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

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

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

Both lyrically & musically, 'VOiD' reflects a disillusionment with a world increasingly defined by division, ideological rigidity & the loss of nuance. The album documents a conscious withdrawal from the noise - a retreat into a personal void. "Metal as well as Rock, from the head as well from the heart" - Classic Rock DE Much of 'VOiD' is driven by frustration with the binary nature of modern discourse, where context & intent are routinely discarded in favour of winning arguments. The record rejects that environment entirely, choosing introspection over confrontation & exploring Darran Charles' (lyricist & vocals) balancing of misanthropy with optimism & isolation with connection.

"Their blend of indie-rock & alternative metal has emotion & depth" - Buzz Magazine The writing process for 'VOiD' was exacting & often punishing, with songs repeatedly reworked in pursuit of emotional impact. Long- standing collaborators Tom Price & Gavin Bushell play a vital role throughout, while the introduction of new bassist Francis George - the band's first line-up change in twelve years - brings a subtle but important shift in the overall feel of the rhythm section.

After that album, in addition to an intense schedule of headlining shows, she was invited to support prestigious artists such as experimental folk paladins Heilung and the historic gothic rock band The Cult on their extensive tours across Europe and the United Kingdom. It was during her performance at the Hammersmith Apollo in London, as part of the tour with Heilung and Eivor, that the album "Live in London" (2024) was recorded -- a testament to her overwhelming performative power, a cathartic ritual capable of transcending genres and styles.

Blending folk metal, dark ambient, pagan ritual, psychedelia and operatic elements, and entirely composed, performed and sung by Lili Refrain, "Nagalite" combines in its title two words: "Naga," from Sanskrit, meaning "serpent," bearer of ancient knowledge; and "Lite," from the Greek lithos, "stone," something that endures beyond space and time, embodying earth, world and family. From this fusion emerges a symbolic being -- a stone- serpent -- the living body of metamorphosis, emblem of an imaginary transformation through four serpentine alchemical states, the four tracks that make up the suite. It is a sonic reflection on an era marked by war and horror, in which the artist traces a possibility of resilience and new life.

After that album, in addition to an intense schedule of headlining shows, she was invited to support prestigious artists such as experimental folk paladins Heilung and the historic gothic rock band The Cult on their extensive tours across Europe and the United Kingdom. It was during her performance at the Hammersmith Apollo in London, as part of the tour with Heilung and Eivor, that the album "Live in London" (2024) was recorded -- a testament to her overwhelming performative power, a cathartic ritual capable of transcending genres and styles.

Blending folk metal, dark ambient, pagan ritual, psychedelia and operatic elements, and entirely composed, performed and sung by Lili Refrain, "Nagalite" combines in its title two words: "Naga," from Sanskrit, meaning "serpent," bearer of ancient knowledge; and "Lite," from the Greek lithos, "stone," something that endures beyond space and time, embodying earth, world and family. From this fusion emerges a symbolic being -- a stone- serpent -- the living body of metamorphosis, emblem of an imaginary transformation through four serpentine alchemical states, the four tracks that make up the suite. It is a sonic reflection on an era marked by war and horror, in which the artist traces a possibility of resilience and new life.

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.

José González has delivered a new album, Against the Dying of the Light, a companion and further meditation on the themes of his critically acclaimed album, Local Valley. Where Local Valley turned inward toward place, language, and personal reflection, this new record widens its gaze, becoming an urgent call to preserve the light of humanity with all its flaws, at a moment when, technology increasingly shapes how we think, feel, and relate to one another.

While José has always embraced technological advancement, he questions the assumption that every new possibility must be pursued to its maximum potential, especially when progress comes at the expense of human flourishing, attention, and empathy.

Keeping in the tradition of folk music as protest, José’s new single — sharing its title with the forthcoming album — urges listeners to resist systems that dehumanize and divide: “Disconnect from every algorithm, every perverse incentive that drags you down. Let’s rebel against the replicators, against the dying of the light. Kill the codes that feed the hate, keep the codes that make you thrive, celebrate the **king fact that we’re alive.”

Across the album, González works within a deliberately minimal framework, pushing his familiar palette to new heights through subtle variation, restraint, and detail. Each song unfolds with its own distinct character, proving how much emotional and musical range can be achieved within self - imposed limitations. Written in English, Swedish, and Spanish, the record reflects his Swedish - Argentine roots and frames its humanist message as a global one rather than a purely personal or political statement.

José González is one of the most quietly influential artists of our generation. The Swedish - Argentine artist has built a singular musical world from hypnotic, minimal guitar work and his unmistakably gentle voice — a sound that has become deeply personal to millions of listeners worldwide. With billions of streams across platforms and hundreds of thousands of physical records sold, González’s songs often act as emotional landmarks. Ask almost anyone, and they can name at least one of his tracks tied to a defining moment in their lives.

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

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

Austin Wintory's third collaboration with Giant Squid and creative director Matt Nava, Sword of the Sea, sees it's soundtrack surfing onto vinyl.

The music has been specially mastered for vinyl and is pressed to heavyweight discs, all housed in a deluxe gatefold sleeve. Illustrator Elaine Lee has created original artwork that flows from the front cover to the back.

Nominated for Best Score Soundtrack for Video Games and Other Interactive Media at the 68th GRAMMY Awards, Sword of the Sea is an aesthetic successor to thatgamecompany's Journey and Giant Squid's ABZÛ and The Pathless. The album is a mellifluous musical adventure, resonating immaculately with the game's sense of flow and beauty. Piano, synthesisers, strings, wind, and choral elements collaborate with, and cascade over one another, always with a purposeful momentum. Harmonically, pieces carry the listener along a gently undulating path, punctuated by unexpected chord changes - jagged little musical surprises that hint at the game's deeper mysteries.

Soloists Kristin 'Field of Reeds' Naigus, Tina Guo, Malukah, Paul Cartwright and Tom Strahle elevate the score with soaring performances, while ensembles including London Voices and the Phoenix Boys Choir enrich the texture of the enveloping compositions.

Analog Fingerprints Vol. 0 is a compilation bringing together the early 2000s works of Marco Passarani under his Analog Fingerprints alias, collecting key tracks originally released on Rome’s Plasmek and Pigna labels.

For Numbers, the story starts long before the label itself. In their formative years, digging in Glasgow’s Rubadub, Passarani’s records felt like dispatches from a future city. Releases on his own Nature Records and on labels such as Generator and Interr-Ference Communications were mind blowing: rooted in Detroit techno, Chicago house and electro, yet pushing somewhere new. Much like fellow travellers Autechre, who would remix him in 2001, Passarani’s music balanced machine funk with restless experimentation.

Information was scarce, and you would hear these records first on the dancefloor or at listening stations in shops like Rubadub. Print fanzines like Ear and early web outposts such as Forcefield offered only fragments. But there was a palpable axis forming between Detroit techno and a new European wave of record labels including Skam, Rephlex, Clone, Viewlexx and Nature itself. It was the sound that defined Saturday nights at Rubadub’s ‘69’ parties in Paisley, just outside of Glasgow.

Passarani’s records, in particular, were instrumental in bringing together the future Numbers co-founders. Richard had already booked him pre-Numbers; meanwhile Calum (Spencer) and Jack (Jackmaster), then 16/17 year olds working alternate Saturdays in Rubadub, were so enamoured with the Roman sound that they travelled to Rome for the Bitz Festival in 2003 to seek out Passarani and Lory D at their source.

