is truly essential for Disco, Nu-Disco and House music lovers worldwide

Clear Vinyl. Holt Eure Spandex raus, der Glam kommt JETZT in Euer Leben. Eine super warme Dusche aus Australien, mit Leuten von CLOWNS und CABLE TIES. Es gibt 11 zuckersüsse PopPunk Perlen, die mit Twin Leads auch den Hardrockfan an den richtigen Stellen abholt. Stellt Euch eine Melange aus The Exploding Hearts, The Shivvers, Thin Lizzy und Judas Priest vor... Und bums: da stehen Leatherman vor Euch. Qualitativ hochwertig hauen die 5 fünf Australier Hit nach Hit raus, der Gesang von Annabel Brown trifft genau den richtigen Ton zwischen rotzig, unschuldig und aggressiv...

Sometimes records reflect life with an unsettling precision, your own breath sticking to a mirror, confounding or transforming reality. J.H. Guraj, real name Dominique Vaccaro, is back with ‘The Flip Side’, an accomplished work of grace and sprawling elegance documenting struggle and a near-death experience that summons ghosts of Western primitive masters, rollicking free folk, minimalist orchestrations, weeping guitars and smooth psychedelics.

Time stopped for J.H. Guraj in 2021 following a brush with mortality, extensive forced recovery and subsequent hints of depression after an almost fatal bike crash, leaving our wandering soul, once again, at the edges. While his previous record ‘Introspection / Migration’ hinted at Middle-Eastern influences and merged the artists’ Arbëreshë upbringing with stoic ecstasis, free-form structures and guitar wizardry under sepia tone curtains, ‘The Flip Side’ twists, turns, falls down and rises to new heights, the widescreen breadth of Dominique Vaccaro’s cinematic vision projects new colours, a stark contrast of pastoral emerald green and pitch black asphalt, urban decay and mercurial mystery.

Like passages from some archaic songbook what astonishes is how detailed the new compositions are, a warm embrace like ‘Way To Long Goodbye’, counterpoint pianos leading the way down a Gershwin avenue; ‘You Got It All Wrong So Did I’ with its Van Dyke Parks arrangement; the 9 minute epic ‘Us As Ghosts’ a haunting ballad that resolves into kosmische landscapes; the muted symphony of ‘Fake Af’ and the spectral disorientation of ‘Nothing I Can Do But Flow’. Gentle drumming from collaborator Gianluca Panici augment the eeriness of ‘The Flip Side’, motions that create a sense of suspension and yearning.

A special Japan connection for the next release on DJ Nobu's Bitta label. Osaka-based Erik Luebs joins the roster with an EP of iconic, tranceinfluenced techno melancholia. Having released most of his work through his own DIY channels, Luebs' sounds have reached many dancefloors worldwide. He now teams up with Bitta for something special. On Nontemporal Void, Luebs delivers four tracks that perfectly showcase his diverse sound palette. Each track hits a different box of energy--all while injecting a healthy dose of hypnotism. With a keen eye for detail, the EP moves from slowly built-up tension to eyes-closed techno grooves and synth-heavy euphoria, showcasing the many sides of a magnificent sound designer and creative artist.

Chicago label Future Rootz is a collective of mix media DJs who all play and rework global roots, tropical bass, world electronic and Latin house. Who better to do that than Detroit's Dez Andres, a deep-diving DJ, house head and producer with Cuban roots. He goes first here with 'El Trombone', which has a signature low-end thump with sunny Latin vocals, joyous horns and florid melodies. He then slows things down with one of his trademark remixes of AfroQbano's 'El Bucanero', which has noodling bass and poolside charm.

Bonafide and veteran Japanese house legend Satoshi Tommie is back with a second taste of his upcoming new album Magic Hour alongside a selection of fine remixes. First is a Freund der Familie Reshape of 'N01' which is deep, atmospheric and mid tempo techno, while the album's title cut then becomes a swamp, deep, menacing rework from Andrey Pushkarev. Freund der Familie Rewire Fix of 'Phase Space' makes it into a deft, loopy, stuttering workout for the mind and the Satoshi Tommie's Alternate Cut of 'Fast Track' is a killer slow track steeped in dub dynamics.

