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A guitar stands alone in Wedding, that metropolitan biotope in the western center of Berlin, caught in constant transformation between idyll and abyss. It lets its gaze wander, unsettled, almost shy, until it encounters a trumpet, with which it begins a cautious, then ever more intimate pas de deux.
Welcome to the second studio album by the Berlin-based band Conic Rose.
The album title Wedding is no coincidence. The story of Conic Rose is closely intertwined with the Berlin neighborhood that gives the record its name. The band's studio is located here, and both studio albums were created in the immediate vicinity of the small river Panke. This place settles over the music like a warming patina. The album feels as though the musicians and the neighborhood have invited one another to get to know each other. Not least because Wedding also means marriage. These marriages between a band and an urban landscape, a fading past and an emerging future, fear and hope - unfold in every single song on Wedding.
For their second album, Conic Rose repositioned themselves completely. Not in terms of personnel, but in the question of how to move forward. Conic Rose still sound like Conic Rose; their distinctive blend of cinematic jazz, ambient textures and guitar-led contemporary music remains untouched. And yet Wedding is, in many ways, the conceptual counterpart to their debut album Heller Tag. Where the debut documented movement within an urban setting, Wedding describes a state of being. Behind every piece seems to hover a large question mark.The group opens up its palette, allowing more influences, becoming at once more subtle, more profound, more filigree. It is less about definition than about the spaces in between. The most immediately striking difference from the previous album is the strong presence of the guitar. In Bertram Burkert's playing, many voices seem to converge. His yearning openness forms an equal counterpoint to Döben's trumpet and flugelhorn. Blurred and layered sounds occasionally make the ground seem to slip away beneath one's feet, while Döben's gliding lines create both closeness and distance. Together, the band express in a deeply subtle way a sense of life that corresponds precisely to our time. Something lurks in the background, omnipresent yet still unnameable. Conic Rose need no words to convey this feeling of uncertainty with remarkable eloquence. Perhaps this has something to do with Wedding being a place of confrontational introspection, but Conic Rose confront the escape from escape itself. With the recording and release of Wedding, this process is far from complete. The seed only begins to grow in the listener's ear. With every listen and the echo it leaves behind in memory, the studio bud continues to bloom. The album is merely the point of departure. What ultimately matters is what it sets in motion within those who encounter it.

Redux, an ambient-folk album from Portland, Oregon musician, poet, and multimedia artist Dao Strom, is a collection of nine resurrected pieces. Reimagining songs she initially composed as a member of the Austin, Texas alt-country and singer-songwriter scenes of the early 2000s, Strom reworks these lost songs into ambient-folk mini-epics—part grounded and earthly, part ethereal and otherworldly. Drawing on an intimate yet spacious palette of folk, ambient, and experimental textures, woven through with a poetics of vulnerability and quiet emotion, Redux explores song as gently reverberant fields of layered vocals over finger-picked guitars with touches of electronics and sampling. Strom’s musical journey initially began in a roots and acoustic vein, simultaneously with her career as a fiction writer. In the years since, she has moved from Austin, Texas to Juneau, Alaska to Portland, Oregon; her work too has expanded across genres into more experimental formats of poetry, music, and multidisciplinary art. In returning to these earlier songs, Strom reclaims and revives them, exploring her relationships to time, voice, and the continuances of emotion and memory. The word redux means “brought back; revived”; a sense of something restored—earlier renditions of some of the Redux songs were recorded with Austin-based collaborators and producers; some songs were written in that time period but never recorded. Produced, performed, and recorded by Strom alone in her home studio, Redux is a return and reemergence of the artist to her own most personal, intuitive structures and atmospheres of voice, sound, and song. Released on cassette by Antiquated Future Records, and reissued on vinyl in 2026 by Disasters By Choice.

Dao Strom is an artist who works with three “voices”—written, sung, visual—to explore hybridity and contemplate the intersection of personal and collective histories. Her music releases move between “song-poem” cycles and ambient-folk albums. She is the author/composer of several hybrid projects that blend poetry, music, and visual art into unique multimodal experiences, including Tender Revolutions/Yellow Songs, a song-cycle with set of four chapbooks, jointly released by Beacon Sound, Antiquated Future Records, and The 3rd Thing Press (2025), and Instrument/Traveler’s Ode, a poetry-art collection and song-cycle released by Fonograf Editions and Antiquated Future Records (2020). Born in Vietnam and based in Portland, Oregon, Strom began her musical journey in the early 2000s, when she first began infusing into the context of “Americana” folk/roots music her own diasporic Vietnamese experience and stories. Her music has since moved in more experimental directions, resisting easy categorization, yet still maintaining tendrils of folk ethos. She also writes songs about the ineffable nuances of emotion, memory, and connection, as captured on the album, Redux, which gathers songs from across her songwriting years into an ambient-folk setting, self-produced and recorded by Strom, released on cassette in 2022 by Antiquated Future Records, and reissued on vinyl in 2026 by Disasters By Choice. As a multidisciplinary artist, Strom has presented performance and installations at venues such as the Time Based Art Festival (Portland Institute for Contemporary Art) and Moving Poets Novilla in Berlin, Germany, and has received awards from the Creative Capital Foundation, Spark Artist Award, and others. Strom is also a founding member of She Who Has No Master(s), a collective of Vietnamese women writers and artists making polyvocal poetry-art works as a means of reaching across borders.

Repress!

OUTTA SIGHT, in association with Sony Music Entertainment UK Ltd., present two Modern Soul Monsters back-to-back.
JEFF PERRY (aka Jeffree) was born into rare soul royalty, the nephew of Robert Bateman, a pioneer of the Detroit sound, and brother of Greg Perry with whom he would co-write and produce for Holland/Dozier/Holland scoring hits for the Honey Cone, Chairman of the Board, Freda Payne and Jeff’s own group 100 Proof Aged In Soul.
“”Love Don’t Come No Stronger…” has transcended its Modern Soul status to become a mainstay of the 21st Century Northern Soul Weekender scene, an essential 45 for any discerning DJ wanting a guaranteed floor-filler.
MANDRILL were formed in New York in the late Sixties by the Wilson brothers, originally from Panama. They were joined over the years by a succession of accomplished musicians who honed their unique Latin-tinged sound that attracted, first Polydor, then United Artists and Arista, who signed them in 1977. “Too Late” was released in ’78 and helped define the “crossover” sound of the Northern Soul scene. It remains an anthemic and sought after 45 guaranteed to pack the floor.

Blanche Biau, the enigmatic solo project blending 80s wave, post-punk, and shoegaze into a dreamy yet melancholic soundscape, is set to release a remix album of her sophomore record ‘Heartcore’. The new album, titled ‘Heartcore (Remixes)’, will be released via the Zurich based label Subject To Restrictions Discs.

Following the success of ‘Heartcore’, released in July 2025, the remix album brings together a group of artists to reimagine Blanche Biau’s hauntingly beautiful tracks. The remixers include Danzinger99, Donna Haringwey, Lumpex, Lust For Youth, Spear Flower and Milan STHC.

Blanche Biau on the remix album: «Heartcore is deeply personal to me, but I also imagined it as a living, breathing entity that could evolve. Collaborating with these incredible artists has been a dream – they’ve taken my songs to places I never thought possible. This remix album is a celebration of reinterpretation and connection.»

Blanche Biau is a solo project hailing from Zurich, Switzerland. Known for her DIY approach and ability to channel influences from 80s wave, post-punk, and shoegaze into a sound that is both nostalgic and forward-thinking, Blanche Biau has quickly established herself as a rising star in the alternative music scene. Her music combines raw emotion with dreamy atmospheres, resonating deeply with audiences worldwide.