The first Analog Fingerprints release landed as a 12” on Plasmek in 2001, following the fractured, IDM-leaning 6 Katun material. For Passarani, the project marked a recalibration. A DJ first and foremost, he had moved into production via early computer setups, from a Commodore Amiga through primitive PC audio, Cubase and Logic, later experimenting with Ableton. The IDM scene had offered a playground for trial and error, but there was always a tension between abstraction and the dancefloor. Analog Fingerprints became the bridge: still intelligent, but with more dance than distance. After years of broken beats and complex arrangements, he wanted directness without surrendering identity.

Working closely with Francesco de Bellis and Mario Pierro in the Pigneto district, the trio formed Pigna as a vehicle for reclaiming a more accessible dance sound, deliberately steering away from the minimal wave beginning to dominate Europe. Sessions were fast, instinctive, often stretching late into the night with friends dropping by. It was a studio as social space, production as collective energy.

“In that constant search for balance, Analog Fingerprints was my way of expressing something closer to the classic dance floor. The track 'Tribute' - a tribute to my favourite early Detroit techno track of all time, 'First Bass' by Separate Minds - came after I realised I had almost lost my connection with the dance floor. The simplest step was to take inspiration from early Chicago and Detroit and twist it in our Roman ‘Pigna’ way. My goal was to create more accessible dancefloor tracks by mixing my unconscious Italo roots with my teenage love for that early US sound, ensuring the result was as far as possible from the minimal sound that was starting to dominate everywhere.” - Marco Passarani

Technically, the Analog Fingerprints tracks span a transitional era: Roland TR-909, SH-101 and Alpha Juno hardware met early software experiments. A Novation Drumstation rack stood in for the unattainable TR-808, syncing with TB-303 and TR-606. Yet the true secret weapon was Jeskola Buzz, a tracker-style modular environment that allowed step-by-step parameter control and strange melodic constructions, later exported into the audio sequencer. Even the lead on ‘Tribute’ came from an early PPG Wave-style plugin. It was hybrid thinking at a moment when digital tools still felt unstable but full of possibility for technologists like Passarani.

Behind the music sat Finalfrontier, a loose Roman collective orbiting Nature and Plasmek. Distribution and production were intertwined; importing obscure records into Italy built connections with like-minded outsiders across Europe and the US. Expensive phone bills and fax machines forged an “electronix network” that linked Rome to Clone, Viewlexx, Skam, Rephlex, Rubadub and Detroit’s Underground Resistance. There was a shared sense of survival and resistance, of operating against commercial systems.

Passarani recalls “The first time I found a sheet of paper inside an Underground Resistance 12” with info about upcoming releases... and a huge picture of Spock on the back. Imagine that: you love the music, you love Star Trek, and there’s someone on the other side of the ocean sharing those same values and sounds. It was the perfect match. We even gave our original company the suffix ‘Finalfrontier’: that says it all.”

Feedback in that era arrived physically: distributor faxes, conversations with visiting DJs, the experience of playing abroad and meeting kids who had connected with the records. Glasgow became a key node in a scattered outlier network. Passarani personally brought the first two Nature releases to Fat Cat in London, playing them in-store. Shortly after, a fax arrived from Rubadub in Glasgow requesting copies.

“I still remember that phone buzz and the fax paper slowly sliding out, with someone I didn’t know saying they wanted 75 copies of Nature 001. Or like the time we got a fax from the Rephlex crew just saying, “Hello Nature Records, Keep up the good work.” That was how we knew the message was getting through. It was a fantastic feeling; just one piece of thermal fax paper as an analog notification - the mood for the entire week would change.” - Passarani

The connection to Glasgow has since stretched across generations. As Passarani reflects, links often fracture as scenes renew themselves, but in Glasgow something different happened. New and old mixed seamlessly. There was a visible trust in what came before, and a willingness to carry it forward rather than discard it. Observed from Rome, it was deeply encouraging.

Analog Fingerprints Vol. 0 captures that moment of exchange: Rome to Glasgow, Detroit to Europe, experiment to dancefloor. It documents an artist recalibrating his sound and a network of scenes discovering one another in real time, connected by vinyl, faxes and shared intent.

One of the most innovative and ambitious albums ever made, Genioh Yamashirogumi’s Ecophony Rinne is a sonic masterpiece featuring over 200 musicians that expanded the limits of what music and sound could do.

Before Akira there was Ecophony Rinne. Originally released in 1986, Ecophony Rinne is a four-part symphony of “ecological music” by Geinoh Yamashirogumi that married ancient tradition with technological innovation, and changed the way we listen to music in the process.

Half-speed mastered at Abbey Road by Miles Showell, Time Capsule’s high-tech analogue reissue is the first to reproduce composer Ōhashi’s ground-breaking “Hypersonic Effect” theory on vinyl, cutting frequencies beyond the realm of human hearing into wax to capture the full spectrum emotional impact of this extraordinary work.

Founded by genius polymath Tsutomu Ōhashi aka Shoji Yamashiro, Geinoh Yamashirogumi is a shapeshifting collective of over a hundred members from across disciplines. Rejecting professional musicianship, Ōhashi cultivated an ethos where neuroscientists, psychologists, doctors, journalists, engineers and students could critique society through artistic expression and pursue their research in ethnomusicological performances that spanned global traditions, Eastern spirituality and Western classical form.

Ecophony Rinne represents the pinnacle of this vision - an expansive orchestral suite made with over 200 musicians that channeled Ōhashi’s thinking about mankind’s relationship with nature, and fundamental questions of life, death and rebirth.

Here pipe organ synths made from sampled Tibetan horns sit alongside field recordings from Central African forests, Buddhist mantras circle dummy head microphones, Javanese Jegog percussion ensembles pulse like verdant ecosystems, and the acoustics of temples, caves and landscapes are conveyed in the mix. Weaving together culture, nature and technology, it is a record that vibrates with the polyphony of life on Earth.

But Ecophony Rinne was not only musically innovative. Noticing the difference between vinyl and CD versions of the album where digital reproduction limited the sound, Ōhashi developed a theory of “Hypersonic Effect”, determining that ultra-high frequencies above 20khz can impact human perception even if they are inaudible. At once a physical and a psychological experience, to listen to Ecophony Rinne is to feel music differently.

The rest is history. After its release, Ōhashi was approached by director Katsuhiro Ōtomo to produce the soundtrack for Akira, the work for which Geinoh Yamashirogumi is best known. Emerging from the shadows at last, Ecophony Rinne was its transcendental blueprint, reissued in its most complete hypersonic form on vinyl for the first time.

Rather than describe nature, Ecophony Rinne embodied it. Rather than reflect culture, Ecophony Rinne defined it. Rather than explore technology, Ecophony Rinne changed it. As a work of art, it is more relevant than ever. You won’t have heard anything like it.

Musubi is an album conceived as a puzzle without a predefined plan. Each artist created their track independently, without listening to the others, yet the result is a coherent journey of downtempo, psychedelic and elegant pieces that naturally resonate with one another. This album reflects the essence of Wabi Sabi Audio Imprint: embracing imperfection, spontaneity, and the beauty found in the unexpected.

