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The second season of the funny and heartfelt fiction series by Flo Van Deuren and Kato De Boeck takes us along as Bibi and Ama move on to the next chapter of their lives and into their new, unexpected home: an old daycare building. With school no longer providing structure and their wallets running on empty, they dive headfirst into adulthood.

This results in eight new episodes that, like the main characters, have grown up, yet remain just as hilarious and moving as ever.

With the second season of Roomies, the show’s award-winning music makes its return. This time with a powerful soundtrack featuring Eefje de Visser, Ategha (Ahlaam Teghadouini) & Mickael Karkousse (Goose), Maria Iskariot, and Porcelain ID.

“(Tijdbom) Tikkend” is a dark, electronic track that feels like a constant run: sometimes away from the other, sometimes right toward them. It captures the feeling of running out of time, losing each other, and wanting to reconnect. That push-and-pull dynamic felt like a perfect fit for Roomies, where relationships, drama, and fun are always intertwined. - Eefje de Visser

“Whatever Happens” came together in a very organic way, and you can hear that in the track. Raw, genuine, and effortless. What’s unique is that we hadn’t even met until a few days before. Ahlaam walked into the studio and said, “I’ve prepared something.” That opening line alone was fantastic and immediately showed confidence and courage. “Perfect,” I thought. Then we turned the volume up to maximum, and I listened as Ahlaam sang right by my ear. Instant goosebumps! - Mickael Karkousse

Music From Memory presents inrain, a collaborative project by Rudy Tambala of A.R. Kane and Alison Shaw of Cranes, originally recorded in the early 1990s.

inrain brought together two artists who were at the time shaping distinct yet quietly influential currents within alternative music. Through A.R. Kane, Tambala had helped redefine the possibilities of guitar music, placing atmosphere, abstraction, and emotional ambiguity at its centre in ways that would later resonate across dream pop, shoegaze, trip hop and experimental pop. At the same time, Shaw’s work with Cranes was establishing a singular vocal presence and a deeply intuitive approach to mood and space. inrain emerged at the intersection of these sensibilities.

The project began after Tambala was introduced to Shaw by Geoff Travis, leading to sessions at H.Ark! Studios in Stratford, East London. Working outside the expectations of their primary bands, the pair recorded informally over several months, building songs from minimal foundations. Early sampling technology, drum machines, acoustic guitar, and voice were used sparingly, with arrangements left open and space treated as an active element within the music. Vocals were often improvised, first takes preserved, and the atmosphere of the studio — calm, unhurried — became part of the sound itself.

Originally released in limited form during the early 1990s, the recordings carried subtle traces of the surrounding musical landscape: the low-end experimentation of emerging jungle, dub-influenced rhythmic structures, and a restrained melodic sensibility shaped as much by classical textures as by contemporary underground culture. Though modest in scale, the music feels quietly expansive — intimate, patient, and emotionally direct.

For this release, all tracks have been newly remastered from the original DAT tapes. This edition also includes the additional track 'Biology', written and recorded in 2012

Faitiche welcomes a new artist: Christina Kubisch belongs to the first generation of sound artists. Her practice ranges from performances, concerts, to works with video and visual art, but she is best known for her sound installations and electro-acoustic compositions.

TUNING brings together three pieces by Christina Kubisch from different periods of her oeuvre. What they have in common is the way they transform sound phenomena originally considered “non-music” into compositions.

Jan Jelinek: Gaming in Silence (2024) is the most recent work on this compilation. It’s a collage of electromagnetic waves, voice, and abstract sound textures. How did this combination come about?

Christina Kubisch: Gaming was commissioned as a fixed-media composition for the Sound Dome at ZKM Karlsruhe. Since Resonances: The Electromagnetic Bodies Project (2005), I’ve been making recordings in the old and new server rooms at the ZKM and in their permanent collection of historical computer games. Computer games like Asteroids (Atari, 1979) and Poly-Play (VEB Polytechnik, 1986) have specially generated analogue electromagnetic waves that interest me in particular on account of their density, rhythms and textures. I originally studied painting and to me the work of composition often feels like painting an abstract picture. I alter my source material as little as possible, layering and overlapping until a distinctive sound space emerges. In recent pieces, I sometimes combine magnetic waves with field recordings or live instruments. In Gaming it’s my recording of a Chinese song about silence.

JJ: Two persons walking through a street in Madrid (2004) is a recording from your Electrical Walks series. Here we should give a brief explanation of one of your best known works: participants in an Electrical Walk move through public spaces wearing prepared headphones that allow them to receive electromagnetic waves from their surroundings – for example from security gates, ATMs or neon signs. They discover a situation that normally is inaudible to the human ear and they can actively shape it by choreographing their movements. I really admire this piece, not least because there’s no clear dividing line between participants and artist. What exactly do we hear in Two persons walking through a street in Madrid (2004)?

CK: With this early work, I wanted to understand what is heard by people participating in an Electrical Walk in the same place but moving in different ways. The Spanish composer Miguel Alvarez-Fernàndez and I set off from opposite ends of a major shopping street in Madrid, met briefly in the middle, and then continued to the end. We both recorded our walks and I then layered them over one another. You might call it a work of electromagnetic conceptualism.

JJ: Diapason (2009 version) is an installation that plays a composition based on sounds from fifteen tuning forks. This setting is audible in the recording: there’s no dramatic arc, no beginning or end – instead, it recalls a piece of aleatoric music focussing on the decay phase. How did you come to make this work and could you tell us something about your compositional method?

CK: Diapason is part of a series of three pieces that deal with “non-instruments” or instruments that no longer exist: electrical mine bells used to send signals to the workers underground; a historical glass harmonica originally used for medicinal purposes; and tuning forks that were used by doctors to test people’s hearing. All of these methods are no longer in use. The sound of the tuning forks, audible only if held close to the ear, was recorded at the electronic studio at Berlin’s Technical University in such a way that even their decay remained audible. The frequencies range between 64 and 2048 Hertz and they can be adjusted at micro-intervals using small movable weights. The sequence and the duration of the pauses are dictated by chance and were not defined in advance. The 2009 version was created for an installation in the historic Holy Cross Church (Korskirken) in Bergen. Visitors could enter and leave the space at any time, deciding for themselves where and for how long they wished to listen to the sounds played back over an array of small loudspeakers placed on the floor of the apse.

Credits:

Gaming in Silence: commission of the ZKM/Hertzlab, Karlsruhe 2023
elektronic sound processing: Tom Thiel
sound engineering and mixing: Eckehard Güther

Diapason: produced at Elektronisches Studio of TU Berlin
rearrangement: Eckehard Güther

Christina Kubisch, published by Edition Christina Kubisch / Random Musick Publishing

image front: Transitionen 2021 by C. Kubisch, sonagrams of electronic waves (courtesy: Galerie Mazzoli Berlin)
image back: Diapason Tuning Fork, property of Folkmar Hein, Photo: Archiv Christina Kubisch

design by Tim Tetzner
mastered by Giuseppe Ielasi
Thanks to Miguel Álvarez-Fernández, Folkmar Hein, Dominik Kautz and Mario Mazzoli

JAPAN & PORCUPINE TREE SYNTHESIST RICHARD BARBIERI RETURNS WITH NEW STUDIO ALBUM 'HAUNTINGS' GATEFOLD 2LP EDITION, PRESSED ON CLASSIC BLACK VINYL. Richard Barbieri remains one of contemporary music's most distinctive voices. Emerging as a key architect of the late '70s/'80s synthesiser revolution with David Sylvian's art-rock ensemble Japan, his visionary synthesiser programming expanded the horizons of electronic music & left a lasting mark on artists from The Human League & Duran Duran to Gary Numan & Talk Talk. His subsequent & ongoing tenure with Steven Wilson's legendary progressive outfit Porcupine Tree across albums such as 'In Absentia' (2002), 'Fear Of A Blank Planet' (2007) &, most recently, 'Closure/Continuation' (2022) further affirmed his status as one of the most intuitive & unique musicians of his generation.

'Hauntings' is Barbieri's first studio album since 2021's 'Under A Spell', deepening the pensive, dark instrumental aesthetic of its predecessor. A diverse collection of immersive sound worlds, both dark & uplifting in equal measure, 'Hauntings' is influenced by a nostalgia for the past & future, & for things that didn't happen yet still manage to haunt the mind & soul. What is real & what is simulation? The album finds Barbieri at the height of his powers, his deft keyboard & sonic architecture conjuring a shadowy, creeping Lovecraftian atmosphere. The music wanders through the streets of a gloomy lamp-lit Victorian London & drifts into grain-speckled snapshots of Belle Époque Paris. These journeys into the past are contrasted with nihilistic but euphoric forays into the future, "Traveler" & "A New Simulation" bristling with the itchy modern anxiety that often runs through his best work. Contrasting the sound designs & electronics of Barbieri, the album features performances from renowned musicians Morgan Agren (drums & percussion), Percy Jones (bass guitar) & Luca Calabrese (trumpet). This 2LP 45 RPM edition of 'Hauntings' is presented in gatefold packaging & pressed on classic black vinyl.