Nur wenige Orchesterwerke erfordern so viel Präzision wie Richard Strauss’ „Alpensinfonie“. Die DeccaAufnahme von Sir Georg Solti und dem Symphonieorchester des Bayerischen Rundfunks entstand 1979 und
war eine der letzten analogen Produktionen von Decca vor der Umstellung auf Digitaltechnik. Solti kannte
Strauss persönlich und studierte die Aufnahmen des Komponisten, bevor er diese einzigartig authentische
Aufführung in München aufnahm.
Die neue audiophile Vinyl-Reihe DECCA PURE ANALOGUE präsentiert legendäre Aufnahmen aus den
Archiven von Decca und Philips in einer völlig neuen Klangqualität. Die renommierten Emil Berliner Studios haben diese in 100 % analoger Qualität (AAA) mit speziell für diese Reihe entwickelten Technologien
neu gemastert.
Jede Veröffentlichung der Serie wird auf 180 g schweren Virgin-Vinyl-Schallplatten gepresst und in einer
luxuriösen Gatefold-Edition präsentiert, mit Original-Artwork und Liner Notes, zusätzlichen Fotos und
Faksimiles der Bandboxen und Aufnahmedokumentation. Darüber hinaus enthält jede handnummerierte
Limited Edition neue Liner Notes, in denen die Geschichte der Aufnahme sowie der technische Prozess der
Neu-Veröffentlichung detailliert beschrieben werden.

Repress!

Spinnin' Records, one of the most influential dance music labels, celebrates its 25th anniversary with the Chapter 1 compilation featuring a selection of iconic hits that have shaped the global electronic music scene. Since its founding in 1999, Spinnin' has been a trendsetter in electronic dance music (EDM), nurturing superstar artists and groundbreaking tracks across house, future bass, big room, and deep house genres.

This edition of Spinnin' 25 Years...Chapter 1 double vinyl LP collection includes memorable tracks from legends like Martin Garrix with the chart-topping hit “Animals”, "Stumblin' In" by CYRIL, "Secrets" by Tiësto & KSHMR, "Tsunami" by DVBBS & Borgeous, “Bullit” by Watermat, “Toulouse” by Nicky Romero, "Show Me Love" by Sam Feldt and 23 more tracks showcasing the signature sound and major contributions to the label.

Spinnin' 25 Years...Chapter 1 is available as a limited edition on green vinyl. The iconic Spinnin' logo is printed with an uv spot varnish on the gatefold sleeve.

„A Love for Strangers“ ist eine völlige Neuerfindung für Nick Murphy. Sein erstes Album als Chet Faker
seit vier Jahren erweitert seinen etablierten Sound in aufregende neue Richtungen. Mit mondbeschienenen
Saxophonen, die an legendäre Acts wie Prefab Sprout und The Blue Nile erinnern, sowie dem üppigen,
Breakbeat-lastigen Pop von David Grays Klassiker „White Ladder“. In diesen zwölf Songs sinniert Murphy
über Liebeskummer und Unsicherheit im großen Maßstab – er stellt Fragen darüber, wie wir miteinander
umgehen, untersucht, wie wir dabei scheitern, und vermittelt das notwendige Gefühl der Hoffnung, wenn
es darum geht, unsere Beziehungen zur Welt um uns herum zu reparieren.

Boogiemonsters were an American hip hop group composed of Bronx‑born rapper Mondo McCann, Alaskan native Vex Da Vortex (Sean Pollard), and Jamaican‑born brothers Myntric (Sean Myers) and Yodared (Ivor “Al” Myers). The members met while attending Virginia State University, quickly connected, and began recording demos and performing at campus events. Their early momentum led them to win first place at Howard University’s Hip‑Hop Convention.

Pendulum/EMI record label signed the four MCs and released their debut album Riders Of The Storm: The Underwater Album in 1994. The first single, “Recognized Thresholds of Negative Stress,” introduced their thoughtful, alternative approach to hip hop. It was followed by “Honeydips in Gotham,” a smooth tribute to the fly sistas of the city, and “Strange,” built around a slick Cameo sample. Another standout track, “Salt Water Taffy (Slo Jam),” is noted as one of the earliest non‑Roots session appearances by future producer Scott Storch.

Riders Of the Storm: The Underwater Album delivers a focused blend of rugged beats, sharp lyricism, and atmospheric production that stands apart in the 90s hip hop landscape. Its mix of conscious themes and deep grooves makes it essential for fans of underground hip hop. The album’s mellow, funky, alternative sound sits comfortably alongside groups like A Tribe Called Quest and De La Soul, giving it a timeless place in the era’s most creative and forward‑thinking releases.

East London producer and DJ IZCO announces his debut solo studio album ‘POWERSCROFT’, set for release on 1st May via Brownswood Recordings. The album’s first single, ‘Strike a Pose’ featuring the vocals of Camille Munn offers an early glimpse into the project. To celebrate the release, he will go on a run of UK dates from March to May, culminating at London’s Jazz Cafe.
Named after the road where he grew up, ‘POWERSCROFT’ marks a defining new chapter for an artist who has spent the past decade shaping the sound of UK dance music. Drawing from jungle, broken beat, grime, garage, soul and dub, the album channels the energy of the dancefloor while remaining deeply rooted in memory, instinct and identity. It captures what it feels like to be inside IZCO’s world, where thoughts, memories and influences collide.

Hailing from East London, IZCO is a producer and DJ spearheading a new generation that is bringing soul back to the dancefloor. Shaped by the rich musical heritage of his hometown, he has developed a sound that feels familiar yet forward-looking, diverse yet distinctly his own. That sound has taken him across the globe, from New York to Tokyo, alongside standout sets at We Out Here, Outlook and Glastonbury.

IZCO began his journey making grime beats for local rappers including Capo Lee, Novelist and Reek0, before becoming a key figure in the UK’s evolving garage and dance music landscape. In 2018, he launched his long-running Rinse FM show and released his debut EP Tek 5, earning early underground acclaim. His production credits include PinkPantheress’ breakout track ‘Passion’, created alongside Jkarri, as well as collaborations and remixes for artists such as Katy B and Greentea Peng.
Beyond his solo work, IZCO is a label head, promoter and co-founder of the Brighter Days Family, a collective built on community, craft and cooperation. With ‘POWERSCROFT’, he steps fully into the spotlight, presenting his most personal and fully realised body of work to date. “This album is about channeling my true musical personality and character,” he says. “I’m marking a new chapter by paying tribute to my foundations.”

When Harry met Barney it was a match made in heaven - that's Hary Balk and Barney Duke' Browner. The Duke had worked with Harry since the early sixties on other labels inlcuding American Arts where he wrote Walk On InTo My Heart' for Bobbie Smith. But he really hit his stride at Impact alongside Harry and John Rhys. Eventually the three would make the move to Motown but not before the Duke struck paydirt with his Northern Soul anthem Crying Over You' featured here in its orginal coupling, vocal/instrumental. It was the instrumental that first commanded the dance floor back in the days of the Golden Torch, but today the vocal is king. Whatever your preference we know you'll enjoy our offering couretsy of Harry Balk himself... the first legal reissue in years!

SALES POINTS:
All time Northern Soul Classic - Two fabulous sides
TV advertised and featured in the film Northern Soul

First Word Records is extremely proud to welcome back Kaidi Tatham, with a brand new 12-track album entitled 'Don't Rush The Process'.