Commemorate's self-titled debut album blends swirling guitars and dreamy vocals to create a hypnotic yet weightless sound, a longing that swells and fades gently. Emerging from Kuala Lumpur's hazy musical depths, Commemorate is a 5-piece ensemble creating their own ethereal soundscapes, while taking heavy influences from shoegaze titans and infusing modern dreampop with post-rock sensibilities. Available in clear and black vinyl.

OONA Recordings is proud to announce the upcoming release of the soundtrack for The Girl With The Needle by Frederikke Hoffmeier. Hoffmeier, whom performs under the stage name Puce Mary, brings a raw, intense and atmospheric score to this Oscar-nominated film, which is contending for Best International Feature. Known for her bold, experimental approach to sound, Hoffmeier’s composition immerses listeners in the film’s dark, emotionally-charged world. Directed by Magnus von Horn, The Girl With The Needle premiered at the Cannes Film Festival, where it earned praise for its uncompromising vision. The film went on to receive a Golden Globe nomination for Best Non-English Language Film and won two prestigious awards at the European Film Awards, including Best Score for Hoffmeier’s hauntingly powerful work. The score to The Girl With The Needle is as dark as it is compelling, a masterclass in creating tension, unease, and raw emotional weight. Hoffmeier’s sound design is equal parts abrasive and intimate, drawing the listener into a world of fractured beauty. Her use of organic textures, electro-acoustic undertones, and dissonant, atonal melodies challenges traditional notions of film music, offering something deeply visceral and unpredictable. The Guardian described Hoffmeier’s score as "nerve-abrading," highlighting the relentless, uncomfortable energy that underpins the film. The Chicago Reader similarly calls the score haunting, noting how it amplifies the film’s stark atmosphere. Drawing comparisons to the intense works of composers like Mica Levi, Awards Radar Magazine praises Hoffmeier for pushing the film’s emotional core to its breaking point, deepening the agony of the protagonist. Throughout the film, Hoffmeier’s score becomes as much a character as the people on screen. Her collaboration with von Horn is marked by a shared vision of pushing the limits of cinema and sound. Screen Daily describes the score as "daring," with its aggressive, contemporary tones standing in stark contrast to conventional film scores. The result is a uniquely modern, avant-garde work that reflects the film's visceral and unsettling nature. Hoffmeier crafts a world of sound that lingers long after the credits roll. The soundtrack’s fusion of organic instrumentation with electro-acoustic elements and bold industrial sounds sets it apart from the ordinary. The British Film Institute notes how Hoffmeier’s "atonal score" creates an "enervating effect," pulling listeners deeper into the film’s raw emotional depths. The combination of brutal sound design and haunting melodies builds a layered, evocative listening experience, one that grows increasingly intense with every listen.

"Sebastian Mullaert has always favoured the long arc: of tracks, of creative cycles, of artistic trust. His next chapter unfolds in the form of a new vinyl only label, born in close collaboration with Ulf Eriksson - his longtime friend, ally and the steady pulse behind Kontra Musik, a label that's been both home and launchpad for many of Mullaert's most vital releases. K-Files is built on two foundations: singularity and multiplicity. Every release will present a single track refracted through three or four different versions - each one approaching the core idea from a distinct creative angle. These are tools not just for DJs, but for listeners who hear dance music as more than just rhythm - as mood, as exploration, as transformation. The first release, K-FILES 01, sets the tone: deep, dubby, and spacious, it invites patience and immersion. But like all good rituals, the process will shift. Future releases are already poised to explore other territories: sharper energies, stranger grooves, unexpected colours. In a world increasingly defined by instant access and digital saturation, K-Files stands intentionally apart - a slower offering. A return to physicality, to process, to the tactile rituals of listening, selecting, and playing music with care. K-Files is a sublabel for those who play records not just to move bodies, but to open space. A platform for sonic evolution, variation, and perspective. A place where dance music is not pinned down - but opened up. Each record will be released exclusively on vinyl."