In 2005, Andrew Bird was a previously unimaginable combination of virtuoso violinist, singer-songwriter, guitarist, and whistler. With that year’s album The Mysterious Production of Eggs, Bird minted a new sound that continues to be imitated today.
To celebrate the 20th anniversary of The Mysterious Production of Eggs, Andrew Bird is releasing a very special boxset featuring a 54 page book including photographs, special surprises, and two essays: one written by Andrew himself, and another by Anders Lindall examining the circuitous and fascinating process Andrew and collaborators took to record the album.
The boxset also includes the original release of the album, alongside two LPs of never before released material, on black vinyl. On one LP, a one-to-one playthrough of the album but of demos, live cuts, and alternate versions. The third LP includes more never released rarities on Side A, and a selection of songs from the original album performed by Andrew with the Nu Deco Ensemble. The original cover artist has created all-new artwork for the anniversary piece.

In the spring of 1971, somewhere between Brussels, Paris and a collective pop fever dream, Le Monde Fabuleux Des Yamasuki landed on vinyl. It sounded like nothing else then and it still does not today. More than half a century later, Sdban Records proudly presents a reissue of this singular cult album, available from April 3, 2026 on vinyl.

The album was produced by Jean Kluger and written both by Jean and Daniel Vangarde (aka Bangalter, later the father of Thomas Bangalter of Daft Punk), who were alreadywell ahead of their time, long before electronic music rewrote the rules of pop culture.

Released under the name Yamasuki, also referred to as The Yamasuki Singers, or The Yamasuki's, the project was never intended as a conventional band. It was a studio-born fantasy, a concept album disguised as a pop record. What began as a standalone single quickly expanded into a full-blown pan-cultural pop opera that ignored genres and common sense with joyful abandon.

Musically, the album sits at a delirious crossroads. Psychedelic pop collides with funk rhythms, samba and bubblegum melodies, full of chants and choruses in a phonetic pseudo-Japanese, written with the help of a dictionary. Kluger and Vangarde famously recruited a children's choir to perform the vocals, and for added spectacle, they brought in a Japanese judo grandmaster, whose ritualistic shouts and battle cries erupt throughout the record.

Several singles were released. One of them, Yamasuki, with accompanying dance move, appeared in the United Kingdom and France on John Peel's Dandelion label, a fitting home for a record that thrived on the margins of pop culture. Its B-side, Aieaoa, proved even more potent. In 1975, the song was reborn as A.I.E. (A Mwana) by Black Blood, an African group recording in Belgium, this time sung in Swahili. That melody would travel even further. Aie a Mwana became the debut single of English pop group Bananarama, and in 2010 it resurfaced once more as Helele, an official song of the FIFA World Cup, recorded by South African singer Velile Mchunu with Danish percussion duo Safri Duo. That version became the most widely known incarnation of the song. With Jean Kluger directly involved, it was less a cover than a continuation of the original idea.

The album's afterlife did not stop there. Over the years, Yamasuki has been quietly sampled, covered, and featured across media far beyond the realm of novelty pop. Kono Samourai was sampled in The Healer by Erykah Badu (2007), produced by Madlib, while Yama Yama has found its way into recent pop culture as well: appearing in the television series Fargo, on Angus Stone's project Dope Lemon, and on the 2008 Late Night Tales compilation curated by Arctic Monkeys drummer Matt Helders. Proof, if any were needed, that this strange little record carries a deeper musical DNA than its playful exterior might suggest.

This new reissue of Le Monde Fabuleux Des Yamasuki proves the renewed interest and respect for this cult album, faithful to the original spirit while finally giving it back the physical presence it deserves. In an era obsessed with genres and algorithmic neatness, Yamasuki still laughs, dances and karate-kicks its way past definitions. It reminds us that pop music can be playful without being disposable, strange without being cynical and joyfulwithout explanation. The world of Yamasuki was always fabulous, we are just lucky it found its way back to us!

Y-TRAXX'S "MYSTERY LAND" RETURNS ON VINYL WITH NEW REMIX BY ROY ROSENFELD:

The legendary trance anthem Mystery Land by Y-Traxx returns to the spotlight. First released in 1995, the track achieved iconic status after featuring prominently in the 2000 box-office No. 1 movie Kevin & Perry Go Large. The original track is now being reissued on vinyl. The release includes the Original Mix, the classic Sickboy Courtyard Mix, the Søluna Remix - winner of the Beatport Remix Contest - and a brand-new remix from Roy Rosenfeld. Available from 3 April via Serious Beats Classics.

With its hypnotic melodies, driving beats, and mysterious atmosphere, "Mystery Land" became a symbol of the 90s trance scene and grew into a cult classic. The track was picked up worldwide by influential DJs, including Paul Oakenfold, and featured prominently on his mix album Perfecto Fluoro (1996).

The new remix by Roy Rosenfeld brings a fresh, modern take to the iconic track, preserving the emotion of the original while adding a powerful peak-time, sunrise energy. Rosenfeld comments: "Remixing Mystery Land was an honor for me. I've loved this track for many years, so the process was very natural and fun. The vision came quickly, keeping the emotion of the original and pushing it into a peak-time, sunrise energy."

ABOUT ROY ROSENFELD:

Roy Rosenfeld is a leading DJ and producer in the house music scene, known for his warm, melodic, and instantly recognizable sound. Since 2009, he has built an impressive international career with releases on labels such as All Day I Dream, Lost & Found, and Rumors, and with iconic tracks like Epika and Kala. His music receives worldwide support from top artists including Solomun, Black Coffee, and Keinemusik. Alongside his studio work, Roy is a highly sought-after performer at clubs and festivals around the globe and the driving force behind the successful No Drama event concept in Tel Aviv.

This release combines nostalgia with contemporary trance production, offering both longtime fans and a new generation the chance to experience this timeless classic in a refreshed form.

For more than 25 years, Black Label Society has stood as one of heavy music’s most unshakeable pillars, delivering album after album of blues-soaked grooves, hard-hitting riffs, and soul-baring ballads. “Engines of Demolition” makes no exception to the steady rule of unrelenting commitment to pure, uncompromising, hard rock.



In 2022, Wylde was invited to honor his fallen brothers, the late great Dimebag Darrell Abbott and his brother Vinnie Paul, as part of Pantera Celebration. Writing and recording with Black Label Society over these last four years is when Engines of Demolition was born. Engines of Demolition follows the release of four singles, “The Gallows” (2024), "Lord Humungus" (2025), “Broken and Blind” (2025) and “Name In Blood” (2026), and marks the first full-length album release since Doom Crew Inc. (2021).



Black Label Society is the pure expression of the paradox of Zakk Wylde’s darkest, loudest riffs and softest soul crushing ballads. BLS is a relentless heavy, bluesy, unhinged hard-rock-metal circus quartet summoning caffeine-fueled cacophony on records and the stage. BLS songs are odes to celebration and mourning from the darkest depths to the highest of highs.



A charismatic hard rock and metal marauder recognized as a living legend and guitar icon, Wylde rose to prominence when Ozzy Osbourne chose him as his loyal axe man. Multi platinum albums, countless guitar magazine covers, Worldwide sold out tours, his own guitar and coffee brands add to Wylde’s ever-growing legacy. He gets as much joy from fronting his Black Label Society as he did playing on stage with his hero, Ozzy Osbourne, to his Black Sabbath cover band, Zakk Sabbath.


Seit mehr als 25 Jahren ist Black Label Society eine der unerschütterlichsten Säulen der Heavy-Musik und liefert Album um Album bluesgetränkte Grooves, knallharte Riffs und gefühlvolle Balladen. „Engines of Demolition“ fügt sich nahtlos ein in das unerbittliche Bekenntnis der Band zu purem, kompromisslosem Hardrock.



Im Jahr 2022 wurde Wylde eingeladen, im Rahmen der Pantera Celebration seine verstorbenen Brüder, den großartigen Dimebag Darrell Abbott und seinen Bruder Vinnie Paul, zu ehren. Während er in den letzten vier Jahren mit Black Label Society Songs schrieb und aufnahm, entstand „Engines of Demolition“. Das Album folgt auf die Veröffentlichung von vier Singles, „The Gallows“ (2024), „Lord Humungus“ (2025), „Broken and Blind“ (2025) und „Name In Blood“ (2026) - und ist das erste Studio-Album seit Doom Crew Inc. (2021).



Black Label Society ist der pure Ausdruck des Paradoxons von Zakk Wyldes dunkelsten, lautesten Riffs und sanftesten, herzzerreißenden Balladen. BLS ist ein unerbittliches, bluesiges, verstörendes Hardrock-Metal-Zirkusquartett, das auf Platten und auf der Bühne eine koffeinhaltige Kakophonie hervorruft. BLS-Songs sind Oden an das Feiern und Trauern, von den dunkelsten Tiefen bis zu den höchsten Höhen.