This is Kaidi's 4th solo album under his own name, following on from 'An Insight To All Minds' (2021), 'It's A World Before You' (2018), and 'In Search Of Hope' (re-pressed in 2020), all released on First Word, along with several EPs from 2017 onwards.

To bring you up to speed, Kaidi Tatham is a legendary multi-instrumentalist born in the Midlands and based in Belfast. Once dubbed "the UK's Herbie Hancock" by Benji B, he's a virtuoso on the keys and a true innovator in sound production as one of the original creators of the Broken Beat sound. Over the years his musical prowess has blessed numerous projects, recently with the likes of DJ Jazzy Jeff, Andrew Ashong and with longtime accomplice, Dego. This in addition to session and remix work for artists such as Mulatu Astatke, Slum Village, Marcos Valle, Amy Winehouse, Soul II Soul, Nubya Garcia, Rosie Frater-Taylor and Leroy Burgess, along with First Word label mates Eric Lau, Children of Zeus, Allysha Joy and Darkhouse Family. Kaidi is also a revered DJ known for rocking parties globally, whilst his solo catalogue spans tons of EPs and releases for labels such as Dego's 2000 Black, Alex Nut's Eglo Records and Theo Parrish's Sound Signature.

This new album 'Don't Rush The Process' opens with an intro of sweet strings on 'Mystery Solved', ahead of lead title track, which is on a mid-tempo boom bap vibe, before switching to a more uptempo boogie vein, with the assistance of The Easy Access Orchestra, who also appear on 'We Chillin' Out', which is on a similar boogie tip. 'All I Need' is some gospel flavoured hip hop, whilst 'Knocknee Donkey' steps things up in a jazz-funk fashion. The second half of the album takes on a very Brazilian flavoured stance, with a set of delicious latin flavoured grooves on 'Any Flavour', 'Runnin' Tru', 'What A Dream' and 'Sooretama', the latter featuring the additional prowess of pianist Robert Mitchell. There's a touch more of the hip hop beats thrown in via 'Funky Fool' and the album closes out in inimitable Kaidi style with a short message: 'Mind Yourself'.

A hugely prolific artist, here he adds to an already impressive catalogue, a body of work that falls within the cracks of jazz and dance music, exemplifying modern British black brilliance; uncompromising, innovative, groundbreaking, intricately sophisticated and deeply funky. His fanbase expands on every release and it's no surprise that that fanbase includes a diverse set of peers such as Madlib ("ahead of his time"), Gilles Peterson ("a key part of an entire movement"), K15 ("a limitless source of inspiration") and Kyle Hall.

'Don't Rush The Process' is released on vinyl & digital worldwide, July 2022 via First Word Records.

After standout collaborations with Christophe Honoré and Bertrand Mandico, Calypso has signed with Pop Noire for the original soundtrack of Caroline Deruas’ film Les Immortelles. She unveils her new single, L’Homme Poisson, a gem of magnetic pop. With this ultra-catchy track, she reinvents 70s synth-pop with her signature poetry—both modern and timeless.


With Les Immortelles, Calypso Valois does more than accompany the film: she becomes its sonic soul. Each track—from enchanting choruses to rich instrumentation (piano, synths, strings, brass)—immerses the listener in a dreamlike universe, where music weaves the emotional thread. A singular cinematic experience, infused with mystery and magic. Whether you’re a fan of sophisticated pop, evocative soundtracks, or simply seeking an enchanting musical journey, this album transcends the boundaries of genre and era.
The film opened the Venice Film Festival and continues to make waves at festivals before its release a on Wednesday, February 11, 2026.

Swedish alt-pop icon Lykke Li, whose career spans the haunting intimacy of Youth Novels to the widescreen ambition of So Sad So Sexy, returns with her most uncompromising statement yet. Signed to Crush Management and already confirmed for Coachella 2026 and a run of South American festivals, her forthcoming album The Afterparty strips things back to raw truth and artist dogma. Built on a shoestring budget but led by high-fashion meets candid, meme-ready visuals, the world of The Afterparty channels early Tumblr and i-D magazine energy—real, raw, and distinctly Lykke Li.

Swedish alt-pop icon Lykke Li, whose career spans the haunting intimacy of Youth Novels to the widescreen ambition of So Sad So Sexy, returns with her most uncompromising statement yet. Signed to Crush Management and already confirmed for Coachella 2026 and a run of South American festivals, her forthcoming album The Afterparty strips things back to raw truth and artist dogma. Built on a shoestring budget but led by high-fashion meets candid, meme-ready visuals, the world of The Afterparty channels early Tumblr and i-D magazine energy—real, raw, and distinctly Lykke Li.

2026 Repress

Un-American Activities is the 11th Studio album by Molly Nilsson. Written and recorded entirely on location in California at the former home of writer, poet and early opponent of the National Socialist regime in 1930s Germany, Lion Feuchtwanger and his wife Marta. An album of experimentation, genre-mashing and, above it all, Nilsson’s instantly recognisable melodic skill and empathy, it continues the songwriter’s explorations of power, freedom, oppression and its opposing force, a love unbound.
After accepting an artist residency as part of the Villa Aurora program, Nilsson began work crafting a new album from scratch in a new environment, afforded the freedom, space and time to challenge her practice and take her music into new territory. The resulting work, Un American Activities, is a love note not only to the artist who was among the very first to be declared an “enemy of the state” by the Nazi regime but also to both the eternal struggle he fought and the human spirit that pervades all of Nilsson’s best work. It is also a double-pointed poison pen letter: a critique of the new forms of oppression wielded by her temporary adopted country of the USA but also an acknowledgement of the promise it always offers but never fulfils.
Along with the novel use of colour and photography in the artwork for Un-American Activities, there are swathes of new techniques, genres and timbres new to Molly Nilsson’s music in evidence, 16 years into her music career. On Jackboots Return is an icicle-cold New Beat track that deals directly with the current situation in Germany and the resurgent Nazi-affiliated AfD. The question the song asks is, what’s the timeframe we’re talking about? Is this the 30s, or somewhere a lot closer to home? The beat is picked up on The Communist Party, Nilsson’s deepest bow to House music, evoking the early 90s Rave pioneers, Belgian 80s music and Vogue-era Madonna. Here the lyrics are direct quotes from the McCarthy-era, anti-Communist pamphlet 100 Things You Should Know About Communism in the U.S.A. The Beauty Of The Duty does to pounding Electro what Nilsson’s last album Extreme did to Metal: subsume it into the Molly Nilsson aesthetic. It goes hard.
While Un-American Activities finds Nilsson experimenting, creating instinctive music on a first-thought-bestthought basis there are still “classic” Molly moments liberally spread throughout. Excalibur feels like the Molly of old, an absolute star of a chorus refrain smudged with the vaseline of fuzz and hope, Red Telephone is wide-eyed, slathered in reverb and chorus effects, distorted with soaring melody, a heart-tugger that tugs the body upwards to the heavens with each evolving wave. Glistening digital tones wash through the album, providing a Y2K etherealness to Nilsson’s audacious Stars and Stripes reference to Wetcheeks. Perhaps the album’s standout, however, is Palestine (Somewhere Over The Rainbow), which is suffuse with empathy, solidarity and, in referencing the classic socialist-penned canon song from The Wizard Of Oz, speaks directly to the tradition of fighting oppression with full hearts of hope.

