quête:the flow

Highlights include more terrific songs from the Plague and Lexington Avenue, bands whose members would be better known when they created the Jarvis Street Revue. Twelve tough tracks by the Checkerlads, White Knights, Tomorrow's Keepsake, NRG, and Solid Reputation . The Gaiety roster was rich in talent (the 49th Parallel, Jarvis Street Review, and Souls of Inspyration, not to mention the Checkerlads, White Knights, Dewline, Tomorrow's Keepsake, NRG, Merriday Park, and Portland Street South) -- but it was not rich in resources, which is why these singles are as relatively unknown as they are even today

Niagara return to Discrepant with Buxtehude, a new work bending the legacy of Dietrich Buxtehude into their own fractured, electro-organic language.

Rather than a tribute, Buxtehude feels like an abstract dialogue with the Baroque composer’s sense of structure and flow—reimagined through Niagara’s raw synth work, off-grid rhythms and subtly warped melodic cycles. The trio let the music grow from the inside out: patterns expand and contract, harmonies tilt slightly off their axis, and small details accumulate until each piece reveals its own internal gravity.

There’s a clarity to Buxtehude that feels carved rather than composed. Tracks move with a quiet insistence, like mechanical organisms finding coherence through repetition and drift. Melodic fragments surface briefly, disappear, then return transformed, lending the album a strange balance between austerity and warmth.

With Buxtehude, Niagara continue to refine their unmistakable approach—playful yet rigorous, minimal yet full of life— remaining entirely their own.

Limited Edition Re-Release incl. 10" EP

BCUC – Bantu Continua Uhuru Consciousness – have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. Today they command festival stages worldwide: Glastonbury West Holts, Roskilde, Afropunk Brooklyn, WOMAD, Fusion, Sziget, FMM Sines, Beaches Brew, Boomtown, Colours of Ostrava, Couleur Café – to name just a few. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances.

THE ROAD IS NEVER EASY

The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs – a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. Songs like Amakhandela (Breaking All the Chains) connect history to daily life: "How is this precious metal inflicting so much pain in us," sing BCUC, "this government has been telling us we are free, but we don't benefit from being free." The album also talks about all the hopes and dreams that remain: "I have too many wishes and dreams in my head," BCUC sing in Um duma khanda, "I think I am losing my mind". The album ends with the soothing Matla a rona ke Bophelo, "our strength is life", praising the spirits and thanking the elders for protection. The Road Is Never Easy is about the harsh reality of life in Soweto, where "people always carry heavy loads". BCUC are street poets trying to deal with that burden: sometimes revolutionary, sometimes soothing, but always hopeful and compassionate. "When you are from Soweto you can't retreat nor surrender." (Sebenzela)

RECORDING

The album was largely recorded in Munich, Germany during tour breaks over two sessions, each three days long. It took place in a small studio located in a German WW II bunker converted into rehearsal spaces. The songs were recorded in one take altogether in one room, with only a few overdubs added, mainly backing vocals, by BCUC at Fourways studio in Johannesburg. BCUC have created their own distinctive way of writing, or rather, finding and creating their songs. The recording process is like an improvised live performance. They bring their ideas into a zone where the music, the rhythm and the spirits take over until the song starts to form. In this Afro-psychedelic zone BCUC create their unique poetry that feeds on the dreams still dreamt, the hopes, the fears and the temptations lingering everywhere. BCUC's songs need to breathe and time to build. The right take was the one when the song took over, and just like their live performances, no one knew beforehand where the song would take them. During the recording, BCUC just let it all flow out: inner turmoil, cries of rebellion, but also resilience and a search for healing, love, unity and compassion. You don't have to be from Soweto to feel the deep meaning and impact of this music. In these times of so much hate and division, BCUC are like a campfire for people to gather around.

PRODUCTION & ARTWORK

"BCUC have a unique magic," says Outhere's Jay Rutledge, who produced the album. "It blew our minds. It's like punk and pure gospel at the same time. Their music can make you dance and it can make you cry, all at the same time. And when the song is over, you feel you're not alone in this world anymore. We felt compelled to do this." The album cover is based on a matchbox design, matches being a common household item in South Africa even today. "These were the matches people used to burn government buildings and cars," explain BCUC. Little messages, addresses, or phone numbers used to be scribbled on the back of these boxes; each one a reminder of the strength, resilience, and resistance that once drove the struggle for freedom in Soweto. BCUC keep this flame burning. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs. "We bring fun and Afro-psychedelic fire from the hood," says vocalist Kgomotso Mokone.