Dino Lenny and Marco Capelli are the two people collectively known as Andrea Doria, a name known by many as that of an oceanliner which sunk in the Atlantic Ocean. Originally released in 2003, the official reissue remastered by Gianni Bini at HOG Studio is now available

Meticulously assembled from a good 15 years' worth of source material, Cong Burn boss John Howes' second Paperclip Minimiser transmission proliferates its predecessor's network of turn-of-the-millennium aesthetics and concepts, bringing us closer to the lost future promised by the mid-digital age. If the debut album rooted itself in 2006, using an era-specific rig to activate its vintage Winamp-ready sound, 'II' pushes the clock forward just a little, recycling an unreleased album that Howes engineered in various locations across the north of England, starting way back in 2011. Working quickly and methodically with his homebrewed "DIY DAW" system, Howes improvised live using the record's bank of sounds, transforming the skittering bio-electronic rhythms, bitcrushed modem whines and inclement Lancs soundscapes into a suite of sleek, bass heavy steppers.

Howes has refined his setup and process over the years to function as an antithesis of contemporary production logic, a system that he can use easily to retreat from the excessive layering, overdubbing and editing that plagues modern electronic music. With only limited separate channels in each track, 'II' sounds both archaic and strangely novel. Showing respect to the early days of techno, when stone-cold classics were jammed out live using just a drum machine, a sampler and a couple of synths, Howes simultaneously acknowledges the promise of the transition to a digital future, as nascent algorithmic technology began to rehydrate stale rhythmic and melodic patterns. Fabricating its wrinkled cyberpunk landscape from shovelware blips and whines, spacious environmental echoes and lustrous, plasticky FM hits, 'II' is dense but never congested. It's a reminder that bass music thrives when it's given the room it needs to breathe.

Undun is the story of a man, Redford Stevens, dying in reverse, rewinding from the moment he became a statistic and hitting the points in his life where he's at his most self-aware. That he's a criminal who got caught up in the familiar street-hustle trappings that the modern media's documented countless times is a pivotal detail-- it's hit at an angle that seems to emphasize the futile inevitability of it all. His life could be any number of misdirected narratives that ends with a toe tag, and what details listeners learn about him are hazy, buried under archetypal turns of fate and decisive struggles. That this protagonist is a fictionalized composite of a handful of real people, filtered through a matter-of-fact narrative that splits character ambivalence with journalistic impartiality, only makes his lack of direction and the failure of any real closure stand out even more. "Lotta niggas go to prison," Dice Raw states on "Tip the Scale", "how many come out Malcolm X?"

So the Roots' latest album isn't a sprawling, rise-and-fall crime story, not a condemnation or a veneration of a man living outside the law, not a bullet-riddled grand guignol heavy on explicit details of soldiers getting cut down. It's a character study of a man whose existential crisis ends only with his death-- a death gone largely unspecified, the glamor and tragedy washed over with a doomed resignation. That's a hard thing to pull off, even for a band as given to deep-thinking concepts as the Roots are. And when your main lyrical catalyst is Black Thought-- a man more given to allusions than direct statements-- it's likely that it'll take a while for the full scope of Undun to really sink in.

If and when it does, it might strike listeners as a bit skeletal: omit the mood-setting instrumental bookends, including a brief, four-part orchestral suite that builds off Sufjan Stevens' "Redford (For Yia-Yia and Pappou)", and you've got maybe a half hour's worth of material. By ?uestlove's accounts, writing Redford's story introduced the headaches and challenges that come with scriptwriting into their songwriting, and what's left on Undun is the end result of frequent revisions and rewrites that attempt to reconcile character, theme, and continuity. If it comes at the expense of nuance, it's not always obvious: There's an easy-to-trace narrative line from Redford's acceptance of his fate ("Sleep") to his acknowledgement of how close it's approaching ("Make My"), back through declarations of aggravated toughness ("One Time"), and celebratory fatalism ("Kool On"), along ups and downs that juxtapose motivation ("Stomp") and helplessness ("Lighthouse"). When the vocal portion of the album ends with two of the bleakest sets of verses in the Roots discography, peaking with the estrangement of "I Remember" and the desperation of "Tip the Scale", Undun reveals itself as a story where a man's actual death isn't quite as tragic as the circumstances that pushed him to it.

Manaccan ep is a blend of dub and Detroit techno tracks.

Merv (Denmark) are known for their dubby Basic Channel like sound. Elevation is a natural successor to the timeless classic 'Dust'.

Ohm (Denmark) and Octal Industries (Estonia) have been industry stalwarts for decades. Their experience is evident in the BS1818 debut track 'Journey': a functional track in the Scandinavian dub techno style.

Kuba Sojka (Poland) is back on Boomstraat 1818 with a remastered version of 'Rain', which was originally released on Rohs! The track deserved a vinyl release and Kuba rebuilt the track from scratch.

Stroef (Netherlands) his track 'Boxed In' was originally released on OHM Series Digital. This version is reconstructed for the vinyl release on Boomstraat 1818.

The official soundtrack to SIRĀT, written and produced by David Letellier aka Kangding Ray.

Pressed on opaque white vinyl with a black 7” single included as part of the package. The CD is presented in a digipack.

Set deep in the wild terrain of southern Morocco, SIRĀT is a visceral, atmospheric odyssey following a father (Sergi López) and son as they search for their missing daughter and sister. Their journey leads them through the throbbing heart of a nomadic rave scene where music becomes both guide and ghost — a haunting pulse that drives the narrative into the desert’s burning isolation.

At the film’s core is its mesmerizing original soundtrack, a fusion of electronic minimalism and grainy sonic textures that underscore the film’s themes of disappearance, connection, and liberation through sound.

Guti returns to Crosstown Rebels with improvisational new EP, ‘You Know Ya Miss Me’.An exploration of instinct, groove, and the new Latin sound, the Argentinian live maestro returns to Damian Lazarus’ imprint on 13th March 2026.

A new wave of Latin-infused groove arrives on Crosstown Rebels, and South American favourite Guti is at the helm. Returning to Damian Lazarus’ imprint with a release that captures his music in its most immediate and expressive form, his four-track ‘You Know Ya Miss Me’ EP marks his first material on the label since 2020, reigniting a relationship that stretches back over 15 years. For the Argentinian artist, the studio has always been a living room, a jam space, a place where ideas can breathe, collide, and evolve naturally. Throughout his career, Guti has blended groove-driven house and Latin percussion into a signature sonic language in which spontaneity guides the process. The result here is a new release that feels as alive as it does intentional, designed for ears, hearts, and dancefloors alike.
Title track ‘You Know Ya Miss Me’ opens with warm rhythmic layers and subtle instrumental interplay, a space where melody and movement coexist freely. ‘What You Give’ follows, pulsing with the organic energy of jam-session dynamics, each percussive gesture and melodic line alive with intention. On the flip, ‘The Truth’ unfurls a rich tapestry of percussion, soulful vocals, and improvisational motifs, while ‘La Nueva Onda Latina’ closes the EP as a vivid statement; an embodiment of the “new Latin sound” at the heart of Guti’s ethos, where instruments, electronics, and collaborative energy meet on equal footing. At its core, ‘You Know Ya Miss Me’ is a showcase of a musical mind at work: deliberate yet free, precise yet flowing, rooted in tradition but open to the unexpected. It’s a reflection of Guti’s belief that dance music can be both kinetic and expressive, that improvisation and groove can coexist, and that the most resonant sounds are born when musicians let go in the moment. This EP invites listeners into that space, to move with the rhythms, and to experience a sound unmistakably Guti; organic, vibrant, and alive.