Originally released on Ezekiel Honig's Anticipate label in 2007, Standing on a Hummingbird is the debut album by Canadian sound artist Mark Templeton, now appearing for the first time on vinyl, newly remastered by Giuseppe Ielasi and cut by LUPO. Working at the intersection of post-glitch, electroacoustic ambient, and textural minimalism, Templeton composes through restraint and erosion, building patient and richly tactile pieces primarily from acoustic sources - fingerpicked guitar, plaintive banjo, muted accordion tones - subjected to careful processes of granulation, filtering, and environmental masking. These gestures never overwhelm the source material; instead, they wonderfully destabilize it. Melodies appear briefly, only to dissolve into dense atmospheres of field recordings: distant streets, birds, water, air. Sounds hover, vibrate, and vanish, much like the wing beating latent in the album’s title.

Tracks such as “Pattern For a Pillow” and “Amidst Things Uncontrolled” articulate this approach with particular clarity, setting languid acoustic figures against churning granular backdrops that feel at once sheltering and unstable. Elsewhere, moments of fragile clarity - fluttering guitar lines, reedy accordion tones - briefly break the surface before being absorbed back into the field.

Heard today, the record offers a clarion, almost spartan strain of textural ambient music: intricate yet unforced, shaped by human touch rather than automated excess. Its refusal of spectacle feels especially vital in a landscape saturated with maximalist digitalia - a reminder that electronic music’s most enduring gestures often occur where sound is allowed to tremble and hold itself just long enough to be felt before disappearing once again. (Alex Cobb, 2026)

White Vinyl

The fringes of the desert have a way of changing a man, but the high-altitude chill of the Sierras will strip him down to his soul.

Following the gritty, neon-soaked introduction of his debut, Red Leather returns with his sophomore studio album, TAHOE. If his first record was a desperate sprint through the dark alleys of the soul, TAHOE is the cold morning after—a cinematic, sweeping exploration of isolation, clarity, and the jagged edges of recovery.

Named after the alpine lake that serves as both a sanctuary and a graveyard for secrets, the album navigates the duality of the landscape.

The songwriting dives deep into the "blue" period of his life—tackling themes of sobriety, the weight of sudden fame, and the ghosts of past versions of himself. It is an album about the silence that follows the storm, and the realization that the higher you climb, the thinner the air becomes.

With 'Tangkoa II', Belgian producer and multi-instrumentalist Dijf Sanders invites listeners into a vibrant and immersive sonic world shaped by travel, collaboration and instinct. Released via Unday Records, the album grew out of field recordings captured during a journey through Vietnam, later transformed into rhythmic, colourful compositions that feel both intimate and expansive.

Rather than building tracks piece by piece on a screen, Sanders approaches music as something alive and unfolding. Sounds are performed and reshaped in real time, giving the album a spontaneous energy, as if the music is discovering itself while you listen. Together with drummer and producer Simon Segers, he creates a fluid dialogue between electronic sounds and human rhythm, balancing precision with freedom.

Improvisation lies at the heart of 'Tangkoa II'. Contributions from Vitja Pauwels (guitar), Viktor Perdieus (saxophone) and Louise van den Heuvel (bass) bring a subtle jazz sensibility to the music, pushing it toward hypnotic grooves and unexpected turns.

The result is an album that feels warm, physical and constantly in motion. Electronic music that breathes, pulses and draws you fully into its atmosphere.

Nonesuch Records releases Let X=X, by Laurie Anderson with Sexmob. This triple-LP/double-CD set was recorded live during a 2023 tour by Anderson and the jazz band Sexmob – Steven Bernstein and Briggan Krauss on brass, Kenny Wollesen on percussion, Douglas Wieselman on winds and guitar, and Tony Scherr on bass. Its cover and interior packaging feature paintings by Anderson. The album features 23 songs, including many favourites from throughout Anderson’s career, performed in new arrangements – plus one by Lou Reed and Metallica, ‘Junior Dad’. Anderson and Sexmob play more US and international dates this spring and summer (details below).

The New York Times said Anderson and Sexmob’s concert at the Brooklyn Academy of Music (BAM) ‘wasn’t a historical recreation of past recordings; Sexmob’s sound is a beefier one than on Anderson’s albums. With musicians who can double on electric guitar and bass clarinet, its members offered a rich range of textural variation throughout the evening.’

Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 40 years. In a recent 60 Minutes profile, Anderson Cooper said she ‘is a pioneer of the avant-garde, but... that doesn’t begin to describe what she creates... It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention... she blends the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.’ The Washington Post has said she ‘doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life.’

Anderson released her first album with Nonesuch Records, the critically lauded Life on a String, in 2001. Her subsequent releases on the label include Live in New York (2002); Homeland (2010); the soundtrack to her acclaimed film Heart of a Dog (2015); and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Nonesuch released a re-mastered edition of Big Science in 2007 for its 25th anniversary, followed by a vinyl LP re-issue in 2021; the album includes Anderson’s beloved, surprise hit, song, ‘O Superman’, which also is featured on Let X=X. Her recent Nonesuch release was 2024’s Amelia, about renowned female aviator Amelia Earhart’s tragic last flight.

Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date. Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date.

Laurie Anderson was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honour: Asteroid 270588, Laurieanderson. That same year, she was awarded a Grammy Lifetime Achievement Award.

Die beiden vorherigen Captured-Tracks-Alben von The Lemon Twigs, "A Dream Is All We Know" (2024) und "Everything Harmony" (2023), deuteten bereits auf eine Art Neubeginn in ihrer damals fünf Alben umfassenden Karriere hin. "Es war der Beginn davon, Platten zu machen, die wir selbst anhören würden", sagt Michael D'Addario, der jüngere der Twig-Brüder, heute 26 Jahre alt. Spätestens mit "A Dream Is All We Know" und dem zukünftigen Michael-Klassiker "My Golden Years" hatte die neue Ära der Lemon Twigs wirklich begonnen. Und nun erscheint das dritte Lemon-Twigs-Album für Captured Tracks, "Look For Your Mind!", das unter seiner poppigen Oberfläche einen unterschwelligen Strom aus Paranoia und Misstrauen trägt. Der Opener, der titelgebende Track "Look For Your Mind", ein beschwingtes Stück von Michael, führt die Hörer*innen in den gitarrengetriebenen Harmonie-Sound ein, der das zentrale Thema des Albums bildet. Vieles, was auf "A Dream Is All We Know" erreicht wurde, ist auch hier präsent - nur noch fokussierter. Es sind klassische Twigs, geprägt vom goldenen Zeitalter des Gitarrenpops, aber in keiner Weise sklavisch nachempfunden. Neu auf diesem Album ist die Einbindung der Live-Mitglieder Reza Matin (Schlagzeug) und Danny Ayala (Bass) sowie Eva Chambers von Tchotchke in die Rhythmusgruppe. Während die Brüder zuvor im Studio alles selbst eingespielt hatten, zeigt dies ein neues Gefühl von Freiheit. "Gather Round" ist eine der größeren Produktionen auf "Look For Your Mind!" - ein Brian-Song mit freudigen Orchestrierungen, der wie ein Wahlkampflied aus der Jahrhundertwende wirkt. Der Songwriter sucht nach einer unverdorbenen Führungsperson, kommt aber zu dem Schluss, dass kollektives Handeln der einzige Weg nach vorn ist. Musikalisch ist er opulent und herrlich 1967, doch Stimmung und Aussage sind unverkennbar 2026. "Jedes Mal, wenn wir versuchen, etwas völlig Geradliniges zu schreiben, können wir nicht anders, als ein Element hinzuzufügen, das völlig aus dem Rahmen fällt", erklärt Brian. Brians "Fire And Gold" beginnt mit einem klingenden Power-Pop-Riff, bevor alles auf den Kopf gestellt wird. Es ist auch der erste Song des Albums, auf dem der energiegeladene Drummer Reza Matin zu hören ist, den die Brüder mit Größen wie Jody Stephens von Big Star, Jim Bonfanti von The Raspberries und Bev Bevan von The Move vergleichen. Den Abschluss der ersten Seite der Vinyl-Ausgabe bildet Michaels wunderschöne Ballade "Mean To Me", mit Gesangsparts, die The Beach Boys vor 60 Jahren gerne aufs Band gebracht hätten - eingesungen von Michael, Brian und Danny. Der Abschluss der zweiten Seite, "Your True Enemy", wirft schließlich alles über den Haufen. "Wir haben den Song zunächst als einfache Rocknummer angelegt, aber das passte nicht zur düsteren Stimmung des Textes", sagt Brian. "Also haben wir begonnen, experimenteller zu werden." Das sechste Studioalbum der Lemon Twigs mag auf den ersten Blick wie eine direkte Fortsetzung der beiden Vorgänger wirken, ist aber zugleich viel mehr: mit Verweisen auf frühere Werke, einem neu entdeckten kollektiven Geist und vor allem großartigem Songwriting.