Just as Duster's landmark debut album Stratosphere was making its first orbit, Clay Parton, Dove Amber, and Jason Albertini tracked a largely improvised companion capsule under their Valium Aggelein alter ego. An ode to '70s Kosmische, Hier Kommt Der Schwartze Mond is a skeletal space nap for the prozac generation. Remixed and remastered from the original 16 track analog tapes, the 1998 album has been adjoined by 15 period-appropriate bonus tracks. A fuzzy masterpiece, hidden in plain sight, by the most important slowcore band of all time.

LP in printed inner sleeve. With De Wonderen, Donder returns once again to the essence of the trio. The result is a chaotic blend of abstract and melodic work featuring both solos, duos and trios, two covers of pop songs and some occasional whistling and Norwegian lyrics.



The album was recorded on a slow summer day in July 2023 in the old theatre hall of KC Nona in Mechelen. Besides the room's lively acoustics and the conscious choice for an upright piano, the recording is characterised by the usual unorthodox playing techniques and carefully documented imperfections.
In contrast to their previous record Het Verdriet, which emerged from a research project on Flemish (folk) music history, this time the premise was to compose and collect new material without any concepts or limitations. The result is a chaotic blend of abstract and melodic work featuring both solos, duos and trios, two covers of pop songs and some occasional whistling and Norwegian lyrics.

De Wonderen is a testament to the beauty found in the small wonders of everyday life. As Guy Peters writes in the liner notes: «With this album that bubbles with percussive ideas and unpredictable contrasts, you are once again reminded that beauty is more striking when you have to wait for it, or find it in unusual places."

Het Mierenlied and Vader Ademt were released as singles with accompanying video's by respectively 3D and motion designer Robbe Callewaert and visual artist and ceramist Juliette Pons. The full album will be released on W.E.R.F.-records November 22nd, on LP and digital platforms. The artwork was designed by Jelle Martens with photography by drummer Casper Van De Velde.

Casper Van De Velde - drums, percussion
Harrison Steingueldoir - piano
Stan Callewaert - double bass, percussion, voice

All tracks by Donder except for All I Want For Now (Genevieve Artadi) and Oh My Love (John Lennon and Yoko Ono)

This latest Unxpozd release has taken a hot minute to arrive but it's been worth the wait, because once again DJ Aakmael shows off his deep house class. '6minutes' kicks off with the sort of whimsical late-night chords that soon get you dreaming as the loveably lazy grooves slouch on. 'Just A Track pt. 8' shows Aakmael's sample skills as he chops up the sounds with some nice jazzy keys. You won't find a groove more lush and smooth than the gently cosmic 'Track 123' while 'Autumn' is perfectly stripped back to chunky kicks, slowly ascending chords and a hint of Kerri Chandler soul with a gospel vocal hook.

DJ Support: Kerri Chandler, Mr.V, Lars Behenroth, Enoo Napa, Adriatique, Harri, Ilario, Alicante, Dennis Quin, Jimpster, Severino, Junior Sanchez

Kerri Chandler and Nae (SA) Unite for New Single ‘Caged Bird’ – Limited Edition Splatter Vinyl Release

Kerri Chandler teams up with South Africa’s Nae for their latest single ‘Caged Bird,’ featuring four exclusive mixes on a limited-edition vinyl release — only 300 copies available in this special colourway.

The A-side opens with the ‘Full Vocal Mix,’ where Chandler crafts emotive piano melodies, organic drums, and atmospheric strings, perfectly complementing Nae’s soulful vocals.

On the flip side, Chandler delivers a fresh remix of ‘Caged Bird,’ transforming the soulful essence of the original into a deep, slow-burning groove that unfolds over eight minutes.

The package also includes a ‘Kerri Chandler Instrumental Remix,’ stripping away the vocals to let the intricate production shine through.

Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.

Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."

Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.

"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."

Surrender to the calming essence of summer with Saturday Chillin’! Allow yourself to unwind and cherish the weekend with the soft rhythms and soulful harmonies of our latest compilation. Transport yourself to a place where time seems to slow down, enveloped by warm sunlight and fragrant flowers, escaping the bustle of city life. Let these soothing melodies set the perfect tone for your ideal summer days.