Wylde, ein charismatischer Hardrock- und Metal-Musiker, der als lebende Legende und Gitarrenikone gilt, wurde bekannt, als Ozzy Osbourne ihn zu seinem treuen Gitarristen machte. Multi-Platin-Alben, unzählige Titelseiten von Gitarrenmagazinen, weltweit ausverkaufte Tourneen, seine eigene Gitarren- und Kaffeemarke tragen zu Wyldes ständig wachsendem Vermächtnis bei. Er hat genauso viel Freude daran, seine Black Label Society zu leiten, wie er sie hatte, als er mit seinem Helden Ozzy Osbourne auf der Bühne stand oder mit seiner Black Sabbath-Coverband Zakk Sabbath spielte.

For more than 25 years, Black Label Society has stood as one of heavy music’s most unshakeable pillars, delivering album after album of blues-soaked grooves, hard-hitting riffs, and soul-baring ballads. “Engines of Demolition” makes no exception to the steady rule of unrelenting commitment to pure, uncompromising, hard rock.



In 2022, Wylde was invited to honor his fallen brothers, the late great Dimebag Darrell Abbott and his brother Vinnie Paul, as part of Pantera Celebration. Writing and recording with Black Label Society over these last four years is when Engines of Demolition was born. Engines of Demolition follows the release of four singles, “The Gallows” (2024), "Lord Humungus" (2025), “Broken and Blind” (2025) and “Name In Blood” (2026), and marks the first full-length album release since Doom Crew Inc. (2021).



Black Label Society is the pure expression of the paradox of Zakk Wylde’s darkest, loudest riffs and softest soul crushing ballads. BLS is a relentless heavy, bluesy, unhinged hard-rock-metal circus quartet summoning caffeine-fueled cacophony on records and the stage. BLS songs are odes to celebration and mourning from the darkest depths to the highest of highs.



A charismatic hard rock and metal marauder recognized as a living legend and guitar icon, Wylde rose to prominence when Ozzy Osbourne chose him as his loyal axe man. Multi platinum albums, countless guitar magazine covers, Worldwide sold out tours, his own guitar and coffee brands add to Wylde’s ever-growing legacy. He gets as much joy from fronting his Black Label Society as he did playing on stage with his hero, Ozzy Osbourne, to his Black Sabbath cover band, Zakk Sabbath.


Seit mehr als 25 Jahren ist Black Label Society eine der unerschütterlichsten Säulen der Heavy-Musik und liefert Album um Album bluesgetränkte Grooves, knallharte Riffs und gefühlvolle Balladen. „Engines of Demolition“ fügt sich nahtlos ein in das unerbittliche Bekenntnis der Band zu purem, kompromisslosem Hardrock.



Im Jahr 2022 wurde Wylde eingeladen, im Rahmen der Pantera Celebration seine verstorbenen Brüder, den großartigen Dimebag Darrell Abbott und seinen Bruder Vinnie Paul, zu ehren. Während er in den letzten vier Jahren mit Black Label Society Songs schrieb und aufnahm, entstand „Engines of Demolition“. Das Album folgt auf die Veröffentlichung von vier Singles, „The Gallows“ (2024), „Lord Humungus“ (2025), „Broken and Blind“ (2025) und „Name In Blood“ (2026) - und ist das erste Studio-Album seit Doom Crew Inc. (2021).



Black Label Society ist der pure Ausdruck des Paradoxons von Zakk Wyldes dunkelsten, lautesten Riffs und sanftesten, herzzerreißenden Balladen. BLS ist ein unerbittliches, bluesiges, verstörendes Hardrock-Metal-Zirkusquartett, das auf Platten und auf der Bühne eine koffeinhaltige Kakophonie hervorruft. BLS-Songs sind Oden an das Feiern und Trauern, von den dunkelsten Tiefen bis zu den höchsten Höhen.



Wylde, ein charismatischer Hardrock- und Metal-Musiker, der als lebende Legende und Gitarrenikone gilt, wurde bekannt, als Ozzy Osbourne ihn zu seinem treuen Gitarristen machte. Multi-Platin-Alben, unzählige Titelseiten von Gitarrenmagazinen, weltweit ausverkaufte Tourneen, seine eigene Gitarren- und Kaffeemarke tragen zu Wyldes ständig wachsendem Vermächtnis bei. Er hat genauso viel Freude daran, seine Black Label Society zu leiten, wie er sie hatte, als er mit seinem Helden Ozzy Osbourne auf der Bühne stand oder mit seiner Black Sabbath-Coverband Zakk Sabbath spielte.

For the first time in more than a decade, Paul St. Hilaire (AKA Tikiman) presents a solo album – 100% Tiki.

Over his 30-plus year career, St. Hilaire has become one of dance music’s quietly legendary figures. Born and raised in Dominica, he moved to Berlin in 1994 and has lent both his voice and his musicianship to some of the most iconic electronic music from the German capital – and beyond. Renowned for his collaborations with Moritz von Oswald and Mark Ernestus (AKA Rhythm & Sound), he has also appeared on records with Deadbeat, Rhauder, Larry Heard aka Mr. Fingers and Stereotyp (G-Stone Recordings), amongst others.

However, few know the extent of St. Hilaire’s compositional and technical mastery. From his home studio in Kreuzberg, which includes an extensive collection of vintage hardware, self-built instruments and notebooks scribbled with endless lyrics, he has created a vast archive of material spanning ambient dub, avant-jazz, lush techno and lovers rock.

Tikiman Vol. 1 is a heady, downtempo tour de force of patois metaphors on education, displacement and personal vs. global histories, as is evident on slippy album opener “Bedroom in My Bag”: Mister, mister / Where are you going? / I’m heading for a faraway land / What are you having in the bag in your hand? / Help us to understand / He said, I’ve got my bedroom in my bag.

Overall, the album’s lyrics reflect on life between Berlin and Dominica, specifically St. Hilaire’s hometown of Grand Bay, where he has worked with various musicians famous for the island’s different genres of carnival music. St. Hilaire himself always favoured the island’s more “discrete” music, developing a sonic synergy between two different geographical strains of groove and minimalism, and combining them with foundational Caribbean mixing techniques, which provide the basis for his songwriting and distinct
baritone.

Tikiman Vol.1 offers a rare insight into St. Hilaire’s complex artistry, from the eyes-down grooves of “Little Way” and the guitar-heavy digi dancehall experiment “Keep Safe,” to the subtle hypnosis of “Ten to One” and the softly crashing synth waves of closer “Three And A Half”, evoking not only beaches but also coasts and borders. It’s a fitting expression of both the breadth of St. Hilaire’s work, as well as his history as one of the few black, Berlin-based artists who, despite remaining largely overlooked, has influenced the city’s electronic music culture since its beginnings.


Credits
Written & Produced by Paul St. Hilaire
Mastered by Stefan Betke
Artwork by Grant Gibson

Kynant Records was founded in 2015 by Richard Akingbehin, a British-Nigerian radio programmer (Refuge Worldwide), music writer and DJ. Originally specialising in deep techno and featuring artists such as Cio D’Or, Terrence Dixon and Donato Dozzy, Kynant has since launched a sub-label Kynant EX which focuses on ambient, dub and experimental electronics.

Six years after his Grammy-nominated LP5, Sascha Ring - aka Apparat - takes a bold dive into the complexities of life with his sixth studio album.



A Hum Of Maybe is detailed, finely crafted, and wonderfully unpredictable. At its core, the record is about love - for himself, his wife, and his daughter - and holding onto it, protecting it, and constantly recalibrating as it is in a constant state of flux. As the title suggests, the songs explore being stuck in between: not a clear yes or no, but A Hum Of Maybe.



Ring elegantly combines the perspectives of an electronic producer and a classical composer, working closely with long-time collaborators Philipp Johann Thimm (cello, piano, guitar) - who also co-wrote and co-produced the record - Christoph “Mäckie” Hamann (violin, keyboard, bass), Jörg Wähner (drums), and Christian Kohlhaas (trombone). The album also features Armenian-American artist KÁRYYN - Apparat’s Mute labelmate - on ‘Tilth’, and Berlin-and Rome-based musician Jan-Philipp Lorenz (aka Bi Disc) on ‘Pieces, Falling’.



A Hum Of Maybe is complex, deeply personal, and embraces a state of limbo, marking an exciting new chapter for Apparat.

‘Call To Arms & Angels’ is the title of the twelfth studio album from South London collective Archive.

 A 17-track double CD / triple LP recorded at RAK studios in London and released on Dangervisit/PIAS.

 Deluxe editions of the album also include a bonus ‘Super8’ album of new and exclusive instrumentals, as featured in the band’s ‘Super8’ documentary that will accompany the release of the album.

 Produced by Archive and long-time collaborator Jérome Devoise, ‘Call To Arms & Angels’ is the band’s first studio set since 2016’s ‘The False Foundation’.

 Talking about the new album, Darius Keeler says, “Writing our twelfth studio album was an extraordinary time for the band. The song writing became an unfolding narrative as the world got stranger and more disturbing every day. With people’s freedoms being pushed to the brink, the suffering Covid caused and the terrible events in the US lead by Trump and the rise of the Right, anything seemed possible.