Djo, the musical project of Joe Keery, returns with his fourth studio album, The Crux Deluxe—an expansive, 12-track companion album to The Crux, written, recorded and produced by Keery and his collaborator Adam Thein. Following the massive success of his single “End of Beginning,” which topped both the US and Global Spotify charts and amassed over 2 billion streams worldwide, the deluxe record is full of songs that were written at the same time as The Crux album sessions and recorded at Electric Lady Studios in NYC.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes. The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process. Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever. The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before. ‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract. There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.

MTY-3.14 “π”, released on March 14, 2026, is the fifth and final chapter of a journey begun fifteen years ago.



This standard edition presents the final form of Polar Inertia across three 12" vinyl records, featuring 11 tracks. Nothing added, nothing removed—only the music, unfolding in full.



Images dissolve, words fall away. What remains are faint echoes, like footprints slowly erased in fresh snow.



This final opus does not close the path. It fades into it. π is not an ending, but a state: the moment where movement continues, even as the world turns silent.



A last step.
A final trace.
Still moving, beneath the cold.



POLAR INERTIA



We are no one because we want to be no one,
And to be no one we have to be everywhere and nowhere- Polar Inertia examines the enigmatic and blurry realms, embracing the art of obscured vision.


Encountering the collective Polar Inertia is much like being absorbed by fog and captivated by its ever-shifting forms and densities, with things being as indistinguishable as in a whiteout.



Formed in 2010 by a group of artists, Polar Inertia transcends visibility, delving into structures that lie beyond the public gaze. Layers upon layers intertwine within the fabric of Polar Inertia, extending beyond their profound electronic compositions and live performances. It manifests as a conceptual universe, where sound, monochrome aesthetics, and elusive narratives converge, much like trying to grasp the intangible fog. The entity that is Polar Inertia is involved in installations, print- and video work and texts created for different contexts and live in different spheres such as Palais de Tokyo in Paris or the Lyon Biennale of Contemporary Art. Still, clubs and festivals are perfect spaces to experience these nebulous soundworlds and immerse in them. Fittingly, some of Polar Inertia’s appearances include the colossal halls of Berghain and Bassiani and at experimental festivals like Mutek Montreal and Atonal Berlin, that like to break with the classic club conventions.



Polar Inertia's sonic landscape unfolds with wafting textures accompanied by resonating beats and drones, reverberating through empty spaces, merging with the vast expanse of nothingness. Their sound exists at the crossroads of ambient, experimental, and deep techno, interwoven with vocal narratives. Since their inaugural release “Indirect Light“ on Dement3d Records in 2011, they remain a stronghold of relevance and captivation in the electronic domain.



Mastered by sixbitdeep, with artistic direction by Diplomatie Studio.

Stine Janvin & Morten Joh unveil "Or Gare," a stark and deeply atmospheric excavation of funeral-processional music from Ryfylke, Norway. The release marks the debut collaboration of both artists, recasting a near-forgotten tradition into ghost-lit contemporary form. Rooted in the bygone custom of "Liksong" (literally "corpse song") that was once sung by small groups of singers who guided rural funeral processions, Janvin and Joh tap into its uncanny, unbearably slow intervallic structures, reanimating the practice as a kind of ancient electronic microtonal devotional music.

INDUSTRIAS MEKANIKAS is back with the third instalment of the ANTIKHRIST VISIONS saga. This release is particularly symbolic: it’s the ninth in the catalogue, marked by the infernal numerology that runs right through the whole series. It’s a descent into a sonic underworld, where noise becomes ritual and pleasure is just pure agony.

The artist tasked with opening this new chapter of the saga is the mighty Óscar Mulero, an essential figure on the national electronic scene and one of our biggest international ambassadors, whose career has left a deep mark on contemporary music. Here, with Faceless, he delves into dark, precise, and devastating electro territory; a spiritual machine that dictates the pulse of chaos.

Next up, we’ve got Pressurized Modulator with Reddrum: hard, crunchy, industrial electro, absolutely buzzing with electrical tension and twisted sonic matter.
Closing out the A-side is Jacko Volvone (aka Hoax Believers) with Quieren Cerrar Las Fábricas: a track that expertly blends electro, techno, and post-punk echoes, resulting in a tense, distorted, and combative sound, like a working-class echo shouting from the abyss.

Flipping over, the B-side opens with Hanging Nuts (made up of Waje Martín, Fake Robotik, and Ruben Montesco). They unleash a murky descent of filthy, distorted, primal electro, slashed through with guitars and raw, guttural vocals: a genuine chant from beyond the grave. The second cut marks the debut of Techselektah & Phil Fork with Champagne No Potable: a raging street anthem packed with fury, energy, and social criticism, where Spanish vocals emerge amidst EBM structures that have that ‘80s spirit, reinterpreted with today’s raw edge. And the big finish is down to HBK1 alongside Rigor Mortis, with Instinto Caníbal: a full-on explosion of electro-industrial and EBM that awakens the body’s most primitive urges.

Antikhrist Visions Vol. III is a sonic summoning from the lands of Hades: ritualistic matter, organic sound, and primal force. A testament to pleasure and torment—Tormento do Gostar—etched into the vinyl as if it were molten iron.

Memento Mori.

Solo 500 delivers another irresistible donut that takes the form of this 2-sided celebration of afro-latin & jazz-funk classics. GSC dusts off 2 deep catalog selections here — & part of the appeal is that neither side is a played-out sample cliché. This one is for heads who already burned through the obvious joints.

Side A digs into Manu Dibango beyond the endlessly flipped “Soul Makossa” universe. “The Panther”, from the 1973 album “Africadelic”, isn’t one of his commonly sampled tracks — & that’s exactly why it hits so hard. Low-slung Afro-funk, stalking bass & suspense-building horns that feel like a break record even if they haven’t been rinsed by every golden-era producer. Selectors who chase texture over recognition will understand the power here immediately. It’s the kind of cut hip-hop heads love not because they’ve heard it before — but because they haven’t.

Side B moves into Latin jazz-funk royalty. Ray Barretto is one of the most sampled percussionists of all time, but “Together” (from the 1969 album of the same name) sits slightly off the obvious break-beat path. Instead of a clean, isolated drum loop, you get rolling congas, warm keys & a communal groove that’s been DJ-tested far more than it’s been sampled. This is the type of Barretto cut that crate-diggers pull when they want rhythm to breathe — bridging jazz floors, disco-leaning sets & hip-hop selectors who think like musicians, not beat miners.

Mit „Future Soul“ erweitert die Tedeschi Trucks Band ihren Horizont, ohne dabei ihre Wurzeln zu verlieren.
Produziert wurde das Album von dem genreübergreifenden Mike Elizondo (bekannt für seine Arbeit mit
Brothers Osborne, Dr. Dre, Twenty One Pilots und Turnstile). Darauf erkundet das 12-köpfige Ensemble
tiefere Grooves und reichhaltigere Texturen als je zuvor.
Der feurige Titeltrack „Future Soul“ besticht durch ein kraftvolles Riff und explosive Vocals – ein Beweis dafür, dass die Band nach wie vor pure Rockenergie entfesseln kann, wenn sie will. „Crazy Cryin’“
strotzt vor rohen Emotionen und verbindet Gospel-Harmonien und Blues-Grit auf klassische TTB-Art,
während „Who Am I“ einen nachdenklichen Ton anschlägt und Susan Tedeschis gefühlvolle Stimmgewalt
und Derek Trucks’ lyrisches Gitarrenspiel in perfekter Balance präsentiert.
Textlich blickt das Album ebenso nach vorne wie nach innen – es setzt sich mit Identität, Widerstandsfähigkeit und Hoffnung in unsicheren Zeiten auseinander. Elizondos Produktion fügt subtile moderne
Akzente hinzu – warme Bässe, vielschichtige Percussion und Raum für die Bläser und Hintergrundgesänge,
ohne dabei das organische Zusammenspiel zu opfern, das die Live-Magie der Band ausmacht.
Future Soul ist sowohl eine Neuerfindung als auch eine Bestätigung: ein lebhaftes neues Kapitel für eine
der beeindruckendsten Bands Amerikas.