Many of the greatest artists of all time found inspiration in their dreams... and pdqb is known to be an absolute pro when it comes to creatively exploiting the REM cycles.

Recently, for example, he dreamed of Gunnar, who had witnessed the rise and fall of electronic dance music, which had once held simple-minded creatures in its thrall. The beats had a peculiar effect on them, drawing them into euphoric trances. But Gunnar, allergic to its hypnotic frequencies, stood apart, unaffected. However, eventually, in a hidden enclave in the highlands of Reykjavík, he met Dr. Amara El-Amin, a neuroscientist fascinated by his unique immunity. Together, they discovered that Gunnar's resistance was a gift, offering insights into human consciousness and the power of music. With this knowledge, Gunnar inspired a global movement celebrating frequencies that resonate...differently. Though EDM had become a relic, Gunnar Oliasson remained a legend - a bad taste survivor who embraced a symphony of pure electrical potential, a language of circuits and oscillations beyond sound.

He woke with a jolt, the phantom music still echoing in his mind. He scribbled furiously, equations and diagrams mixing with strange, abstract notations. The dream, he knew, was a glimpse into a world where his inventions would dance, not just function.

For Synaptic Cliffs, it is an extraordinary honor to be able to offer you, dear listeners, the soundtrack of pdqb's world-changing dream: Four beautiful genre-defining Electrocognition tracks, embracing the depths of the human wetware. And three jaw-dropping sonic remodels from a human-like being called The Exaltics.

Doble Filo Records presents Double Sided Weapons EP – a dark and powerful force rising straight from the underground of Girona and Barcelona. This debut EP, released on Runas Distribution, is a testament to raw energy, built for those who crave anarchic sound.

This collaboration between Roto and Nulek, was born out of a need to release this unique sonic style to push the existing boundaries and question the status-quo of the establishment.

The electric bass lies at the heart of this release, its gritty textures and seismic low-end defining the identity of A2 and B1, while A1 and B2 deliver a more hypnotic blend—versatile and primed for any moment the selector chooses to ignite the dancefloor. The grooves build with measured intensity,
like a slow-burning fuse, before erupting into full force.

This EP is not for the masses. It is for those who refuse to settle for the ordinary and are tired of everything sounding the same—for listeners seeking something raw, unfiltered, and unapologetically intense.

Brand new Manchester imprint, 160 Street Recordings is excited to announce its first vinyl release, Evolutions EP, by the dynamic production duo of Response and Buda. With a reputation for carving out a distinctive uncompromising sound, the pair return with a gritty, dark collection of tracks that channel the deep, raw energy of early 90s Jungle and Jungle Techno.
Drawing influences from the breakbeat-driven sub-bass and atmospheric elements of that era, the Evolutions EP fuses heavy basslines, classic breaks, and dark, rave-inspired energy.
A1. Evolutions
The EP opens with the title track, ‘Evolutions’—a driving, atmospheric tune full of breakbeat intensity and underpinned by weighty sub bass. Kicking off with a memorable rave stab melody, the track builds with powerful percussion and a haunting, evolving soundscape that moves between light and dark.
A2. Fintons Dub
“Break, show ‘em something, but not too much….” ‘Fintons Dub’ brings a laid-back dubbed out groove, with a selection of classic breaks and a deep sub-bass foundation. An atmospheric pad and cinematic Kung Fu movie sample add depth to this cut, the breaks building gradually with delays as the track rolls out..
B1. Fintons Dub (Double 0 Remix)
No introduction is needed for Double 0, co-founder of legendary London club night Rupture and one of the pioneering figures of the original Hardcore Jungle Techno sound. His remix of ‘Fintons Dub’ takes the track back to his Doncaster warehouse roots, unleashing thunderous bass and breakbeat energy, a twisted mentasm and techno infused stabs. A true dancefloor weapon that embodies the true spirit of Jungle Techno.
B2. Acid Vein
Rounding off the e.p. is ‘Acid Vein’ a 303 led breakbeat bomb that infuses rolling breaks with a pounding sub bass and haunting jazz samples. Slower in tempo than the previous tracks and more reminiscent of the more formative years of rave, Acid Vein will also appeal to the wider breakbeat community.