 “To reflect on these times as artists brought up a darkness and an anger, but also a strange kind of inspiration that was at times unsettling. It really made us appreciate the power of music and how lucky we are to be able to express our feelings in this way.

 “It seems there is light at the end of the tunnel, but there are always shadows within that light.”

 Deluxe 2CD album plus ‘Super8’ bonus CD in 40-page casebound Polaroid bookpack.

 2CD album.

 Deluxe vinyl box set with white coloured vinyl 3LP (exclusive to this box set), ‘Super8’ bonus LP on white vinyl (exclusive to this box set), deluxe 3CD with Polaroid booklet and 12” x 12” art print.

 Triple LP on gold vinyl in triple gatefold sleeve.
 Triple LP on green vinyl in triple gatefold sleeve.
 Triple LP on black vinyl in triple gatefold sleeve.

Mononoke is a Berlin band founded by Fabian Rösch and Benjamin Geyer. Their musical passion is improvisation with a sound that moves between experimental electronic music, jazz, beat music and ambient.
This LP combines their two recent EPs which have been released on the Munich based label tunnel.visions,
each on one side.

APARt
APARt was created in the field of tension between spontaneous improvisation and careful studio work, marked
by the lockdowns during covid and social isolation. It was precisely this physical separation that gave rise to a
new experimental approach.
Each track is a puzzle, whose individual pieces were put together, moved around, and placed in new contexts.
Instead of jamming and rehearsing together, musical ideas were exchanged online so that they could be freely
interpreted, altered and redesigned.


modular
Newly found vivid playfulness, fresh approaches and a tilt towards the unexpected marks these songs. Capturing moments in our lives full of challenges, developments and salvation.
The same new and unusual process of working separately, shaped the subsequent second EP modular which
followed the same working structure but with a new component: the modular synthesizer, which decisively reshapes the sound: a collection of analog textures, broken structures and a touch of raw intimacy.
Each song is an episode, each sound a reminder of how music connects us.?
Even when circumstances, such as a pandemic, can threaten to pull us apart.

‘Call To Arms & Angels’ is the title of the twelfth studio album from South London collective Archive.

 A 17-track double CD / triple LP recorded at RAK studios in London and released on
Dangervisit/PIAS.

 Deluxe editions of the album also include a bonus ‘Super8’ album of new and
exclusive instrumentals, as featured in the band’s ‘Super8’ documentary that will
accompany the release of the album.

 Produced by Archive and long-time collaborator Jérome Devoise, ‘Call To Arms &
Angels’ is the band’s first studio set since 2016’s ‘The False Foundation’.

 Talking about the new album, Darius Keeler says, “Writing our twelfth studio album
was an extraordinary time for the band. The song writing became an unfolding
narrative as the world got stranger and more disturbing every day. With people’s
freedoms being pushed to the brink, the suffering Covid caused and the terrible
events in the US lead by Trump and the rise of the Right, anything seemed possible.

 “To reflect on these times as artists brought up a darkness and an anger, but also a
strange kind of inspiration that was at times unsettling. It really made us appreciate
the power of music and how lucky we are to be able to express our feelings in this
way.

 “It seems there is light at the end of the tunnel, but there are always shadows within
that light.”

 Deluxe 2CD album plus ‘Super8’ bonus CD in 40-page casebound Polaroid
bookpack.

 2CD album.

 Deluxe vinyl box set with white coloured vinyl 3LP (exclusive to this box set), ‘Super8’
bonus LP on white vinyl (exclusive to this box set), deluxe 3CD with Polaroid booklet
and 12” x 12” art print.

 Triple LP on gold vinyl in triple gatefold sleeve.
 Triple LP on green vinyl in triple gatefold sleeve.
 Triple LP on black vinyl in triple gatefold sleeve.

Altan is arguably the most iconic band working in traditional Irish music today. For the past 35 years, they have brought the music of their native County Donegal to the world stage. The band's newest album, aptly titled Donegal , pays homage to County Donegal's rich musical heritage, breathtaking landscapes, and vibrant culture. The music's authenticity and allure transport listeners to a bygone era in rural Ireland while forging a connection between the past and the present.

Featuring co- founder, lead vocalist, and fiddler Mairead Ni Mhaonaigh ; newest member Clare Friel on vocals and fiddle; accordionist Martin Tourish; guitarists Daithi Sproule and Mark Kelly; and Ciaran Curran on bouzouki and mandolin. With Jim Higgins (percussion), Steve Cooney (bass), and Graham Henderson (keyboards). Recorded by Manus Lunny at Seafront Studio in County Donegal, Ireland.

With Late Bloomer, Belgian-Cameroonian rapper, composer and multi-instrumentalist Kunde delivers a work that is both deeply personal and socially charged. The album forms a diptych with his previous release, Dandelion(2024). In Late Bloomer, Kunde pays tribute to his mother, who largely raised him and his sister on her own, using pivotal personal moments as a mirror through which he reveals the world from his perspective.

Composed and arranged entirely by Kunde and brought to life by his live band, Late Bloomer unfolds as a rich, layered universe where jazz, R&B, hip-hop, samba and touches of psychedelic rock intersect. Whereas his first album emerged mostly from the home studio, the new work is driven by live energy, collective interplay and a broader sonic scope. The album is further enriched by guest contributions from Helena Casella, Fred Gata, Okon and Tennishu (US), frontman of the Anderson .Paak-supported jazz-fusion band Butcher Brown.

Late Bloomer cements Kunde's reputation as a storyteller, composer and musical director. The album is both intimate and expansive, rooted in personal history while offering incisive reflections on the human condition. Like his inspirations, ranging from Coltrane and J Dilla to D'Angelo, Don Blackman and Arthur Verocai Kunde crafts a distinctive sound that is at once deeply personal and universally resonant.

Uw energieboost in plaatvorm: zo klinkt de nieuwe Admiral Freebee. Geboren uit een oerdrive om samen met zijn vrienden slash helden muziek te maken en de studio in te duiken. Openingstrack Seeking A Friend zet meteen de toon: drums zwellen aan, een snedige riff valt in en Tom Van Laere giet er een rauw ‘Armageddooon’ over uit. De wereld staat in brand en Admiral Freebee is er niet blind voor, maar het spelplezier staat voorop. Uptempo, groovy, dansbaar zelfs, met synths en welgemikte opzwepende HEY’s: negen songs lang spatten good times uit de muziek, van eerste single Q&A With Myself over knallers als Future Fathers Of Utopia en The Hunger. Zoals we van Admiral Freebee gewend zijn, is er ook ruimte voor humor en een introspectieve blik. Maar vergis je niet, een schoothondje is hij niet (No One’s Puppy). In slottrack Dog That Never Dies gaat de voet van het gaspedaal en legt het enige ingetogen nummer het album neer, als een synthese van alle thema’s die aan bod komen. En we mogen gerust zijn: met Admiral Freebee gaat het goed, en zowel hij als zijn muziek lopen over van het plezier. Even alle zorgen vergeten en genieten van pure fun.

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Your energy boost in record form: that’s how the new Admiral Freebee album sounds. Born from a primal desire to make music with his friends aka heroes and dive into the studio. Opening track Seeking A Friend sets the tone: drums swell, a sharp riff takes centre stage and Van Laere lets out a raw ‘Armageddooon’. The world is on fire and Admiral Freebee does not turn a blind eye, but first we have some fun. Uptempo, groovy, danceable even, with funky synths and a bunch of infectious HEYs: for nine songs good times are all over the place, from first single Q&A With Myself to bangers like Future Fathers Of Utopia and The Hunger. As always with Admiral Freebee, there’s also room for humor and he doesn’t shy away from introspection either. And make no mistake: Tom Van Laere is no lapdog (No One’s Puppy). Closing track Dog That Never Dies is the only intimate song on the album and sounds like a synthesis of all the album’s themes. And rest assured: Admiral Freebee is doing fine, and both him and his music are bursting with joy. So leave your worries behind for a moment and have some raw fun.

Picture by Ed Templeton/ Courtesy Tim Van Laere Gallery

Artwork by Jelle Jespers

Admiral Freebee is Tom Van Laere – Tim Coene, Senne Guns en Laurens Billiet. Recorded in summer 2025.

Sun Electric - the legendary Berlin duo of Tom Thiel and Max Loderbauer - returns with Episodes, an enticing new album. While the pair has been active and creating over the years (remember their track 'Every Now And Then' on the 10 Years De:tuned compilation in 2019), Episodes marks their first album of original material in nearly 20 years. Now, with a renewed way of working together, they present fresh and captivating music on the Belgian De:tuned label, built from recordings made with the vintage 1960s Subharchord Synthesizer. Across 6 tracks, Sun Electric takes listeners on a strange yet wonderful journey through shifting moods and sonic textures, capturing their unmistakable sense of exploration and atmosphere. With kind support of the Studio for Electroacoustic Music of the Akademie der Kunste. Stay tuned!

The wonderful Ian Anderson at The Designers Republic created all the graphic work. Mastered by Mike Grinser at Manmade Mastering. Available on 180g vinyl and CD, with a separate digital release through all the usual online stores.