Palmier is producer and rapper Rocé's new album. At the crossroads of Sade and Rakim, the album unfolds an impeccable flow over gentle melodies, the mellow sound of the saxophone softening the sharpness of the spoken truths. Rocé delivers a melody of hope, and appreciation of determination in the face of the impossible. "La Voie Lactée" features the captivating voice of Natacha Atlas and the sublime orchestrated violins of Samy Bishaï, the whole thing wrapped up in the style reminiscent of Isaac Hayes' soul and Portishead's trip-hop. "Laisse les enfants courir" reveals a soulful hip-hop, between powerful groove and relentless flow, where Rocé blends political lucidity and poetic verse while Cisko's subtle arrangements sculpt an organic, sensitive landscape, poised between tension and serenity. On "Lunaire", Rocé surprises us right away, with a sharp and melodic flow. Driven by powerful imagery and sharp lyrics, the track transforms anger into creative energy. It portrays an artist outside the mainstream, aware of the world's failings but determined to create his own haven. Palmier embodies themelancholy of unfinished struggles, perseverance, and the promise of a brighter dawn.FEAT. NATACHA ATLAS & LE VIOLONISTE SAMY BISHAI

Als Green-House beschäftigen sich die Musiker Olive Ardizoni und Michael Flanagan mit der menschlichen Natur und der natürlichen Welt durch eine freudige, dynamische Synthese. Frequenzen und Ausdrucksformen werden wie eine Tarnung übereinandergelegt, und ihr tiefgründiger, vielschichtiger kollaborativer Prozess beginnt mit einem der beiden Künstler: Ardizoni fühlt sich oft zur Melodie hingezogen, Flanagan zur Harmonie. Die Kraft liegt darin, wie ihre Ideen sich miteinander verflechten und eine Tiefe erreichen, die größer ist als die Summe ihrer Teile. Für ihre erste LP mit ihrem neuen Label Ghostly International entwickelt Green-House ihre lebendige Instrumentalmusik weiter und verfeinert sie mit unbekannten, genreübergreifenden Freiheiten und Bewegungen, einer aktiveren, perkussiven und emotionsgeladenen Energie, die durch fließende Klänge und weitläufige Aussichten gekennzeichnet ist. Hinterlands stimmt sich mit einer rebellischen, radikalen Aufrichtigkeit auf die Schönheit der Welt ein. Seit 2020 hat das Duo mit einer Reihe von gefeierten Veröffentlichungen über das einflussreiche Label Leaving Records aus Los Angeles seine Neugier für Umgebungen weiterverfolgt und nach organischen und fernen Räumen gesucht. Seit 2020 hat das Duo in einer Reihe von gefeierten Veröffentlichungen über das wegweisende Label Leaving Records aus Los Angeles seine Neugierde für Umgebungen ausgelebt und mit organischen und synthetischen Instrumenten, hochauflösendem Sounddesign und ,eigenwilligen Melodien, die mit der geduldigen und methodischen Hand eines Gärtners geschaffen wurden", wie Pitchfork schreibt, nach inneren und fernen Räumen gesucht. Green-House lässt sich nicht eindeutig in eine einzige Kategorie einordnen. Ardizoni und Flanagan stehen nicht im Einklang mit New-Age-Ideologien oder Spiritualität, und das Label ,Ambient" erscheint angesichts all dessen, was in ihren Songs vor sich geht, zunehmend eingeschränkt. Green-House lässt sich nicht eindeutig einer einzigen Kategorie zuordnen. Ardizoni und Flanagan stehen nicht im Einklang mit New-Age-Ideologien oder Spiritualität, und die Bezeichnung ,Ambient" erscheint zunehmend eingeschränkt angesichts all dessen, was in ihren Songs vor sich geht, die auf ihrem neuen Album eher in Richtung IDM oder sogar moderne Klassik tendieren. Was bleibt, ist ein offenes Gefühl des Staunens, ,die Idee, bestimmte Emotionen in der Musik zu legitimieren, die in der Kunst oft nicht ernst genommen werden, wie Glück und Freude", sagt Ardizoni, dessen eklektische Persönlichkeit auch ohne Texte zum Vorschein kommt.

Als Green-House beschäftigen sich die Musiker Olive Ardizoni und Michael Flanagan mit der menschlichen Natur und der natürlichen Welt durch eine freudige, dynamische Synthese. Frequenzen und Ausdrucksformen werden wie eine Tarnung übereinandergelegt, und ihr tiefgründiger, vielschichtiger kollaborativer Prozess beginnt mit einem der beiden Künstler: Ardizoni fühlt sich oft zur Melodie hingezogen, Flanagan zur Harmonie. Die Kraft liegt darin, wie ihre Ideen sich miteinander verflechten und eine Tiefe erreichen, die größer ist als die Summe ihrer Teile. Für ihre erste LP mit ihrem neuen Label Ghostly International entwickelt Green-House ihre lebendige Instrumentalmusik weiter und verfeinert sie mit unbekannten, genreübergreifenden Freiheiten und Bewegungen, einer aktiveren, perkussiven und emotionsgeladenen Energie, die durch fließende Klänge und weitläufige Aussichten gekennzeichnet ist. Hinterlands stimmt sich mit einer rebellischen, radikalen Aufrichtigkeit auf die Schönheit der Welt ein. Seit 2020 hat das Duo mit einer Reihe von gefeierten Veröffentlichungen über das einflussreiche Label Leaving Records aus Los Angeles seine Neugier für Umgebungen weiterverfolgt und nach organischen und fernen Räumen gesucht. Seit 2020 hat das Duo in einer Reihe von gefeierten Veröffentlichungen über das wegweisende Label Leaving Records aus Los Angeles seine Neugierde für Umgebungen ausgelebt und mit organischen und synthetischen Instrumenten, hochauflösendem Sounddesign und ,eigenwilligen Melodien, die mit der geduldigen und methodischen Hand eines Gärtners geschaffen wurden", wie Pitchfork schreibt, nach inneren und fernen Räumen gesucht. Green-House lässt sich nicht eindeutig in eine einzige Kategorie einordnen. Ardizoni und Flanagan stehen nicht im Einklang mit New-Age-Ideologien oder Spiritualität, und das Label ,Ambient" erscheint angesichts all dessen, was in ihren Songs vor sich geht, zunehmend eingeschränkt. Green-House lässt sich nicht eindeutig einer einzigen Kategorie zuordnen. Ardizoni und Flanagan stehen nicht im Einklang mit New-Age-Ideologien oder Spiritualität, und die Bezeichnung ,Ambient" erscheint zunehmend eingeschränkt angesichts all dessen, was in ihren Songs vor sich geht, die auf ihrem neuen Album eher in Richtung IDM oder sogar moderne Klassik tendieren. Was bleibt, ist ein offenes Gefühl des Staunens, ,die Idee, bestimmte Emotionen in der Musik zu legitimieren, die in der Kunst oft nicht ernst genommen werden, wie Glück und Freude", sagt Ardizoni, dessen eklektische Persönlichkeit auch ohne Texte zum Vorschein kommt.