Doris Brendel & Lee Dunham take an unexpected yet electrifying turn into the world of Blues with their latest album, Big Blue Sky. Known for her powerhouse vocals and genre-defying style, Brendel—who recently won the HRH Prog Angel Award 2024—delivers 13 beautifully crafted Blues tracks that blend raw emotion, soulful melodies, and top-tier musicianship. Featuring a stellar lineup, including Sam Brown (Hammond), Sam Blue (vocals), and Sam White (drums), Big Blue Sky is a masterclass in Blues with a contemporary twist. From classic blues ballads (‘Under the Covers’, ‘Red Letter Blues’) to the humour-infused ‘Slow Wi-Fi Weekend’ and soul-stirring duets (‘Is This the Last Time’), the album is a fresh and dynamic take on the genre. Produced by Lee Dunham, Big Blue Sky is available digitally, on CD, and on vinyl (featuring a special 9-track selection). Doris Brendel has performed with some of rock’s greats, including Fish (Marillion), Wishbone Ash, and Nils Lofgren, and was even invited to tour with Pink Floyd. With Big Blue Sky, she proves once again that she refuses to be boxed into a single genre, bringing her signature husky, bluesy vocals to a project that is both timeless and innovative.

Emerging from the Minneapolis underground and heading straight towards the sky, IE arrive on Quindi with a full-length album of sparkling, sophisticated wonder. Touching on kosmische grandeur, Riley-esque cyclical patterns, lounge pop and dubbed out psychedelia, the five-piece allow their songs to unfurl with a natural, hypnotic elegance which can take many different forms.
There's a loose, live quality to the recordings IE's members commit to record, which reflects their steady presence gigging in Minneapolis and the surrounding area. Since putting out their first release in 2016, they've glided from drone and synth-led jam band ambience (2018's Pome) to strung out, stoner-tinted slowcore (on 2023's outstanding Junk Body). For Reverse Earth they strike a smoky note that wraps itself around your skull across extended run times that evolve with a meditative poise.
From the deceptively driving 4/4 thrum of the opening title track through 'Divination Bag's snaking tryptamine mantras on to 'Simplify's slow and smouldering indie-soul, IE's sound is bathed in a sumptuous warm glow that rounds out the lows and the mids, creating a nocturnal shroud in which their nebulous song structures can feel deliciously endless.
Meredith Gill's drums provide rolling and tumbling undercurrents for the slowly shifting phases of the instrumental players, as Michael Gallope and Travis Workman trade keyboard parts and Workman and Sam Molstad chop and pick at their six-strings. Atop the thrum of her bass, Mariel Oliviera's vocal adapts to the scenery, from a distant, dreamlike siren song on 'Reverse Earth' to a spoken word meditation on 'Babel'.
There's space in each track for every instrument to cut through and have its moment, from a spiralling key vamp to a chicken-scratch guitar flex. The gently twisting, head-feeding groove exercises of the first four tracks give way to a slow and powerful march on 'Dark Rome', closing the record on a noirish anti-ballad fit to peal out in the closing slot at Twin Peaks' Roadhouse (circa season three).
As much as the tracks teem with composition, musicianship, and production to savor, a sound like IE's has a soporific quality that soaks in unconsciously. It's an evocative portal where the band feel as if they could just play on each piece ad infinitum - where the time itself seems to dislodge from its moorings.

Berlin-based French-Irish multimedia artist Zoe Mc Pherson levels up on their third full-length "Pitch Blender", mangling years of experience DJing and performing live into a tight set of cybernetic soundsystem experiments that flicker between the rave and the art space.