Die beiden vorherigen Captured-Tracks-Alben von The Lemon Twigs, "A Dream Is All We Know" (2024) und "Everything Harmony" (2023), deuteten bereits auf eine Art Neubeginn in ihrer damals fünf Alben umfassenden Karriere hin. "Es war der Beginn davon, Platten zu machen, die wir selbst anhören würden", sagt Michael D'Addario, der jüngere der Twig-Brüder, heute 26 Jahre alt. Spätestens mit "A Dream Is All We Know" und dem zukünftigen Michael-Klassiker "My Golden Years" hatte die neue Ära der Lemon Twigs wirklich begonnen. Und nun erscheint das dritte Lemon-Twigs-Album für Captured Tracks, "Look For Your Mind!", das unter seiner poppigen Oberfläche einen unterschwelligen Strom aus Paranoia und Misstrauen trägt. Der Opener, der titelgebende Track "Look For Your Mind", ein beschwingtes Stück von Michael, führt die Hörer*innen in den gitarrengetriebenen Harmonie-Sound ein, der das zentrale Thema des Albums bildet. Vieles, was auf "A Dream Is All We Know" erreicht wurde, ist auch hier präsent - nur noch fokussierter. Es sind klassische Twigs, geprägt vom goldenen Zeitalter des Gitarrenpops, aber in keiner Weise sklavisch nachempfunden. Neu auf diesem Album ist die Einbindung der Live-Mitglieder Reza Matin (Schlagzeug) und Danny Ayala (Bass) sowie Eva Chambers von Tchotchke in die Rhythmusgruppe. Während die Brüder zuvor im Studio alles selbst eingespielt hatten, zeigt dies ein neues Gefühl von Freiheit. "Gather Round" ist eine der größeren Produktionen auf "Look For Your Mind!" - ein Brian-Song mit freudigen Orchestrierungen, der wie ein Wahlkampflied aus der Jahrhundertwende wirkt. Der Songwriter sucht nach einer unverdorbenen Führungsperson, kommt aber zu dem Schluss, dass kollektives Handeln der einzige Weg nach vorn ist. Musikalisch ist er opulent und herrlich 1967, doch Stimmung und Aussage sind unverkennbar 2026. "Jedes Mal, wenn wir versuchen, etwas völlig Geradliniges zu schreiben, können wir nicht anders, als ein Element hinzuzufügen, das völlig aus dem Rahmen fällt", erklärt Brian. Brians "Fire And Gold" beginnt mit einem klingenden Power-Pop-Riff, bevor alles auf den Kopf gestellt wird. Es ist auch der erste Song des Albums, auf dem der energiegeladene Drummer Reza Matin zu hören ist, den die Brüder mit Größen wie Jody Stephens von Big Star, Jim Bonfanti von The Raspberries und Bev Bevan von The Move vergleichen. Den Abschluss der ersten Seite der Vinyl-Ausgabe bildet Michaels wunderschöne Ballade "Mean To Me", mit Gesangsparts, die The Beach Boys vor 60 Jahren gerne aufs Band gebracht hätten - eingesungen von Michael, Brian und Danny. Der Abschluss der zweiten Seite, "Your True Enemy", wirft schließlich alles über den Haufen. "Wir haben den Song zunächst als einfache Rocknummer angelegt, aber das passte nicht zur düsteren Stimmung des Textes", sagt Brian. "Also haben wir begonnen, experimenteller zu werden." Das sechste Studioalbum der Lemon Twigs mag auf den ersten Blick wie eine direkte Fortsetzung der beiden Vorgänger wirken, ist aber zugleich viel mehr: mit Verweisen auf frühere Werke, einem neu entdeckten kollektiven Geist und vor allem großartigem Songwriting.

Much like the duo’s music, the story of Rural France is both mundane and magical. Tom Brown (also of transatlantic janglepunks Teenage Tom Petties) and Rob Fawkes moved to London in their mid-twenties. Despite living under the same roof, they never picked up a guitar – except for one drunken, failed attempt at writing a Spoon song (“Big Chops” …don’t ask). It was only after both separately relocating to Wiltshire and starting families that they began assembling songs as a way of meeting up. Tom had amassed a pile of sprightly slacker jams that were calling out for Fawkes’ messily melodic guitar lines. Rural France was born.

After a debut album on their hero, ex-Lemonhead Nic Dalton’s Half-a-Cow Records, they retreated to a garage to record their next two albums: RF (2021) and Exacamondo! (2024), both released on much-respected jangle label Meritorio Records. Despite being lo-fi in the truest GbV sense, both records were warmly received by the DIY indie blogosphere, with their short, scrappy, but supremely melodic songs landing on numerous AOTY lists. RF even won Album of the Year at Janglepop Hub.

Raven Sings The Blues probably summed up the sound best: “With drunken visions of Beach Boys harmonies playing in the back of their heads and hooks that consume Teenage Fanclub cheeriness with the same beautiful brevity that drives Tony Molina, the pair have knocked out eleven rumpled classics.” Album four, SLOTHS, arrives via Meritorio Records and Safe Suburban Home Records on 08/05, and is a slightly different beast. For one, it’s been mixed by a professional – Rob Slater (Westside Cowboy, Yard Act, Thank) – giving the guitars and drums room to breathe. It’s easily their most high-fidelity record to date. It’s also their jangliest, most baroque and thoughtful album yet. But alongside added organ, horns and mellotron – and drums from Tom’s Teenage Tom Petties bandmate Jeff Hamm – it still retains the buzzes, hums and little freak-outs that stick to the duo’s original “Pavement playing Teenage Fanclub” mission statement. “Rob and I both wanted to do something a little slower and a little more melancholy,” says Tom. “We resisted our usual urge to hit the distortion pedal and made something that fitted where we are now and celebrates how we still listen to Meatloaf when we get drunk.”

SLOTHS is also the most thematically consistent Rural France record to date. While it wouldn’t be right to call it grown-up, it definitely has homeowners’ insurance. From the Silver Jews-esque Americana of “Slab” and mid-life rallying cry of “Thirty Seven Forever”, to the horn-embossed loser anthem “Lonely Heart Pyramid Scheme,” the songs celebrate (and rail against) the absurdities of getting older, forming a band in your thirties, and the strange phenomenon of time passing. Because no matter how slow you move, everything else goes fast. SLOTHS.