Sun Electric - the legendary Berlin duo of Tom Thiel and Max Loderbauer - returns with Episodes, an enticing new album. While the pair has been active and creating over the years (remember their track 'Every Now And Then' on the 10 Years De:tuned compilation in 2019), Episodes marks their first album of original material in nearly 20 years. Now, with a renewed way of working together, they present fresh and captivating music on the Belgian De:tuned label, built from recordings made with the vintage 1960s Subharchord Synthesizer. Across 6 tracks, Sun Electric takes listeners on a strange yet wonderful journey through shifting moods and sonic textures, capturing their unmistakable sense of exploration and atmosphere. With kind support of the Studio for Electroacoustic Music of the Akademie der Kunste. Stay tuned!

The wonderful Ian Anderson at The Designers Republic created all the graphic work. Mastered by Mike Grinser at Manmade Mastering. Available on 180g vinyl and CD, with a separate digital release through all the usual online stores.

Während das musikalische Fundament die Einflüsse aus Nordamerikanischem Pop-Punk aufnimmt und zu einem eigenen Sound weiterentwickelt, stechen insbesondere die klare Haltung und tiefe persönliche Momente in den Texten heraus. Entstanden ist ein Punk/Rock Album, das nicht nach 20ern und Jugendbewegung klingt, sondern nach neuen Perspektiven, nach späten 30ern - menschlich und politisch. Seit Erscheinen des BLAUFUCHS Debüt-Albums vor rund 4 Jahren hat sich in der Welt viel verändert und wenig verbessert. Diese traurige Abwärtsspirale findet sich – mal drastisch und direkt, mal dezent akzentuiert – in allen Texten von „Bis jetzt ging alles gut“ wieder, das trotz Anflügen von Resignation auch stets einen Funken Hoffnung auf Besserung vermittelt. Blaufuchs betrachten nicht nur den gesellschaftlichen Wandel – sie sind selbst auch einer ständigen Veränderung ausgesetzt. Ihr zweites Album ist ein Stück weit auch ein Neubeginn mit einigen Neubesetzungen im Verlauf der letzten Monate. Hale Winter übernahm den Bass von Marisa, Jan Schlagowski das Schlagzeug von Alex Veth und mit Jan Jurat stieß ein weiterer Gitarrist zur Band. Den Blaufuchs Sound verändern die neuen Einflüsse nicht gravierend, die Drums werden ein Stück härter, die Gitarren etwas filigraner, aber die Handschrift von Hauptsongwriter John Hofmeister verbindet nach wie vor den amerikanischen Gesamtsound mit den deutschen Texten von Johannes König. Dennoch verzögerte sich die Entstehung des Albums durch die Umbesetzungen um mehrere Monate, was laut Johannes König auch nötig war: „Mir und John war extrem wichtig, dass auf dem Album auch Einflüsse unserer „Neuen“ zu hören sind, die uns live teilweise schon seit Jahren unterstützen.“ Aufgenommen wurde „Bis jetzt ging alles gut“ in den Limetree Studios in Ilsede und produziert von Sören Kucz und Gitarrist John Hofmeister. Mit „Fertig“ setzt die Platte einen extrem persönlichen Schlusspunkt und König wird hier deutlich direkter: „Den Druck, der mit der Verantwortung in der eigenen Familie, im Job und auch in der Band zusammenkommt, trifft im Alltag oft auf ein Männlichkeitsbild, in dem wider besseres Wissen versucht wird, Dinge alleine zu regeln.“

Six years after his Grammy-nominated LP5, Sascha Ring - aka Apparat - takes a bold dive into the complexities of life with his sixth studio album.



A Hum Of Maybe is detailed, finely crafted, and wonderfully unpredictable. At its core, the record is about love - for himself, his wife, and his daughter - and holding onto it, protecting it, and constantly recalibrating as it is in a constant state of flux. As the title suggests, the songs explore being stuck in between: not a clear yes or no, but A Hum Of Maybe.



Ring elegantly combines the perspectives of an electronic producer and a classical composer, working closely with long-time collaborators Philipp Johann Thimm (cello, piano, guitar) - who also co-wrote and co-produced the record - Christoph “Mäckie” Hamann (violin, keyboard, bass), Jörg Wähner (drums), and Christian Kohlhaas (trombone). The album also features Armenian-American artist KÁRYYN - Apparat’s Mute labelmate - on ‘Tilth’, and Berlin-and Rome-based musician Jan-Philipp Lorenz (aka Bi Disc) on ‘Pieces, Falling’.



A Hum Of Maybe is complex, deeply personal, and embraces a state of limbo, marking an exciting new chapter for Apparat.

Stoop Kid is the jangly indie rock project of Diest-born Jens Rubens. After Camp Careful (2021) and Mount Cope (2023), Stoop Kid returns with his third full-length album Office Overdue, a ten-song collection that captures the quiet fatigue, flickering humor, and
fragile hope of keeping it together in a world that won't slow down.

'Office Overdue' is a collection of songs Jens made at home in his modest home studio. For this album, he wanted to let go of pressure and expectations more than ever, and only work on music when he genuinely felt like it.No fancy studio, no producer, just walking upstairs and messing around. The result doesn't always sound perfectly polished: the drums are sometimes clumsily programmed and more than a few wrong notes made it onto the record. The guitars were allowed to hit a bit harder this time, with the '90s slacker vibes coming through more prominently. The result is a record that feels raw and honest, and above all, was made purely out of enthusiasm.

Office Overdue explores the attempt to keep functioning in everyday life while the world around us feels on the verge of collapse. The songs move between mental exhaustion and self-reflection, carried by a dry, sometimes bitter humour that helps lighten the weight. The album focuses on repetition and routine, and on the tension between wanting to care for others and being trapped inside one's own head. Themes of anxiety, guilt and dissociation recur throughout, but are always accompanied by small moments of connection, gentle resistance and acceptance. Office Overdue embraces the mess, the doubt and the false notes, without drawing grand conclusions. Not everything is resolved, but the persistence remains.

Grupo um celebrate 50 years with release of lost dictatorship-era album nineteen seventy seven!

First time release - vinyl comes with printed innersleeves

Brazilian avant-jazz vanguardists Grupo Um celebrate their 50th anniversary, sharing a second previously lost 1970s album from the vaults. Nineteen Seventy Seven (titled after the year it was recorded) is another rip-roaring instrumental fusion treasure from the band which spawned from within Hermeto Pascoal’s famed mid-1970s São Paulo collective.

Like their debut album Starting Point, Grupo Um’s Nineteen Seventy Seven was recorded when Brazil's military dictatorship was at its most repressive. “There were no open doors to those who dreamt to be protagonists in creative instrumental music”, remembers drummer Zé Eduardo Nazario, “even popular composers and singers had to submit their songs to censors and many records were banned and confiscated from the stores.”

Just like Hermeto Pascoal's Viajando Com O Som (1977) and Grupo Um's previous album Starting Point (1975), both of which remained unreleased until the 21st century, Zé Eduardo asserts that the 1977 album was flatly 'without any chance to be released at that time."

Recorded at Rogério Duprat’s Vice-Versa Studios in São Paulo, the group were under both time and space restraints, “we chose the small Studio B,” Lelo Nazario recalls, “which had a Tascam (TE AC) 12x8 console and a 4-channel AMPEX AG 440 machine. Therefore, we had to record without overdubs, everything straight to tape.”

Expanding from a trio to a quintet, original Grupo Um members Lelo Nazario (keys), Zé Eduardo Nazario (drums), and Zeca Assumpção (bass) were joined by saxophonist Roberto Sion and percussionist Carlinhos Gonçalves. Carlinhos, Zé and Zeca had already played together in the group Mandala, while brothers Lelo and Zé had just finished a stint backing Hermeto Pascoal during his years in São Paulo.

Lelo was deeply immersed in modular synthesizer experimentation during this period, working extensively with the ARP2600 and EMS Synthi AKS. These electroacoustic explorations formed the sonic foundation for "Mobile/Stabile," one of his first compositions to merge modular synthesis with Brazilian music, a fusion that would ripple throughout the Brazilian jazz scene. The piece premiered at the first São Paulo International Jazz Festival in 1978, performed by Grupo Um with guest trumpeter Márcio Montarroyos. In a shocking moment, festival organizers interrupted the show mid-performance, sparking fierce backlash from both audience members and journalists who denounced the incident as artistic censorship during Brazil's era of political and cultural repression. The version on Nineteen Seventy Seven is the first recording of the composition.

Nineteen Seventy Seven combines Afro-Brazilian rhythm, modular synthesis and a plethora of whistles, percussion and effects pedals. Album opener “Absurdo Mudo” - so titled for the absurd difficulty it poses to the musicians performing it - starts out in a cloud of mysterious dissonance, before the haze breaks for a glorious keyboard and saxophone interplay atop an uptempo samba groove. “Cortejo dos Reis Negros (Version 2)” (Procession of the Black Kings), based on the maracatu rhythm, inverts the traditional jazz song structure by beginning with improvisations, which are followed by the theme and a final coda. “The studio also had two Parasound electronic reverb units,” Lelo notes, “and the timbre is very audible on the soprano sax and percussion.”