Cast your mind back to February 2020 for a moment, when Mc Pherson released their last album "States of Fugue". The world seemed less tangled somehow, and yet Mc Pherson's precision-engineered fusion of exploratory sound design and visceral club pressure seemed to hint at a cataclysmic event none of us were really expecting. Only a few weeks after its release the world changed forever, and the majority of us were grounded - forced to consider our lives and the movement (or lack thereof) surrounding us. The philosophy of this extended time period is welded into the bones of "Pitch Blender", Mc Pherson's supple third album. They have learned plenty in the last two years, and infuse all of that anxiety and spiky emotionality into a spread of tracks that sound as powerful in headphones as they do over a well-tweaked soundsystem, soldering vocals, environmental recordings and instrumental flourishes to unpredictably pneumatic, cybernetic beats.

Anyone that's caught one of Mc Pherson's energetic live performances over the last few months will have an idea of what "Pitch Blender" is made of. They're an artist who's somehow able to match the raw energy of post-punk and no-wave music with the brain-altering potential of the best experimental club tracks, vocalizing an incongruous post-lockdown reality over beats that sound as if they're in a permanent state of flux. 'On Fire' splutters to life in a frenetic patter of drums that blur into oddly soothing hoover sounds, snaking lysergically towards a drop that's teased constantly, and never comes. We're forced to wait until 'The Spark' for that, fighting through choppy, pitch-mangled guitar and rolling beats until a gruesome kick drum forces its way through the psilocybin mists and heaving Bristol-inspired bass clonks. Backed up with just the inverted traces of recognizable breaks, this vigorous pulse lies at the heart of "Pitch Blender", the driving force that powers Mc Pherson's sound even when it's only hinted at.

'Blender' is the moment where Mc Pherson show their full hand, using crackling sound effects, ghost vocals and uneven rhythms to build a textural landscape that's so evocative you can almost taste it. Squealing modular synth effects sound like gameshow buzzers being triggered in another dimension and propel the track forward - it's club music, just about, but Mc Pherson's motivation is world-building, and their world is colorful, abstract, and dizzyingly surreal. "Obsolete user," their voice echoes over driving airlock kicks. But they take a swift left turn with 'Lamella', reducing the kinetic club rhythms to a longing simmer and letting loose with powerful vocals, intoning with robotic, gender-fluxed intensity. On 'Wait', New York City's clacking crosswalk signal - already an effective club track on its own - is transformed into a reminder to slow down, juxtaposed with booming sub-heavy kicks, acidic synths and effervescent percussion that rattles in time with the vibrations. It's foley rave, built for pure psychedelic intensity to blur the line between real life and sonic fiction.

One of the album's most galvanic tracks, 'Power Dynamics' curves a double-time rhythm around breathless HQ sound design squiggles until it hits a polyrhythmic crescendo, striking a queasy balance between rave hedonism and ritualistic hand drum energy. It all builds towards eerie closing track 'Outside' that acts as an important wind down, spotlighting Mc Pherson's ability to operate outside of the rhythmic spectrum, using cinematic scrapes and flickering neon synths to create music that's tense but never terrifying. The track feels like the end credits of a particularly bewildering movie - something between the cyberpunk dystopia of "Ghost in the Shell" and the vivid, sky-scraping beauty of "Koyaanisqatsi". Mc Pherson has managed something special with "Pitch Blender": mashing together genres with rare focus, and sharpening their engineering skills to a fine point, they've concocted an antidote to contemporary malaise - a wakeup call that's begging us to loosen our limbs and move.

FM Pause is back on ROW Records with wonky rhythms, rough textures and sounds that feel unstable yet precise. This 3-track EP is all about deconstructing sounds, exploring chaos, and discovering what emerges. An over-compressed, pulsating machine that builds itself up, glitches out and slowly self-destructs.