Türkisfarbenes Vinyl, Gatefold, inkl. Insert. Willy Astors Humor ist seit Jahrzehnten ein Markenzeichen: verspielt, sprachverliebt und voller Leichtigkeit und hat damit seit Dekaden ein Alleinstellungsmerkmal. Doch jenseits seiner Wortakrobatik ist Astor stets auch ein ernstzunehmender Musiker und Gitarrist mit ausgeprägtem Sinn für harmonische Weite. Was er nun gemeinsam mit seinen langjährigen Weggefährten Roberto di Gioia und Ferdi Kirner auf seinem Werk "The Sound Of Islands Vol. VII" vorlegt, überrascht selbst versierte Kenner seiner Musik: ein Album von bemerkenswerter Ruhe und Klarheit. "Sound Of Islands Vol. VII" ist ein instrumentaler Hörgenuss. Das neue Werk holt einen perfekt runter, ist eine wahre Wohltat für gestresste Seelen und strapazierte Ohren.

Kreng transports us through the swirling darkness and into the unknown with “Wormhole”, his first album in over a decade.

What does a trip towards another world sound like? We’re about to find out. The master of tension, melancholy, and the deranged is back after a long period working in the worlds of theatre and cinema. Last seen on Miasmah with the grief stricken The Summoner, Kreng now returns with Wormhole, following closer in the footsteps of the cult classics L’Autopsie Phénoménale de Dieu and Grimoire.

Starting with “You Are Here”, the listener travels through a vacuum of spacious minimalism and edge-of-your-seat tension. Within the journey, we are pulled and lured towards a mystic inner core and beyond, encountering drifting fragments of old-world nostalgia on the way: echoes of empty jazz bars sit alongside hellish, Hieronymus Bosch-like scenarios.

Surrendering to the album reveals a surprisingly reflective beauty beneath its darkness; it's a true home-listening gem that unfolds like a Lovecraftian cosmic horror-mystery in the way only Kreng could deliver. Forget everything you know and enter the secret door…

Evergreen In Your Mind, the new and third album from Norwegian singer-songwriter Juni Habel, exists in two worlds at the same time. Songs were recorded in quiet corners of her home, on the piano in the school where she works, and it uses the physical world around her to provide percussion. It also takes place, as she herself attests, within a dream; an imagined place in which her desire for oneness with each other and the world around us is finally realised.

Evergreen In Your Mind was recorded with co-producer Stian Skaaden, it’s Habel’s first album in three-years, following the breakthrough success of 2023’s Carvings LP. Formed of eleven new recordings, the songs here remain delicate, Habel’s voice playing an elegant lead role – but there are fluctuations too.

These small shifts in Habel’s sound result in a notable stride forward. More focus went into the groove of these songs. Playfulness was embraced and, perhaps most importantly, patience played a fundamental role in shaping the album with time and care given to every element of these songs. “We always aim to capture effortlessness - but the way of getting there is anything but effortless,” Habel reveals.

This extra time that was given to the project gave Juni the space to nurture her creativity. She would read and listen to music, hike into the hills, place herself within nature and seek out stillness. Not as a deviation from her work but as a fundamental part of the process. It’s a search for connection, and it’s a recurring theme across Evergreen In Your Mind; the polarity between stillness and passion, also our resistance to these desires, and the things we want to live and experience.

The album’s title-track and fist single feels indicative of this narrative. A gorgeous, delicate folk song, it finds Habel out in the woods, hiding from real life, caught in the space between the natural world and the pull of modernity. “It’s nostalgic. It’s about looking back and realizing things will be different,” Habel says. “Its about visualizing something beautiful in your head that you keep clinging onto.”

The album cover for Evergreen In Your Mind also adds shimmer. A striking photograph of Juni among the mountains, it was taken on a day trip to Rondane, a five-hour drive each way from her home. Habel explains. “It was awe-inspiring to drive all the way up into the high mountains, with its wide plains and intense colours. For an album with music that at times likes to hide itself, I think it fitted nicely with such an epic, grand, and powerful landscape.”

"Fans of Nick Drake, Karen Dalton and Neil Young will find much to enjoy in this musical equivalent of an evening spent alone by the fireside.” The Times

On Dreams ’24 / ’25, Scottish composer Bill Wells turns his nocturnal imagination into a sequence of delicate musical miniatures. The album brings together 24 short pieces, most of them under two minutes, unfolding in just under half an hour like a quietly drifting dream diary.

The album is split into two parts. On the Dreams 2024 side, Norman Blake lends his voice to Wells’ dream-born melodies. Blake, best known as a founding member of Teenage Fanclub, recorded the songs with Wells in a single afternoon at his home, capturing their fragile immediacy in direct and unadorned performances.

For Dreams 2025, Aby Vulliamy — one of Yorkshire’s best kept musical secrets — takes over vocal duties. In mid 2025, Wells sent her a batch of demos; Vulliamy recorded them at home and sent them back to him. The result is a second chapter that feels more introspective, intimate and gently surreal.

The songs themselves are born directly from dreams. Wells wakes from the dream, records it on his mobile and later shapes it into a brief, lyrical composition. One piece, Mackenzie’s Return, was inspired by a dream in which Elvis Costello marched through the streets of a suburban town complaining that he had run out of song ideas, a detail that perfectly captures the album’s blend of humour, strangeness and quiet melancholy.

Dreams ’24 / ’25 is not a collection of fully formed pop songs, but rather a series of fleeting emotional snapshots: soft voices, simple motifs, and melodies that appear and vanish before they can fully settle. It is an album that rewards close listening, inviting the listener into a private, half-lit space somewhere between memory and imagination.

The album is accompanied by a striking cover artwork by Annabel Wright.

Nurtured on 90s alternative indie, lucky break's music melds the emotional directness of Fiona Apple, the wide-eyed warmth of Bedouine and the Americana-leaning alt rock of Lucinda Williams. Fans of Alvvays, Hole, Phoebe Bridgers and The Breeders will find familiar touchstones here. lucky break is a hand-drawn cartoon character and a girl with a guitar, an ever-expanding container for the feelings that come with making art. She can be very sad and very joyful, living somewhere between worlds. On her debut for Fire Records, made it!, lucky break builds a new world for her character to inhabit. made it! collects songs written between the ages of 19 and 23, documenting the uncertainty of early adulthood, the end of a first major relationship and the process of learning to stand up for yourself. Tracks like "Crush" pair sharp lyrical insight with big drums and crisp bass, while "Head Down" uses bright, dreamy guitars to explore themes of politics, consumer culture and moral complacency. Confessional, direct and emotionally precise, lucky break's songwriting is matched by a versatile and expressive vocal performance that shifts across moods and styles throughout the record. Produced with Elliott Woodbridge in Burbank, made it! is a playful, self-assured debut from a young artist who has already found her voice and is stepping confidently into a bright future. Digisleeve-CD and coloured Vinyl-LP w/ dlc available!

Lane Shi Otay Onii, known professionally as Otay:Onii, is one of the most inquisitive and genre-defying artists of her generation. A multifaceted creator whose work spans performance art, composition, installation, and avant-garde music practice. Otay:Onii is the first ever artist selected for the three-year Triennium Residency at Roadburn Festival. She was a contributing composer and performer in Florentina Holzinger's groundbreaking opera production `SANCTA` and has performed at festivals world-wide such as SXSW, Roadburn, CTM, Fusion, Creepy Teepy, LGW, Fekete Zaj, and Full of Lava. Otay;Onii has already been celebrated with many awards worldwide, included the Global Music Awards `Bronze Prize for Best Female Vocalist` and `Best Sound' at Audiovisual Arts Industrial Incubator Awards. Otay:Onii's new album `Love is in the Shit', is a deeply intimate album that reaches a striking balance between control and chaos. Harnessing her ability to move from serenity to madness, `Love is in the Shit' is an exploration in representing trialing conscious states. Drawing-in and challenging the listener, the songs play with comfort and discomfort, deliciously crafting the sonic arc of the story so that intention is undeniably felt. Low frequencies vibrate with a bodily presence, while sharp, high-frequency textures cut through with urgency. There is a sense of movement embedded in the sound; music that pulses, sways, and surges, never settling into static forms. Even at its most aggressive, there is an undercurrent of precision and intention. Her voice becomes increasingly elastic and versatile through the service of melody, spoken poetry and pain-ridden wails. "Many songs begin with a need to sing - I sing to summon grace at the peak of anger and tournament, I sing to summon tranquility from a 6 hour panic attack, I sing to get out of my mind which shows mercy for fear.