Neuauflage des zweiten Albums 'You'll Be Fine' (2020) von Hot Mulligan, eine der vielseitigsten und zutiefst bewegenden Bands des US-Emo-Undergrounds, deren Musik ein kathartischer Aufschrei nach Wachstum einer Generation zukunftsorientierter Mittelwestler ist, die - in den Getrieben eines verrosteten Systems gefangen - verzweifelt nach Hoffnung suchen.

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

Mit Punkrock (1991) markierten Die Goldenen Zitronen ihren entscheidenden Wendepunkt - weg vom Fun-Punk der 80er hin zu einer politisch scharfen, stilistisch mutigen Band. Nach dem Album Fuck You (1990) suchten sie einen direkteren, ehrlicheren Sound - roh, schnell und ohne Studio-Perfektionismus. Gemeinsam mit Billy Childish, dem britischen Garagen-Guru aus Rochester/Kent, nahmen sie die Platte im Januar 1991 in nur drei Tagen auf. Keine Tricks, keine Nachbearbeitung - nur übersteuerte Pegel, Live-Energie und Haltung. Childish klebte die Anzeigen am Mischpult ab, mischte nach Gefühl und erklärte, dass jeder Mix höchstens 30 Minuten dauern dürfe. Das Ergebnis ist ein Meilenstein: ein raues, kompromissloses Album zwischen 60s-Garage, Punk und politischer Dringlichkeit. Songs wie "80 Millionen Hooligans" spiegeln die aufgewühlte Stimmung der frühen Nachwendezeit - Wiedervereinigung, Fremdenhass, Orientierungslosigkeit - und wirken heute wie ein unheilvolles Echo ihrer Zeit. Punkrock wurde zum Kultdokument einer Ära des Aufbruchs und der Widersprüche. 2009 wurde das Album remastered - der rohe Geist blieb, nur klarer denn je. Ungefiltert, übersteuert, unvergesslich - Punkrock, das Statement einer Band, die keine Kompromisse kannte.

Mixed by Simon Lam (Kllo, Armlock) and mastered by Grammy-nominated engineer Andrei Eremin, the album features collaborations with British talent including rising spoken-word artist Emmeline, Mancunian ambient producer Frameworks, and Nattica from Fickle Friends on the single 'Oh My'. Speaking on the album, Fractures says: "There's no overarching theme to this album, not lyrically anyway. It's cobbled together like short diary entries of someone journeying through a sort of middling stasis in their life, a time of nothing particularly noteworthy, and that in itself provokes deeper and maybe darker introspection.

I didn't feel like needlessly plugging holes with lyrics, just light dabs here and there, light and shade to complete the visual I pictured in my head. The through line of the album is more within the sonic palette. There's a murkiness, a sort of dust in the audio that is cast over every song. Noth

Brendan Eder follows up minimalist 70s-jazz concept with new ambient-classical album, THERAPY. Brendan Eder is a Los Angeles composer and drummer best-known for his eponymous genre-bending ensemble of woodwinds, drumset, and bass; as well as his film scoring work, most notably on four short films for director Ari Aster. On March 3, 2023 Eder released his third album, THERAPY, a collection of meditative woodwind arrangements recorded primarily at Church of the Good Shepherd in Arcadia, California.

The quest for THERAPY came during a period of deep spiritual curiosity. Eder was avidly watching testimonies of near death experience survivors (NDEs), pouring over books of Theosophical artwork and philosophy, and
processing experiences of grief, uncertainty and spirituality.

Eder wanted to explore the threshold between the spiritual and physical dimensions, and create music that could evoke its shape and texture — a theme further illustrated in the original album artwork and single covers by Adam Rabinowitz. Eder felt he must be on to something when, on a whim, he looked up the tempo of a piece he was calling “137 Riddle.” Turned out to be “the most important number in the world” in theoretical physics, as well as a provocative number in Jewish mysticism.

Since 2020, Eder's cover of Aphex Twin's “#20 (Lichen)” has garnered over two million streams. Appropriately, THERAPY delivers two new Aphex Twin arrangements alongside eight original pieces.

Maintaining his track record of recording the best musicians Eder can find, THERAPY features special guests Nailah Hunter (harp), Henry Solomon (saxophone), and Ethan Haman on The Newberry Memorial Organ at Yale University.

On this 8 track EP every song has UK and USA lyricists side by side as equals. It includes older icons of Hip-Hop, established talent from the current underground rap scene, and young emerging rappers who haven't been given a platform until now. This project is a collaboration between producer Sam Seed, a dozen rappers, 4 record labels,

the 05:21 music platform and a DJ night. No filler, all killer.


Introducing Sam Seed

A rising name on the underground rap scene. North London producer Sam Seed has a list of top tier production credits to his name with artists including Vinnie Paz, Billy woods,

Mickey Diamond, Conway the Machine. The Unaligned Vol.1 is his eagerly awaited debut EP.

20-jähriges Jubiläum: Erweiterte und remasterte Vinyl-Neuauflage des epochalen Debüts von Band of Horses, dem Indie-Rock-Klassiker "Everything All The Time" aus dem Jahr 2006. Diese erweiterte Ausgabe kommt im Klappcover und einer Bonus-LP mit seltenem und unveröffentlichtem Material, alles frisch gemastert von JJ Golden und gepresst auf opakem gelbem Vinyl. Musikalische Transzendenz zu erreichen, ist echt schwierig. Wenn es klappt - ein großes ,wenn" -, dann passiert das ganz natürlich, und vielleicht weiß das niemand besser als Band of Horses, deren bahnbrechendes Debütalbum ,Everything All The Time" auch nach zwanzig Jahren noch genauso lebendig und, wenn man so sagen darf, transzendent wirkt wie bei seiner Veröffentlichung im Jahr 2006. Gitarrist und Sänger Ben Bridwell gründete Band of Horses 2004 in Seattle, nachdem er fast zehn Jahre lang bei Carissa's Wierd, den melancholischen Lieblingen des Nordwestens, gespielt hatte. Carissa's Wierd machten wunderschönen orchestralen Pop, dessen Songs unerschrockene Geschichten von Herzschmerz und Verlust erzählten, gewürzt mit defätistischem Humor. Band of Horses entstand aus den Überresten dieser beliebten Band, getragen von Bridwells warmer, halliger Stimme und seinen holzigen, verträumten Songs, die vor Spannung, Sehnsucht und Hoffnung nur so strotzen. Mit einem neuen Vertrag bei Sub Pop und einer Reihe großartiger Songs im Gepäck nahm die Band ihr Debütalbum "Everything All the Time" mit Produzent Phil Ek in den Avast Studios in Seattle auf. Mal rau und episch (,The Great Salt Lake"), mal zart und nachdenklich (,St. Augustine", ,Monsters") - "Everything All The Time" ist ein Album, das wunderschön von zerbrechlichen Höhen und Tiefen geprägt ist. Das ist Teil des Genies von Band of Horses: Sie schaffen intelligente, klassische Bewegungen innerhalb ihrer Songs und meistern dabei eine perfekte Balance zwischen Verzweiflung und Hoffnung, Ruhe und Manie, Liebe und Angst. Und natürlich gibt es da noch die massive Single ,The Funeral", die zu einem prägenden Song dieser Ära wurde und weiterhin neue Generationen von Fans und Künstlern gleichermaßen inspiriert. Neben unzähligen Film- und TV-Platzierungen wurde der Song von Kid Cudi gesampelt und vom renommierten Produzenten und Multi-Instrumentalisten Gryffin in einen 2025 Dance Edit verwandelt, der allein in kürzester Zeit 2,5 Millionen Streams ergattert hat. Anlässlich des 20-jährigen Jubiläums des Albums präsentieren Sub Pop und Band of Horses nun die definitive Momentaufnahme der Band zur Zeit von "Everything All The Time". Für diese Jubiläumsveröffentlichung wurde das Album komplett remastered, das Artwork überarbeitet und zu einer Gatefold-Hülle mit Liner Notes von Phil Ek erweitert. Begleitet wird das Album von einer zusätzlichen LP mit Bonustracks, darunter die Tour-EP von 2005, eine Fundgrube bisher unveröffentlichter Studio- und Live-Tracks sowie Raritäten wie ,The End's Not Near" (zu hören in The O.C.) und eine Demoversion von ,The Funeral".