Seit 2011 und mit sieben Alben hat das explosive Trio immer größere Erfolge gefeiert und sich Aufmerksamkeit und Anerkennung bei Rock-Fans und Jazz-Anhänger:innen gleichermaßen erarbeitet. Der Bandname lässt eventuell auf Jazz schließen, nur dass in der Besetzung vom Hedvig Mollestad Trio Klavier, Saxophon oder Trompete nicht auftauchen. Stattdessen: Gitarre, Schlagzeug, (Kontra-) Bass und Songs, die gerne mal die Melvins beschwören (Blood Witch). Jazz ist hier also in erster Linie Rock und keine Kammermusik. Mollestad lässt ihre Gitarre dabei unablässig und vom Overdrive getrieben jaulen, tänzelt die Skalen auf und ab, rifft sich durch die halsbrecherischsten Soli und spielt dennoch geerdet mit dem satten Groove von Schlagzeug und Bass. Nach arbeitsreichenJahren (solo, mit Weejuns, Soundtracks und Auftragsarbeiten) verspürte Mollestad den starken Drang, zum Kern zurückzukehren, der immer das Trio war, mit dem alles 2011 und dem starken Debütalbum Shoot! begann. Die Aufregung war groß, als es ins Studio ging, und da ein Großteil der Musik recht kompliziert ist, mit vielen kleinen Variationen und langen Strukturen, waren die Studio-Sessions extrem fokussiert und konzentriert. Hedvig betont, dass das Hauptziel des Trios darin besteht, immer Spaß zu haben, ob im Studio oder auf der Bühne, und diese Freude mit den Zuhörern zu teilen. Beim Hören von Bees In The Bonnet wird deutlich, wie sehr das Trio es vermisst hat, gemeinsam neue Musik zu machen, und dass sie sowohl als Songschreiber als auch als Musiker sehr gut sind. Frontfrau Hedvig Mollestad präsentiert sich hier nicht nur als Riffmeisterin, sondern auch als Sologitarristin, die den bereits angestellten Vergleichen mit Tony Iommi und Jimmy Page mehr als gerecht wird.

Blue Sky Vinyl. Teethe is a band from Texas. The members of Teethe met while attending the University of North Texas in Denton, TX, a small college town outside of Dallas with a fertile music scene. Before forming Teethe, its core members Boone Patrello, Grahm Robinson, Madeline Dowd, and Jordan Garrett all played in various other groups in Denton, releasing music under different pseudonyms. Patrello released solo music via his Dead Sullivan moniker, while Robinson released under MAH KEE OH. Patrello and Robinson linked up with Dowd to record an album for her project, Crisman, in 2019. They all eventually moved in together, leading the group to start recording more as a whole unit, and subsequently Teethe was born.Made over the course of 2020, Teethe's eponymous debut album is a collection of songs pieced together over time - a sonic collage of fragmented recordings and half finished tracks made whole in the midst of isolation. Initially self-released in November of 2020 with little fanfare, the album's warm, lo-fi aesthetic and slow, calming songs spread by word of mouth. Roughly one year later, at the top of 2022, the band returned with "Tag", a new single that caught the attention of slowcore fans and garnered shout outs from unlikely celebrities. Tours soon followed with Charlie Martin of Hovvdy, Momma, Milly, Waveform, and They Are Gutting A Body of Water. The band continued to record their own music, releasing another single, "Lucky," in the fall of 2022, and most recently partnered with Saddle Creek for their 7-inch series to release their newest single, "Moon," in October of 2023. Now spread between Dallas and Austin, the Texas band has recently signed with Winspear and will be re-issuing their self-titled debut LP this winter, along with a pressing of "Tag," "Lucky," and never before released b-side "Thanks" on 7-inch vinyl.

Ricardo Baez, a Milan-based DJ and producer, returns with his second single on Mule Musiq. Known for his regular party “Tropical Animal,” Baez launched a label of the same name and has released music on Toy Tonics and Live at Robert Johnson—the label of the renowned German club Robert Johnson. He continues to establish himself as one of the most promising artists in the scene. His latest release opens with a jazzy deep house track reminiscent of Larry Heard, followed by “Dark Room NRG,” a slowed-down take on '90s rave house. “Whisper Wood” reinterprets '90s Italian Balearic house with a modern touch, while “Animarara,” a highlight from his previous digital-only release, makes a return. The record closes with “The Life of Larry,” a cinematic breakbeat track. The variety showcased across the release speaks to the depth and range of Baez's musical vision.