Grupo Um’s daring music represents a manifesto of resistance during the dictatorship years, but it’s one which remains just as relevant today. As Lelo puts it: “For me, the aesthetic issue has always been about combining contemporary avant-garde languages with Brazilian music, independent of categories and commercial interests. The result of this fusion takes music to a new level.”

Recording credits (1977)
Recorded at Vice-Versa B Studio, São Paulo, November 9, 1977
Produced by Lelo Nazario and Zé Eduardo Nazario
Engineered by Ricardo “Franja” Carvalheira



Lelo Nazario – Wurlitzer electric piano, acoustic piano, signal generator, percussion

Zé Eduardo Nazario – drums, percussion

Zeca Assumpção – electric bass

Carlinhos Gonçalves – percussion

Roberto Sion – soprano sax, clarinet

Release credits (2025)
Produced by UTOPIA Studio, São Paulo
Project Coordination in Brazil by Irati Antonio (Utopia Studio)
Tape Restoration and Digital Mastering by Lelo Nazario at Utopia Studio, July 2025
Liner Notes by Lelo Nazario and Zé Eduardo Nazario
Photography by Jorge Las Heras, Lelo Nazario, and artists' personal archives
Photo Restoration by Lelo Nazario
Artwork and Design by Alessandro Renaldin

Pullman ist eine im Studio entstandene Akustik-Supergroup, die Ende der 90er Jahre aus der Post-Rock-Szene Chicagos hervorging und Ken ,Bundy K." Brown (Tortoise/Directions in Music), Curtis Harvey (Rex), Chris Brokaw (Come) und Doug McCombs (Tortoise/Eleventh Dream Day) vereinte. Später kam Schlagzeuger Tim Barnes hinzu, wodurch die Kernbesetzung der Gruppe gefestigt wurde. Ihr Debüt bei Thrill Jockey gaben sie 1998 mit "Turnstyles & Junkpiles", einer leisen, live auf zwei Spuren aufgenommenen Sammlung verwobener Gitarrenklänge, die Kritiker mit John Fahey, Leo Kottke und Gastr del Sol verglichen. Ihr Folgealbum "Viewfinder" (2001) erweiterte die Palette um Percussion, subtile elektrische Texturen und Mehrspur-Layering, wobei die rustikale, filmische Zurückhaltung von Pullman beibehalten wurde. Mit beiden Alben wurde die Band zu einem Maßstab für akustische, songorientierte Instrumentalmusik: folkig im Geist, postrockig in der Methode und zeitlos im Klang. Zwei Jahrzehnte später kehrt Pullman mit "III" zurück, einem Album, das von Freundschaft und Widerstandsfähigkeit geprägt ist. Im Jahr 2021 gab Barnes seine Diagnose einer früh einsetzenden Alzheimer-Erkrankung im Alter von 54 Jahren öffentlich bekannt. Trotz seines fortschreitenden Gesundheitszustands begannen er und Brown fast täglich, oft aus der Ferne, mit einem großen Kreis von Mitwirkenden aus Barnes' musikalischer Vergangenheit zusammenzuarbeiten. Was als einzelner Beitrag für eine Compilation begann, entwickelte sich nach und nach zu einem vollständigen Pullman-Album, das zwischen 2021 und 2023 fertiggestellt wurde. "III" wurde von Brown bearbeitet und gemischt, mit frühen Beiträgen von Barnes, und führt die für die Gruppe charakteristische Intimität und Räumlichkeit fort, während es gleichzeitig den Geist der Gemeinschaft verkörpert, der ihre Arbeit seit jeher geprägt hat. "III" ist sowohl eine Fortsetzung der einzigartigen Ästhetik von Pullman als auch ein Beweis für die nachhaltige Kraft der Musik und schwebt mit der stillen Schwere der Erinnerung, der Beharrlichkeit und der Anmut.

Black vinyl repress. Wie in het voorjaar van 2025 het voorrecht had om de theatertour van Het Zesde Metaal bij te wonen, kon daar op de koop toe genieten van een handvol gloednieuwe songs. Het resultaat is de EP Randgevallen: vijf songs, vijf vertellingen uit het persoonlijke en wereldse leven die andermaal bewijzen dat Het Zesde Metaal als geen ander kan beschrijven, beklijven en betoveren.

Wie in het voorjaar van 2025 het voorrecht had om de theatertour van Het Zesde Metaal bij te wonen, kon daar op de koop toe genieten van een handvol gloednieuwe songs. En daarna vaststellen dat die helaas nergens te (her)beluisteren waren. Tot nu, want de goesting om de songs vast te leggen voor de eeuwigheid werd op den duur wel heel groot. En dus kampeerden Wannes Cappelle en co afgelopen zomer enkele dagen in Waimes (DAFT Music Studios), voor het eerst in de nieuwe bezetting met Kasper Cornelus op gitaar/toetsen en Sander Verstraete op bas.

Het resultaat is de EP Randgevallen: vijf songs, vijf vertellingen uit het persoonlijke en wereldse leven die andermaal bewijzen dat Het Zesde Metaal als geen ander kan beschrijven, beklijven en betoveren. Een staalkaart bovendien van de muzikale en tekstuele veelzijdigheid die de band al jaren kenmerkt. Opener Service is een opgewekte popsong waarin Cappelle sappig de drang naar reviews en hartjes in het dagelijkse en economische leven fileert: 'wa' vind je van onze service? / zou j'ons geen tiene willen geven? / asteblieft, want anders is den directeur vies.' In Traagskes Groeien verstilt het tempo en keert de blik naar binnen, het persoonlijke leven in, mijmerend over kinderen die stilaan het nest ontgroeien. 'ge moet u zo nie' spoeien / ge moet traagskes groeien / ge moe' laagske per laagske groeien', probeert Cappelle het loslaten nog even uit te stellen.

Wie dacht dat Oud En Nieuw daarna gaat over feestvieren in de donkerste dagen van december, is op het verkeerde feestje beland. Wiegend op hypnotiserende bas, drum en pedal steel passeert opnieuw de vergankelijkheid van het leven, dit keer met een bredere maatschappelijke blik. 'alles da' oud is, was ooit nieuw / en groot is ooit kleine begonnen / veel komt van weinig / glad was eerst ruw / zelfs de waarheid wierd ooit verzonnen'. Wanneer naar het einde toe pulserende synths het tempo opheffen en de song licht euforisch uitwaaiert in een instrumentale coda, kun je alleen maar de ogen sluiten en stilstaan bij wat was en nog komen zal.

Label is het enige nummer dat speciaal voor de EP werd geschreven en baadt net als Service in meer dartele klanken, terwijl Cappelle met trefzekere oneliners een beeld van zichzelf schetst. 'de meeste middens mijd ik, ik hore bie de randgevallen thuis / misschien verdiene 'kik ook een label'. Moeten we altijd proberen de ander in een vakje te duwen? Kan iedereen niet 'gewoon' anders zijn? En ironisch draait Cappelle de rollen om: 'atypisch is de norm / ge moogt buiten de lijntjes kleuren / gewoon is niet verboden / normaal zijn doet geen zeer / as ze mor hunder plekke kennen / de rare zijn met meer.'

Het slotakkoord is voor het beklijvende Duizend Soldaten van Willem Vermandere, dat Cappelle en Filip Wauters begin dit jaar brachten voor het tv-programma Ik Vraag Het Aan. Nu zet het een pakkend punt achter een EP die nogmaals de tijdloze klasse van de band onderstreept. Meeslepend, verhalend, herkenbaar, grappig, ontroerend, scherp. Het Zesde Metaal is het allemaal en heeft daar slechts vijf songs voor nodig.

Randgevallen werd opgenomen met Frederik Segers (productie) en Jasper Maekelberg (mix) aan de knoppen, en komt uit op 4 oktober. Met de plaat onder de arm én aan de merchandisetafel herneemt de band zijn theatertour, maar dan in het groot, langs fantastische zalen in onder meer Brugge (Concertgebouw), Gent (Capitole) en Nederland.

Mit ihrem neuen Album 'For The People' kehren Dropkick Murphys zurück zu ihren Punk-Wurzeln - laut, kämpferisch und voller Haltung. Zwischen Klassenkampf und Familiengeschichte, zwischen Protestsong und Pogues-Hommage - 'For The People' ist mehr als nur ein Albumtitel. Es ist ein Statement gegen Ungerechtigkeit, für Menschlichkeit und Solidarität.

Produziert von Langzeit-Weggefährte Ted Hutt und mit Artwork von Shepard Faireys Studio Number One, erscheint das Album über Dummy Luck Music / Play It Again Sam digital am 4. Juli (passend zum US-Unabhängigkeitstag) und am 10. Oktober auf CD und 2LP. Die Vinyl-Version kommt mit fünf Bonustracks.

Ob mit der ersten Single 'Who’ll Stand With Us?' oder der bewegenden Shane-MacGowan-Verneigung 'One Last Goodbye' - Dropkick Murphys liefern den Soundtrack für alle, die sich nicht mit der Welt, wie sie ist, zufriedengeben. 'For the People'!