Inspired by the concept of the city as a living, complex entity - a feeling Youniss describes as the difference between "living in a city and just being in that city" - Good Effort! is an open-ended narrative drawn from the artist's own experiences, including growing up on the outskirts of Antwerp.

Like a vibrant city itself, the album is a culmination of organic interactions, layered with diverse perspectives from a collective of artists. Good Effort! features a dynamic cast of collaborators, including international heavyweights like Pink Siifu, Petite Noir, and Quelle Chris, alongside celebrated names from the Belgian underground such as Dienne and Porcelain id.

While retaining his critical edge - especially on themes like gentrification, an acute problem in his home city - Youniss explores the full range of his voice across the album's tracks, resulting in a warmer, more texturally diverse sound.

Tracks like “Notice,” “Glass Ceilings,” and “The Sun Is Falling” expand his textural use of distortion, while others, such as “At the Still Point of the World” and “Why Don’t You?”, float at a more tranquil register. The record's energy peaks on “TakeThat” where Pink Siifu and Youniss trade frenetic bars atop jazzy drum freakouts.

Despite the cynicism forged by witnessing his environment change - like the flattening of the beloved venue Onder Stroom for a parking space - Youniss offers a crucial message of perseverance. The album's title, Good Effort!, is a defiant embrace of trying again.

Igor Tamerlan is a stranger in his own land. Born in 1954 the Hague and spent most formative years in Paris, Igor suddenly had the urge to relocate to Bali in 1986. “I want to settle in Indonesia and marry a local girl,” he told his sister shortly before flying out.

His next journey would be as audacious as his time in the Fifth Republic. Born from a prominent Indonesian expatriate family in Paris with ties to Indonesia’s first prime minister Sutan Sjahrir, Igor earned a degree in architecture at Ecole nationale supe´rieure d’architecture de Paris-La Villette.

He could have been a brilliant architect or a political scientist (he was accepted to Sciences Po), but his passion for music distracted him from his academic works. He was after all named after Russian composer Igor Stravinsky.

During his brief stint at Sciences Po, Igor spent most of times hanging out at recording studios and rub shoulders with the likes of singer-songwriter Jean-Jacques Goldman and Michel Polnaref. He had a brief encounter with The Rolling Stones at the Cha^teau de Thoiry studio in the early 1970s.

But Igor’s musical education and his occidental eyes appeared to be ill-suited for Indonesia. His first record, titled Langkah Pertama (First Step) on the mainstream label Musica was met with a shrug and was a commercial dud. An experimental record blending the influence of Spanish motifs, Francophile production and a whiff of hip hop and ska was seen by critics as being too alien. His sarcasm-laden lyrics and his biting critique of excessive materialism among the upper tier of Indonesia’s nouveau riche in the album was met with confusion from the audience. He was just too far ahead of his time.

He left the label Musica – or may had been dropped – soon after Langkah Pertama and decided to go independent. He then relocated to Bali and set up a state-of-the-art recording studio in Sanur, across the street from Southeast Asia’s first boutique hotel where luminaries like Mick Jagger, David Bowie, Sting, Yoko Ono and Ringo Starr stayed for their holiday.

From the studio, Igor recording everything from the sounds waterfalls, geckos, minibuses to motorized rickshaw and mix them with hip hop, jazz, electronica, dub and Balinese gamelan. A visionary, Igor was the first musician to use MIDI, which started to be available globally in the early 1980s.

On paper, songs like “Bali Vanilli” should not work, a mish mash of disparate elements mentioned above, sung in three languages, Balinese, English and Bahasa Indonesia while tackling the subject of overtourism. The song was also the first to introduce rap to an unsuspecting audience. But for some strange reason “Bali Vanilli” became a sensation and overnight Igor became household name. And in 1987, long before overtourism was an issue, Igor broached the subject to a national audience in Indonesia on the possible destruction of nature and culture from tourism.

Ever an iconoclast, Igor decided to step out of the limelight following the success of “Bali Vanilli” and in early 1990s he relocated to Indonesia’s cultural capital, Yogyakarta. Here, he worked on some more experimental music while juggling as music video director. He passed away in 2018 at the age of 64.

The 10 songs in this compilation, Bali Vanilli: Experimental Pop from Paradise Island (1987-1991), are some of Igor’s best works, music that would have gone into obscurity had it not been for the diligent work of film director Alfred Pasifico Ginting, who managed to track down some of the master tapes while researching on a documentary on the musician.

These recordings have never before been released outside of Indonesia. Igor would have been proud with this reissue project.

Born in Douarnenez, at the far edge of Brittany (France), Komodor has quickly established itself as one of the most vibrant names in the French rock landscape. Their high-energy rock, fueled by fuzz, sweat, and vocal harmonies woven in the spirit of MC5 and T. Rex, immediately drew attention: Rolling Stone, Rock & Folk, Libération and Rock Hard Germany all praised the fiery impact of their debut album Nasty Habits (which sold over 2,000 vinyl copies). Since then, the quintet has mostly lived on the road: a long European tour, followed by the larger-than-life saga of Komodrag & The Mounodor, carrying them to stages such as Hellfest, Les Vieilles Charrues, and the Francofolies de La Rochelle, among many others.

Their second album, Time & Space, reveals a band in full metamorphosis. Without abandoning the explosive force that defines them, Komodor widens its scope: volcanic riffs, more sinuous grooves, mist-laden harmonies, psychedelic flashes… The energy is still wild, but more inhabited, more liberated, almost ceremonial at times. The record opens with two telling bursts: Bliss & Joy, a libertarian charge with the feel of a manifesto, and Soul Tricker, a rock incantation where trance overtakes sheer electric assault. Two sides of the same coin, pulled taut between urgency and enchantment.

On stage, Komodor remains a true shockwave, forged across European festivals (Freak Valley, Motocultor, Fête du Bruit, and more) and now awaited at the legendary Desertfest London. Their music feels made for such spaces: a visceral, flesh-and-amp kind of rock, drawing from the seventies’ heritage to speak even more vividly to the present. A band moving forward at full volume, without nostalgia or calculation, carried by a simple conviction: as long as the amps are hot, rock can still burn.