Lane Shi Otay Onii, known professionally as Otay:Onii, is one of the most inquisitive and genre-defying artists of her generation. A multifaceted creator whose work spans performance art, composition, installation, and avant-garde music practice. Otay:Onii is the first ever artist selected for the three-year Triennium Residency at Roadburn Festival. She was a contributing composer and performer in Florentina Holzinger's groundbreaking opera production `SANCTA` and has performed at festivals world-wide such as SXSW, Roadburn, CTM, Fusion, Creepy Teepy, LGW, Fekete Zaj, and Full of Lava. Otay;Onii has already been celebrated with many awards worldwide, included the Global Music Awards `Bronze Prize for Best Female Vocalist` and `Best Sound' at Audiovisual Arts Industrial Incubator Awards. Otay:Onii's new album `Love is in the Shit', is a deeply intimate album that reaches a striking balance between control and chaos. Harnessing her ability to move from serenity to madness, `Love is in the Shit' is an exploration in representing trialing conscious states. Drawing-in and challenging the listener, the songs play with comfort and discomfort, deliciously crafting the sonic arc of the story so that intention is undeniably felt. Low frequencies vibrate with a bodily presence, while sharp, high-frequency textures cut through with urgency. There is a sense of movement embedded in the sound; music that pulses, sways, and surges, never settling into static forms. Even at its most aggressive, there is an undercurrent of precision and intention. Her voice becomes increasingly elastic and versatile through the service of melody, spoken poetry and pain-ridden wails. "Many songs begin with a need to sing - I sing to summon grace at the peak of anger and tournament, I sing to summon tranquility from a 6 hour panic attack, I sing to get out of my mind which shows mercy for fear.

Nurtured on 90s alternative indie, lucky break's music melds the emotional directness of Fiona Apple, the wide-eyed warmth of Bedouine and the Americana-leaning alt rock of Lucinda Williams. Fans of Alvvays, Hole, Phoebe Bridgers and The Breeders will find familiar touchstones here. lucky break is a hand-drawn cartoon character and a girl with a guitar, an ever-expanding container for the feelings that come with making art. She can be very sad and very joyful, living somewhere between worlds. On her debut for Fire Records, made it!, lucky break builds a new world for her character to inhabit. made it! collects songs written between the ages of 19 and 23, documenting the uncertainty of early adulthood, the end of a first major relationship and the process of learning to stand up for yourself. Tracks like "Crush" pair sharp lyrical insight with big drums and crisp bass, while "Head Down" uses bright, dreamy guitars to explore themes of politics, consumer culture and moral complacency. Confessional, direct and emotionally precise, lucky break's songwriting is matched by a versatile and expressive vocal performance that shifts across moods and styles throughout the record. Produced with Elliott Woodbridge in Burbank, made it! is a playful, self-assured debut from a young artist who has already found her voice and is stepping confidently into a bright future. Digisleeve-CD and coloured Vinyl-LP w/ dlc available!

Intimacy is manifested in every moment of Radiator, the debut album from Philadelphia's Sadurn. This feeling of closeness, of being able to lend your every sense to one's confessions of internal conflict, is due in large part to the circumstances under which this album was created. Much of the world fell apart in 2020, but Sadurn tucked themselves away in a Pocono's cabin, creating and recording what would become their first full-length. Within the confines of their close quarters, passing animals as the only auditory witness to a makeshift recording studio created by moving furniture, Sadurn created an album that will break your heart and then slowly piece it back together.Sadurn started as the solo project of Genevieve ??DeGroot. Picking up guitar in 2015, DeGroot started writing songs, eventually playing DIY shows throughout the city of Philadelphia. With time, the direction, sound, and members of Sadurn changed. The beginning of 2020 was meant to serve as their debut as a four member band (Jon Cox on guitar/tenor guitar, Tabita Ahnert on bass, and Amelia Swan on drums), but the world had other plans and the group adapted.Taking influence from artists like Gillian Welch, Alex G, and Jason Molina, Sadurn's emotive indie rock explores the struggles and eventual beauty of grappling with multiple emotional realities, particularly when it comes to relationships. That conflict, the idea of being forced to choose, even when terrified, is present on singles like "Radiator" and "Golden Arm." The latter is an unhurried ballad that shows its truest colors with time, eventually blossoming with unexpected admissions of desire and uncertainty. Indecision, heartbreak, and attempting to live out your days against the actual backdrop of a gradually worsening hellscape is a shared commonality among us all, but on Radiator Sadurn breaks down walls that others so often put up. It's a fleeting, impactful glimpse at one's whole heart, and its sweeping, special nature is evident from the moment the album opens.

“Ed Spinning” is straight 90’s hip-hop beats, pressed on 7" vinyl.
This project hits like the old party mixes: heavy looping beats, vocals that stick in your head, edits made for DJs back when digital wasn’t a thing (shoutout AV8 series).

For these two new volumes, Ugly Mac Beer is on the boards. Two tracks per side: vocal on the A-side, full instrumental on the B-side, plus drum loops dropping right from the jump. Raw boom bap, lo-fi heat, the way it used to be — for the real heads.

Titles and visuals nod to the BMW E30 and spinning: endless loops, burnouts, tires smoking, just like the beats blazing on the turntables.

“The beat has to follow the movement, never the fashion.”

Aspen is very proud to introduce ‘Non Sonett’ by the Christian Wallumrød Ensemble. This ensemble is a pioneering Norwegian chamber group whose work on ECM and Hubro has redefined the boundaries between jazz, contemporary composition and folk music.Across seven albums, the ensemble has developed a highly distinctive l anguage built on restraint, timbral nuance and collective interplay, placing it among the most influential European ensembles of the 21st century.

Bringing together some of the finest musicians in Norway, the ensemble draws on a rare collective sensitivity, where each player contributes to a deeply integrated and texturally rich sound world.

With Non Sonett, the Christian Wallumrød Ensemble opens a new chapter that grows directly out of recent years of work in more solitary and cross-disciplinary contexts. In this period, Wallumrød has developed material for solo performance as well as for dance, allowing ideas to take shape in more fluid and exploratory formats. Some of this material now finds its way into the ensemble, where it is met by the possibilities offered by instrumentation, collective playing, and the distinct voices of the musicians. At the same time, older pieces—originating in entirely different settings— re-emerge here in new forms, reshaped by the ensemble context.

A defining aspect of Non Sonett is the way many of the pieces function less as fully determined compositions and more as open frameworks: starting points, suggestions, or “springboards” for music. These structures invite response rather than prescribe outcome, relying on the ensemble’s inherent sensitivity and capacity to realize and transform the material in performance. The result is music that feels both precise and fluid, shaped in equal measure by composition and by the interpretative presence of the players.