- Ltd. Col. 2LP: (Silver 2LP/Gatefold mit Etching einer schwarzen Rose auf der D-Seite + Faltposter)

Mit ihrem neuen Album 'For The People' kehren Dropkick Murphys zurück zu ihren Punk-Wurzeln - laut, kämpferisch und voller Haltung. Zwischen Klassenkampf und Familiengeschichte, zwischen Protestsong und Pogues-Hommage - 'For The People' ist mehr als nur ein Albumtitel. Es ist ein Statement gegen Ungerechtigkeit, für Menschlichkeit und Solidarität.

Produziert von Langzeit-Weggefährte Ted Hutt und mit Artwork von Shepard Faireys Studio Number One, erscheint das Album über Dummy Luck Music / Play It Again Sam digital am 4. Juli (passend zum US-Unabhängigkeitstag) und am 10. Oktober auf CD und 2LP. Die Vinyl-Version kommt mit fünf Bonustracks.

Ob mit der ersten Single 'Who’ll Stand With Us?' oder der bewegenden Shane-MacGowan-Verneigung 'One Last Goodbye' - Dropkick Murphys liefern den Soundtrack für alle, die sich nicht mit der Welt, wie sie ist, zufriedengeben. 'For the People'!

Gatefold mit Etching einer schwarzen Rose auf der D-Seite + Faltposter)

Mit ihrem neuen Album 'For The People' kehren Dropkick Murphys zurück zu ihren Punk-Wurzeln - laut, kämpferisch und voller Haltung. Zwischen Klassenkampf und Familiengeschichte, zwischen Protestsong und Pogues-Hommage - 'For The People' ist mehr als nur ein Albumtitel. Es ist ein Statement gegen Ungerechtigkeit, für Menschlichkeit und Solidarität.

Produziert von Langzeit-Weggefährte Ted Hutt und mit Artwork von Shepard Faireys Studio Number One, erscheint das Album über Dummy Luck Music / Play It Again Sam digital am 4. Juli (passend zum US-Unabhängigkeitstag) und am 10. Oktober auf CD und 2LP. Die Vinyl-Version kommt mit fünf Bonustracks.

Ob mit der ersten Single 'Who’ll Stand With Us?' oder der bewegenden Shane-MacGowan-Verneigung 'One Last Goodbye' - Dropkick Murphys liefern den Soundtrack für alle, die sich nicht mit der Welt, wie sie ist, zufriedengeben. 'For the People'!

- Ltd. Col. 2LP: (Silver 2LP/Gatefold mit Etching einer schwarzen Rose auf der D-Seite + Faltposter)

Pacha Ibiza is steeped in dance music history. Originally a playground for the rich and famous during the 70’s and 80’s, the club has transformed into a mecca for music lovers the world over. Pacha is to Ibiza what Studio 54 was to New York, encapsulating glamour and hedonism while regarded as an institution that turns underground hits into global house anthems.

Pacha House Classics compiles twelve undisputed anthems from the vaults of Defected Records’ vast catalogue, all of which have been championed year after year at the legendary nightclub. Spread across three individual records are classics from The Shapeshifters, Kings of Tomorrow, CamelPhat, Shakedown, Spiller and more; Pacha House Classics is the ultimate house soundtrack for Pacha Ibiza’s rich history.

studio mule announces the first-ever vinyl release of shinsuke honda’s banka (1991)

known as the guitarist of the legendary band hachimitsu pie, shinsuke honda—whose album silence is celebrated as one of the most remarkable achievements in japanese ambient guitar jazz—sees his 1991 cd-only masterpiece banka finally released as a double lp from studio mule.

carrying forward the spirit of silence while reaching new levels of refinement and depth, banka presents a collection of beautifully crafted ambient jazz pieces that reveal honda’s distinctive musical vision.

Babau is the pantropical project of Artetetra founders Matteo Pennesi and Luigi Monteanni in which a fascination with exotica, world music 2.0 and field recordings meets the compositional and improvisational techniques of computer music. Their latest work, the album »Stock Fantasy Zone«, was recently released on Discrepant and they have been nominated Shape artists 2023. The duo has participated in various Italian and non-Italian festivals such as Fusion, Club to Club, Nextones, Outernational Days, Camp Cosmic and Saturnalia.

»Flatland Explorations« is an ever-growing collection of completely improvised attempts at mapping the surface and irregular shapes of Babau's sonic flatland by means of audio manipulations and digital sorceries. Joining live recordings with studio material and field recordings, the duo crafts its unique sound made of granular illusions, midi extravaganza, wind instruments' acrobacies, and vocal calembours. The results have been remarkably described as 'the sound of a continent moving, ethnicities, animals, plants and mineral included.

Out of the stack, the flatland has no boundaries.

French artist based in Brussels, Che Vuoi presents her first album Cinecittàx, a nod to the great Italian studio, and a tribute to false dreams.

A theatre at the back of a run-down piano bar, where surreal and intimate scenes unfold; words and stories drawn from disparate sources: Fellini, G. Réal, Diderot... or written by herself, spoken, shouted or barely whispered by an altered voice.


Noises, samples, a drum machine, a brush on a snare drum, a piano spinning round and round until it reaches delirium and its own abolition, leaving us suspended in a constant in-between or a time that never truly existed.



« This voice, gentle, mad, with lightning verve, tells between the lines and the echoes the presence of threatening shadows and ghosts. And it is Che Vuoi, her character, her world of images, that haunts us. It is a strange bewitchment that carries us beyond the words she has freed from "the stationery I stole from Bellavista the other night" ("le papier à lettre que j’ai chipé au Bellavista l’autre soir") into the lair of her universe, as whimsical as it is silky in which we let ourselves slip, as one would slip over the rock of an esoteric river, in the heart of a forest that makes music and has delirious things to tell us. »

Following his bold 1983 solo debut 'Walk Into Light', Ian Anderson - the legendary flautist, songwriter & frontman of Jethro Tull - returned in 1995 with 'Divinities: Twelve Dances With God', a richly textured & wholly instrumental work that showcased a different side of his musical imagination. A sweeping, genre- defying suite in twelve parts, 'Divinities' draws deeply on Anderson's lifelong love of classical music, world traditions & pastoral folk. Conceived as a continuous orchestral journey, the album weaves influences from Celtic airs & Middle Eastern motifs to Indian ragas & Baroque counterpoint, all anchored by Anderson's unmistakable flute.

The result is one of his most ambitious & evocative projects - a spiritual, cinematic exploration of faith, nature & the divine. Now 'Divinities: Twelve Dances With God' returns to vinyl in a stunning half- speed remastered edition, expertly mastered by Grammy-winning engineer John Webber at London's AIR Studios using audio sourced from the original tapes. Pressed on black vinyl & housed in a faithful reproduction of the original artwork, this new edition stands as the most detailed & dynamic presentation of the album to date. Originally premiered live in its entirety with orchestral accompaniment before its release, 'Divinities' remains a singular work within Anderson's catalogue - a testament to his restless creativity & compositional range beyond the bounds of progressive rock.

Paul Murphy’s Claremont 56 label welcomes a genuine legend of UK music to its roster – Chaz Jankel, the man whose dizzying musicality and love of soul, funk and disco did much to shape the sound of Ian Dury’s Blockheads band in the late 1970s and early ‘80s.

A virtuoso keyboardist with a deep love of Black American music, Jankel’s arrangements and compositional skills were key to the success of their records, the funkiest of which not only became crossover pop hits – see ‘Hit Me With Your Rhythm Stick’ and ‘Reasons To be Cheerful, Part 3’ in particular – but also saw heavy rotation in now iconic New York clubs including the Paradise Garage and Studio 54.

This continued during the formative years of his solo career, with ‘My Occupation’, ‘Questionnaire’ and ‘Glad To Know You’ (later famously re-edited and dubbed out for nu-disco dancefloors by Todd Terje) all becoming club hits. The great Quincy Jones also covered Jankel’s infectious single ‘Ai No Carrida’, while experimental, club-ready synth-jam ‘3,000,000 Synths’ was also influential during the early years of the electro movement.

For his Claremont 56 bow, Jankel has delivered an all-new workout recorded earlier this year, the simply titled ‘Rhumba Jam’. A typically warm, groovy and rolling affair, it features Jankel delivering infectious, stretched-out Rhodes electric piano solos over toasty bass, clipped guitar licks, warm bass, accordion-style synth motifs and a densely layered Rhumba rhythm. While relaxed and sun-soaked, it also has bags of Balearic dancefloor potential.

Murphy remixes under his now familiar Mudd alias, leaning into the track’s languid Balearic vibe while keeping a firm focus on the dancefloor. Beginning with an enticing mix of metronomic drums and jangly acoustic guitars, Murphy slowly layers up key elements of Jankel’s original – think rubbery bass, rhythmic handclaps, mazy synth sounds and those wonderful, stretched-out solos. It’s a version that pays due reverence to the quality of Jankel’s musicianship, production and arrangement while subtly extending it and reframing it for 21st century Balearic dancefloors.