Top Tier Contemporary Analog Disco Boogie. Powered by a stellar array of vintage gear and a shared fascination with the grooves of yesteryear, the L.A.-based, cross-Californian duo Introverted Funk have returned to the Windy City's Star Creature Label for "Body's Groove," an airtight 12" EP that unifies a variety of global influences into one forward-thinking, hybrid slab of soul. Their debut two-sided 7" Tell You / Fan Out quickly sold out last year and the follow up continues the ride with a fresh flow of funk that draws on smooth downtempo R&B, cosmic, breezy synths and masterfully-executed disco with expert authentic studio wizardry, all urging you to take that first step into their Groove.

LP Purple Splash Vinyl in Picture Sleeve + Sticker
Rediscover the vibrant energy of Crooked Colours' debut album, ‘Vera’, as they release a limited edition ‘Purple Splash’ vinyl pressing. This seminal 2017 record introduced the world to the trio's signature sound, blending deep, atmospheric house with sun-drenched, indie-electronic pop. Featuring breakout tracks such as platinum-certified ‘Flow’ and fan favourites ‘Come Back To You’ and ‘I Hope You Get It.

Costas Music returns with its third release after a period of silence, delivering a timeless club-oriented EP from label head Costas, with remixes by Baldo and Youandewan.

It's Me Again sets the tone with rolling 90s-influenced drums, groovy basslines and subtle acid touches, driven by a raw dancefloor energy and atmospheric pads in the breakdowns. Barcelona’s Baldo steps in with a powerful remix, reshaping the track into a peak-time club weapon.

On the flip, Waterphone dives into hypnotic territory with evolving textures and stripped-back grooves built for late-night floors. UK underground favourite Youandewan delivers a distinctive reinterpretation, injecting his signature trippy swing and deep rhythmic flow.

Closing the EP, Drako drifts into cinematic soundscapes and immersive atmospheres, offering a deep and reflective ending to the record.

Deep, acid-tinged underground house with strong 90s influences — crafted for modern dancefloors.

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

THE RAPPER ANDPRODUCER"S NEW ALBUM
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 outsidethe mainstream, awareof the world"s failings but determined to create his own haven. Palmier embodies the melancholy of unfinished struggles, perseverance, and the promise of a brighter dawn.

Oath sub-label Last Year At Marienbad is proud to present the latest spellbinding work from producer Holo, 'Astro', a record that emulates never-ending ethereal, emotively pure, and endlessly danceable frequencies…
Berlin-based Holo makes dance music that speaks in carefree whispers, through a brilliantly constructed sound that leans as much on the hypnotically emotive as on the core fundamentals of composition.
'Astro' is the next phase of his musical journey, and as a contained experience, it gives over all that Holo has become celebrated for, alongside explorations of invigorating spaces in which his sound has grown. The title track is an airy, free-flowing affair, with its semi-stepping drum pattern providing the frame for the light chimes of the keys to set the soul going. 'Spirits' ups the ante with its tempo change, its direction more towards a dancefloor in some faraway paradise.
'Sympatika' kicks off the B-side in a similar fashion, with its extensive groove fuelling bated breath for the arrival of the synths. 'Cycles' wraps up the EP, which again shifts focus to a more cavernous, absorbing kind of sound. A final blend of audio excellence that wraps up a one-of-a-kind record from a one-of-a-kind producer.

Salix is a bold new departure for modular synthesist Loula Yorke, seen here using an antique reed organ to explore the ancient roots of willow trees in magic, myth and medicine, as well as inviting another musician into her recording studio for the first time, clarinettist Charlotte Jolly.

The EP forms a sonic archive of a singular instrument: an antique free reed organ left behind by a previous encumbent of Asylum Studios, (the artists' co-operative in Suffolk where Yorke's Truxalis labelmate and life collaborator, Seiche, has a studio space). The organ is in poor condition and fascinatingly, painfully detuned. Yorke's recordings bring out its host of unusual quirks exacerbated by age and neglect: the powerful rhythmic creaking of the wooden treadles; the bone-shaking resonance emanating from its body at specific pitches; unexpected exclamations of harmonic collision from within the carcass redolent of a human voice; the piercing, shrieking whistles of broken reeds, and the powerful timbres unlocked via Yorke's experiments with various combinations of stops.

The three tracks that form Salix are inspired by a local weeping willow tree, a constant companion photographed over the course of a year. Boughs caught in a gyre. A maiden in mourning. Branches that gesture in the wrong direction. A tree turned upside down. A hand-woven willow basket, an old technology to gather and store. The journey of a lovelorn bard through the underworld, a bundle of willow under one arm for protection.