In short: Komodor is the band of friends from Douarnenez bringing pencil-and-paper rock into the streaming age while preserving its analog soul (with the album mastered at the legendary Miraval Studios), the smell of warm tubes, the grain of vinyl. With this second album, they hit harder, truer, and more vividly than ever.
Time & Space stands as a “must-have French rock record”, a tangible piece worth cherishing in any collection.

Born in Douarnenez, at the far edge of Brittany (France), Komodor has quickly established itself as one of the most vibrant names in the French rock landscape. Their high-energy rock, fueled by fuzz, sweat, and vocal harmonies woven in the spirit of MC5 and T. Rex, immediately drew attention: Rolling Stone, Rock & Folk, Libération and Rock Hard Germany all praised the fiery impact of their debut album Nasty Habits (which sold over 2,000 vinyl copies). Since then, the quintet has mostly lived on the road: a long European tour, followed by the larger-than-life saga of Komodrag & The Mounodor, carrying them to stages such as Hellfest, Les Vieilles Charrues, and the Francofolies de La Rochelle, among many others.

Their second album, Time & Space, reveals a band in full metamorphosis. Without abandoning the explosive force that defines them, Komodor widens its scope: volcanic riffs, more sinuous grooves, mist-laden harmonies, psychedelic flashes… The energy is still wild, but more inhabited, more liberated, almost ceremonial at times. The record opens with two telling bursts: Bliss & Joy, a libertarian charge with the feel of a manifesto, and Soul Tricker, a rock incantation where trance overtakes sheer electric assault. Two sides of the same coin, pulled taut between urgency and enchantment.

On stage, Komodor remains a true shockwave, forged across European festivals (Freak Valley, Motocultor, Fête du Bruit, and more) and now awaited at the legendary Desertfest London. Their music feels made for such spaces: a visceral, flesh-and-amp kind of rock, drawing from the seventies’ heritage to speak even more vividly to the present. A band moving forward at full volume, without nostalgia or calculation, carried by a simple conviction: as long as the amps are hot, rock can still burn.

In short: Komodor is the band of friends from Douarnenez bringing pencil-and-paper rock into the streaming age while preserving its analog soul (with the album mastered at the legendary Miraval Studios), the smell of warm tubes, the grain of vinyl. With this second album, they hit harder, truer, and more vividly than ever.
Time & Space stands as a “must-have French rock record”, a tangible piece worth cherishing in any collection.

London quartet The Leaf Library return with their bold new album After The Rain, Strange Seeds. A luminous collection of pastoral indiepop, drawing inspiration from suburban isolation, unreliable memories and the surreality of the weather. Their most immediate and melodic work to date, the richly evocative songs brim with chiming guitars, buzzing organs and warm, dulcet strings, evoking Yo La Tengo’s more contemplative moments, The Clientele’s autumnal jangle pop and early Stereolab’s motorik melodicism. The sound of the album is defined by mixer John McEntire, whose work with Stereolab and Yo La Tengo (as well as a member of Tortoise/The Sea And Cake) have been major inspirations to the band.
The album explores themes of memory and place, albeit through an abstract haze – returning again and again to specific moments frozen in time: midsummer bright hot days in the Chilterns (“Sun In My Room”), meteorology and the strange movement of the weather (“Colour Chant”), red kites circling over suburban motorways (“Some Circling”), and the uncanny feeling of dusk and nighttime creatures on “The Reader’s Lamp” (titled by celebrated film director Peter Strickland). The lyrics are vivid yet elliptical, strung with abstract ideas and imagery, conjuring a gently unsettling, though never unwelcoming atmosphere. Not quite trusting your own recollection of things, while marvelling at the oddness of the natural world, the album’s title a good summation of the mix of strangeness and hope contained within.

As on past albums the band - founded by singer Kate Gibson and ex-Saloon guitarist Matt Ashton in the mid 2000s, and now completed by drummer Lewis Young and bassist Gareth Jones - have involved their extended musical family, including guitarist Mike Cranny (of fellow drone pop travellers Firestations) and keyboardist Irina Shtreis, both members of the Leaf Library live band. The album also sees the return of James Underwood’s Iskra Strings, a quartet that features on 4 tracks, with sumptuous arrangements by Daniel Fordham, as well as regular contributor Melinda Bronstein on vocals and Will Twynham (Dimorphodons) on harpsichord. They also welcomed Paddy Milner (on Hammond organ) and Scott McKeon (guitar) – both current members of Tom Jones’ band – for a startlingly delicate rolling crescendo to closing track “There Was Always A Golden Age”.
After The Rain, Strange Seeds is their 4th studio album. The result is The Leaf Library’s most accomplished and affecting work, John McEntire’s mix bringing a bold clarity to the band’s meticulous arrangements – closer to how they sound live than anything they’ve done before.

Seit nun fast drei Jahrzehnten erfindet die Amsterdam Klezmer Band Klezmer-Musik von Grund auf neu und verbindet Tradition mit frischer und verspielter Energie. Mit ihrem neuesten Album "Diaspora" kehrt die Band zu ihren akustischen Wurzeln zurück, formt diese jedoch subtil um und fängt die Musik in ihrer unmittelbarsten und fröhlichsten Form ein, wobei Schlagzeuger Mischa Porte eine neue herausragende Rolle einnimmt. Das Album wurde fast vollständig in einer einzigen Aufnahme in der Singelkerk in Amsterdam am 26. November 2025 aufgenommen und strahlt die rohe Energie einer authentischen Live-Performance aus. Keine Overdubs, keine Elektronik und keine Tricks: nur die Band, ihre Instrumente und die Spannung des Augenblicks. Das Ergebnis ist warm und lebendig, ein Sound, der die Amsterdam Klezmer Band wieder mit den Roots der Klezmer-Musik verbindet und befreienden Raum für Improvisation und Entdeckungen lässt. Rumänische und türkische Rhythmen verflechten Klezmer-Songs und Originalkompositionen und schaffen eine musikalische Reise, die sich sowohl geerdet als auch expansiv anfühlt. Diaspora markiert auch einen bewegenden Moment in der Geschichte der Band: Es ist die letzte Aufnahme mit dem Trompeter und Mitbegründer Gijs Levelt, dessen Klang und musikalische Vision die Amsterdam Klezmer Band fast 28 Jahre lang geprägt haben. Auf Diaspora fließen traditionelle Melodien und Eigenkompositionen nahtlos ineinander, geprägt von den unterschiedlichen Stimmen innerhalb der Band. Düstere, melancholische Tänze stehen neben treibenden Sirba- und Cocek-Rhythmen, von Motown inspirierten Grooves, türkischen 9/8-Impulsen und jazzigen Improvisationen. Spoken Word und Rap-Momente sind eine Anspielung auf die Badchen Tradition, während unerwartete Instrumentierungen wie Gitarre-Banjo, die eine traditionelle Melodie anführen, für eine frische Textur sorgen. Jedes Originalstück trägt die Handschrift seines Komponisten, doch alle dienen dem gleichen Zweck: Körper in Bewegung zu bringen, Verbindungen zu schaffen und Klezmer als lebendige, atmende Gemeinschaftssprache zu erhalten. Diaspora ist kein nostalgischer Rückblick, sondern eine lebendige Momentaufnahme dessen, wo die Amsterdam Klezmer Band heute steht: verwurzelt, rastlos und unwiderstehlich lebendig!