The third installment in Lance Ferguson's acclaimed Rare Groove Spectrum series builds on the success of Vol. 1 & 2, offering a fresh set of reimagined classics. From '70s Australian jazz-funk and Latin-fusion to big band soul and golden-era funk, Ferguson blends crate-digger sensibilities with modern studio craft.

Standout cuts include bold reworks of Idris Muhammad, Billie Eilish, Jungle, Billy Brooks and more, with the focus track "Losalamitoslatinfunklovesong" delivering a Gene Harris reinterpretation infused with Bossa Nova and Brasil '66 flair. Showcasing Ferguson's mastery as a multi-instrumentalist and arranger, the album brims with rich, cinematic productions throughout.

Selling Points

Known for projects The Bamboos, Menagerie, Lanu — widely regarded as one of Australia's most versatile producers.
Previously released 45 full-length albums and 100+ singles/remixes across labels including Atlantic, Universal, Sony, BMG, Tru Thoughts, and Ubiquity.
7× ARIA Award & 5× APRA Music Award nominations.
Co-writer/producer of the global hit "This Girl" by Kungs vs Cookin' On 3 Burners
#1 in 10+ countries
1.27 billion Spotify streams & 545M YouTube views
Multi-Platinum & Diamond certifications worldwide.
Collaborations with Aloe Blacc, Roy Ayers, Alice Russell, Durand Jones, Quantic, Joey Dosik and more.
Music featured in 200+ compilations and major syncs, including CSI NYC, Grey's Anatomy, Homeland, Suits, and House of Cards.

Das 1970 veröffentlichte, selbstbetitelte Debüt von Funkadelic war eine radikale Kollision von psychedelischem Rock, Gospel, Blues und Soul - ein chaotisches, genreübergreifendes Statement, das die Möglichkeiten der schwarzen Musik neu definierte. Wo Motown auf Hochglanz und Crossover-Appeal abzielte, stürzten sich Funkadelic kopfüber in Verzerrungen, Improvisationen und spirituelle Zweideutigkeiten, mit einem Sound, der so düster und unberechenbar war wie die Ära selbst. Unterstützt von einer wilden jungen Band, lehnte das Album Konventionen zugunsten von rohem Groove und existentiellem Lärm ab. Als Teil der Westbound Records Reissue Serie von Org Music stellt diese Ausgabe die volle Wirkung des Albums wieder her. Die Deluxe-Doppel-LP, die von Dave Gardner direkt vom analogen Band mit 45RPM neu gemastert wurde, bietet das bisher beeindruckendste Hörerlebnis dieses Klassikers. Gardner und die Restaurationsspezialistin Catherine Vericolli archivierten und restaurierten die Original-Masterbänder in den 54 Sound Studios in Ferndale, Michigan, mit Unterstützung des hauseigenen Ingenieurs Nick King. Neben CD, Kassette und digitalen Formaten ist auch eine einfache LP-Ausgabe erhältlich, die von hochauflösenden Bandüberspielungen geschnitten wurde. Funkadelic waren zu ihrer Zeit eine klangliche Revolution mit bleibendem Einfluss, ihr selbstbetiteltes Album ist ein bahnbrechendes Zeugnis für Musik ohne Regeln und Freiheit ohne Grenzen.

Le Motel and Bruce Wijn met at school, during a school art trip to Munich. They went separate ways for a long time.

Hailing from Brussels, Le Motel's world is a vortex of sight and sound that takes in the many and varied corners of the planet. As a music producer and film composer his versatility has taken him to festivals and clubs in every direction as naturally as he has ventured out to the less accessible areas of the globe as a field recordist. It's somewhere in between these spaces that Le Motel operates, gathering unique experiences and sounds to channel through his studio.

Bruce Wijn is a Brussels-based guitarist who played in several postrock kind projects such as Sound Film, 52 Commercial Road, or more shoegaze Lazy Sin. These collaborations gave him the opportunity to perform in various locations in Belgium, France, England, and the USA. As a musician, his focus has always been attracted by progressively built rhythmic melodies, which would eventually turn into long reverberated or distorted swells, or the otherway round.

All these experiences brought them both to the idea of scoring movies with different yet similar approaches.

That's how their first collaboration happened as Le Motel was working on the soundtrack of the movie Binti, and invited Bruce Wijn for the track Exode, in 2018. Since then, they've been working on other scoring projects, such as the feature film 'Aller Retour' more recently.

Alongside the movie scoring activities another audiovisual live project was born, in collaboration with Antoine de Schuyter and his mesmerizing images.

This one is more focusing on tape textures, field recordings and glitchy effects in order to build atmospheric tracks that they decided to bring together in a first E.P. 'MAAR'.

'MAAR' is elaborated as a soundtrack for an imaginary journey between cold seas and volcanoes explorations.

From the first echoing sounds of playing kids on the shoreside in the opening track 'La Perche' Le Motel & Bruce Wijn let you slide in a technicolor dreamworld, reverbing slowly innocent childhood memories into a chilled, out of range, future.

'MAAR' dives deep into a kaleidoscopic microcosmos watching Nautilus playing hide and seek with 'Captain Ahab' floating on sonic breaking waves, while seagulls gently spread their wings flying through the breezy and misty clouds of Blankenberge.

Lava vulcanica slowly melts in the sad euphorica of the cold North Sea, crystallizing sounds only Le Motel and Bruce Wijn can deliver.

Mit ihrem neuen Album 'For The People' kehren Dropkick Murphys zurück zu ihren Punk-Wurzeln - laut, kämpferisch und voller Haltung. Zwischen Klassenkampf und Familiengeschichte, zwischen Protestsong und Pogues-Hommage - 'For The People' ist mehr als nur ein Albumtitel. Es ist ein Statement gegen Ungerechtigkeit, für Menschlichkeit und Solidarität.

Produziert von Langzeit-Weggefährte Ted Hutt und mit Artwork von Shepard Faireys Studio Number One, erscheint das Album über Dummy Luck Music / Play It Again Sam digital am 4. Juli (passend zum US-Unabhängigkeitstag) und am 10. Oktober auf CD und 2LP. Die Vinyl-Version kommt mit fünf Bonustracks.

Ob mit der ersten Single 'Who’ll Stand With Us?' oder der bewegenden Shane-MacGowan-Verneigung 'One Last Goodbye' - Dropkick Murphys liefern den Soundtrack für alle, die sich nicht mit der Welt, wie sie ist, zufriedengeben. 'For the People'!

- Ltd. Col. 2LP: (Silver 2LP/Gatefold mit Etching einer schwarzen Rose auf der D-Seite + Faltposter)

Mit ihrem neuen Album 'For The People' kehren Dropkick Murphys zurück zu ihren Punk-Wurzeln - laut, kämpferisch und voller Haltung. Zwischen Klassenkampf und Familiengeschichte, zwischen Protestsong und Pogues-Hommage - 'For The People' ist mehr als nur ein Albumtitel. Es ist ein Statement gegen Ungerechtigkeit, für Menschlichkeit und Solidarität.

Produziert von Langzeit-Weggefährte Ted Hutt und mit Artwork von Shepard Faireys Studio Number One, erscheint das Album über Dummy Luck Music / Play It Again Sam digital am 4. Juli (passend zum US-Unabhängigkeitstag) und am 10. Oktober auf CD und 2LP. Die Vinyl-Version kommt mit fünf Bonustracks.

Ob mit der ersten Single 'Who’ll Stand With Us?' oder der bewegenden Shane-MacGowan-Verneigung 'One Last Goodbye' - Dropkick Murphys liefern den Soundtrack für alle, die sich nicht mit der Welt, wie sie ist, zufriedengeben. 'For the People'!

Gatefold mit Etching einer schwarzen Rose auf der D-Seite + Faltposter)

‘Tedere Baldadigheden’, Guido Belcanto's new, long-awaited album in a production by Firmin Michiels and Guido Op De Beeck, was released on 4 October, 2024 at the beginning of a very extensive, sold out tour. It is a special retrospective from an award-winning singer who looks back with melancholy and humour on the many mischievous adventures that marked his life. Love prevails, but tragedy and tristesse also leave their mark on Belcanto himself and the scarred souls of the many colourful characters who come to life in his songs.

This 15th studio album undoubtedly represents a new high point in Belcanto's oeuvre, which now numbers over 300 songs, with 11 of his own songs and 2 surprising adaptations of songs by Eels and Guido's idol Renaud. Besides members of his loyal backing band Het Broederschap, guest musicians such as Stoy Stoffelen, David Poltrock, Evert Verhees, Jan De Smet, Alban Sarens, Adriano Cominotto and Chris Peeters also play along. Also notable are certainly the passages of Lara Chedraoui (Intergalactic Lovers) and The Bonnie Blues.

For more than 40 years, Guido Belcanto has been creating a universe all his own with his songs. A warm, recognisable home for everyone, young or old, rich or poor, winner or loser. A home too, masterfully brought to a stage where the audience is allowed to be themselves without embarrassment, praising happiness, measuring the damage suffered, letting the tears flow and the laughs ring out.