Central to this album is a continued deepening of Wallumrød’s long-standing interest in ambiguity and in dissolving boundaries between different musical elements and expressive worlds. By placing contrasting materials and associations side by side—sometimes subtly, sometimes more overtly—the music opens up spaces where meanings remain fluid and interconnected. On Non Sonett, this approach is taken a step further, allowing these juxtapositions to play an even more active role in shaping the music’s character and flow.

This approach connects closely with the ensemble’s broader artistic trajectory. Over time, the Christian Wallumrød Ensemble has developed a language that is immediately recognizable—marked by reduction, clarity and a deep attention to sonic detail. While each release has its own character, the underlying aesthetic remains consistent: a focus on the inner life of sound itself. Rather than foregrounding gesture or virtuosity, the music draws the listener toward the smallest elements, where meaning emerges gradually through texture, spacing and timbre.

The listening experience becomes one of concentration and proximity, where each sound carries weight, and the accumulation of detail forms a larger whole. References may be sensed—to early polyphonic music, Norwegian folk traditions, or more recent experimental practices—but these are absorbed into a singular musical language that resists categorization.

As with the ensemble’s recent work, Non Sonett also continues the integration of electronics as a fundamental part of the sound world. Each musician engages with electronic elements alongside their acoustic instruments, creating a layered and dynamic sonic environment. At times, this leads into extended, exploratory passages reminiscent of analogue musique concrète; at others, electronics operate almost imperceptibly, subtly altering and extending the acoustic textures in real time.

Mannequin Records presents Electronic Corporation 1998–2006, a compilation bringing together rare and long unavailable recordings by the German electronic projects H.E.I.M. Elektronik and MAS 2008.

Active around the turn of the millennium, both projects share the involvement of producer Ive Müller while developing distinct collaborations and approaches to electronic music. H.E.I.M. Elektronik was founded in 1996 by Holger Erlenwein and Ive Müller (after the two artists split in 1999, Müller continued using the name), while MAS 2008 is the project of Ive Müller together with René Kirchner. Though separate entities, the two projects explored a similar sonic territory: stripped-down electro, minimal electronics and machine-driven body music shaped by analog hardware and a raw DIY production ethos.

The roots of Müller’s work go back to the final years of the DDR. As a teenager he worked as a licensed DJ — officially known as a “Schallplattenunterhalter” — operating a travelling disco across Saxony. With limited access to official Western releases, music circulated through cassette recordings taped from West German radio stations such as RIAS Berlin, NDR2 and Bayern3. Together with friends he travelled between youth clubs and discos around Leipzig with a “rolling discotheque”: a Russian Wolga pulling a trailer loaded with Electro-Voice sound systems sourced through the black market.

At the turn of the 2000s this background in underground electronic culture resurfaced in a series of recordings rooted in electro, EBM and minimal machine music. The tracks collected on Electronic Corporation 2000–2002 capture this moment: cold sequences, driving rhythms and stark synthetic textures produced with a direct and uncompromising approach.

Compiled and remastered by Rude 66 from the original sources, Electronic Corporation 2000–2002 documents a small but fascinating chapter of German underground electronics from the early digital era.

CORTIS IST MIT IHRER ZWEITEN EP GREENGREEN’ ZURÜCK.
ERHÄLTLICH IN 3 VERSIONEN:
BRIDGE VER., STREET VER., STUDIO VER. DER INHALT DES ALBUMS UMFASST: PHOTOBOOK
(120 SEITEN), MAGNET, STICKER, KRATZKARTE (1 VON 5), PHOTOCARD (1 VON 5), HÜLLE,
CD. MASSE: 165 X 240 X 12 MM.
ERHÄLTLICH AUCH AUF VINYL. DER INHALT DES VINYLFORMATS UMFASST: CORTIS BRIDGE
12” VINYL, GATEFOLD-HÜLLE, INNERHÜLLE, BOOKLET (16PG), PHOTOCARD (6EA), PHOTOCARDHÜLLE. MASSE: 316 X 316 X 7 MM.

Gregory Porters zweites Blue-Note-Werk erschien 2016 und wurde mit dem Grammy als bestes JazzGesangsalbum ausgezeichnet. Die eingängigen Songs mixen Jazz, Soul, Gospel und Funk und gehören noch
immer zu seinen beliebtesten, die Texte verbinden Persönliches mit Politischem und sind heute genauso
relevant wie vor zehn Jahren.
Zum Jubiläum erscheint ”Take Me To The Alley” jetzt als ”10th Anniversary Edition” in Form einer
limitierten farbigen Doppel-LP. Als Bonus-Track ist der 2026 veröffentlichte Rules-Remix von “Holding
On“ dabei, mit dem der britische Produzent zusammen mit Gregory Porter einen großen Streaming-Erfolg
feierte.

To celebrate the 20-year anniversary of our label Jamaican Recordings and to mark the sad one year passing of the musical maestro reggae producer Bunny `Striker’ Lee, we have pulled together a brand new collection of some great Bunny Lee rhythms.

Our label started way back with initial meetings with Bunny Lee and a promise to keep his music available, out on the streets. He will be sorely missed but will live on through his extraordinary musical legacy and we hope to add to this by including this release to the stable of an unbeatable catalogue.

Legendary record producer Bunny `Striker’ Lee’s vast selection of rhythms were ever present at any Sound Clash or Dance worth talking about in the early to mid-1970’s.
Where the version found on the b-side of a single or special dub cut on acetates, would be played to win over the people and conquer the dance. Bunny Lee was the undisputed rhythm master and on this special release he is also the MC telling the crowd how it is and that any rival sound system should watch out as he has the rhythms that can reign supreme. The band cutting these timeless rhythms were a group of top Jamaican musicians Bunny had put together called The Aggrovators.

The Aggrovators were a group of reggae musicians that usually featured Carlton `Santa’ Davis on drums playing alongside Robbie Shakespeare on bass, with other musicians added like Earl `Chinna’ Smith on guitar and Tommy McCook and Vin Gordon and Lennox Brown added for horn arrangements. Keyboards and organ duties normally fell
to musicians Ansel Collins and Bernard ‘Touter’ Harvey. The band was named after singer Eddie Grant had repeated the phrase to Bunny Lee on one of his many trips to England, that such and such artist was giving him `Aggro’. This was a term used in England in the 1970’s by the Skinhead followers of reggae music. A term shortened
from the word `Aggrovation’, meaning trouble, fighting or making the situation worse. Bunny Lee was so taken with this term that on returning to Jamaica, not only did he name his group of musicians the `Aggrovators’ but he also named his record shop situated at 101 Orange Street `Agro Records’.

We have compiled some great tracks recorded by this fantastic group of musicians. With the added extra magic of Mr Bunny Lee calling it out as only he can on the microphone.
Yes Run Sound Boy Run the version master is here…Respect

Mighty Theodore and The Custodian Of Records have crafted the quintessential soundtrack for the bleakest of snow days with their new collaborative album, "The Colder It Gets". Bookended by the sound of howling winds, the project offers a hypnotic listening experience where the temperature seems to drop with every track. While the production is immersive, the only warmth to be found radiates from the crackle of Custodian’s vinyl samples. Theodore matches this atmosphere with layered lyricism that explores deep isolation and the struggle to trust that things can improve, though a faint sense of hope remains buried beneath the metaphorical drifts.
Releasing via URBNET this winter, the album invites listeners to bundle up and embrace the chill. The project is bolstered by an impressive lineup of guest features, including Lee Scott, Fat Ray, Thirstin' Howl The 3rd, and Farma G. Additionally, the release includes a thematic bonus track titled "Christmas Missed Us" featuring Von Pea. As the winter solstice arrives, prepare to get lost in a hip-hop experience that proves the music only gets better The Colder It Gets.