For the opening track, The Carrier Bag Theory of Fiction, Yorke recorded herself playing a simple unaccompanied improvisation on the organ, the only ornamentation being the processed sounds of the keys being struck and returning to their positions.

For Bundle of Styx, a spell of protection is cast and then broken. Yorke invited virtuoso clarinettist Charlotte Jolly into the studio to test combining the breathy textures of both brass and natural reeds, the instruments uniting and obsuring each other in turn during this one-take improvisation. The organ's unpredictable sharpened tunings take centre stage here, with Jolly using them as a point of departure to conjure a set of peerless harmonic improvisations live in the moment. Throughout the improvisation, Yorke, a self-taught musician, unpracticed on the organ, supports and challenges, freely admitting that she's not always sure what effect her decisions to move up and down the keyboard or pull out certain stops will have. Jolly's genius lies in her ability to meet and build on every uncertain pitch thrown her way, saying of the experience, "I love that Loula isn't classically trained, I can't predict at all what she's about to do."

For the final track, With the Red Dawn, Yorke has come up with another unique combination of textures, this time bringing her own specialism in modular synthesis to the fore. A ten-minute reed organ drone characterised with ever-shifting bass swells and overtones is layered with tuned sines, often shudderingly wave-folded, that ebb and flow both in intensity and harmonic colour according to the duty cycles of eight interrelated LFOs. These recordings are collaged with Yorke's singing voice and a langorous, ascending sequence across two octaves on Jolly's clarinet, all arranged to form a cohesive whole far greater than the sum of its parts. Smatterings of untuned percussion and a fragment of a conversation between the duo left in the final mix cements Yorke's unprecious DIY aesthetic into the release.

At its heart, Salix is like watching the wind in the willows; hundreds of thousands of identical tiny leaves moving in confluence on its branches; at once one thing and many things; moment-to-moment our perception makes out different individuals parts within this expanse of texture, before sinking back into the whole.

Chris Liebing's first full solo techno LP, 'Evolver' is released on 27th March 2026, via his own CLR imprint. The German techno don's LP features a host of collaborators across music, images, and artwork. Luke Slater, Charlotte De Witte, Speedy J, The Advent, Terence Fixmer, Pascal Gabriel, Daniel Miller contribute to the music, while long-time collaborators Studio Bergfors deliver design, and legendary photographer Anton Corbijn shot Liebing for the project.

The Evolver LP is the sum total of Chris Liebing's three decades at the beating heart of techno. It's the record only someone whose first break as a techno DJ was playing five hours at Sven Väth's infamous Omen in Frankfurt - and who has ridden out every twist and turn of life and subcultures since, while remaining rooted in the true school, dark, sweaty techno sweat pits of the world - could have made. It's the result of deep introspection, but it's about utter immediacy. It's the sound of someone previously driven along by compulsion and happenstance at last finding the confidence to be utterly intentional about their practice, allowing them to take the most classic, familiar, proven elements from the past and render them completely new.

Evolver is also Liebing's first completely solo album. There are collaborations, yes: with old friends from the OG techno generation, Luke Slater, Speedy J, and The Advent, all on uncompromising form, and with new generation figurehead Charlotte De Witte, who provides a thrilling narration of total surrender to the moment on acid clarion call "Symphonie des Seins". But unlike all Liebing's albums to date, there's no co-pilot. Every structure, every mixdown, every choice serves his singular vision of how his untold immersion in the surging currents of the world's greatest clubs should sound. The elements are all those forged in the white heat of Omen and Tresor in the mid 90s - brutal repetition, titanium kick drums, industrial atmospherics, but also dark rave euphoria, ever present surging acid lines just on the cusp of trance, and just enough human voices to remind you of bodies on the dance floor - but rendered with all the extraordinary accumulated skill and technological developments since then.

It's Chris's vision entirely, his musings on sound, technology, and life birthing tracks like "Roy Batty." Inspired by thoughts of AI becoming sentient and hungering for more life like Rutger Hauer's titular Blade Runner character, it was one of the first tracks to emerge and a foundation stone for the album. And in pursuit of that vision, it's built like a "proper album". The anticipation and menace of intro "Unfold" tip over into the glowing hot high drama psychedelia of "Symphonie…" then the breathless headlong rush of The Advent collab and on through an unfolding narrative that goes deep, goes dark, opens out into grand vistas, takes strange turns before finally landing on the alien landscape of… well… "Endtrack".

Not everything is pummelling on Evolver - the dazzling title track feels like you've been welcomed into the courtly dance of a higher dimension civilisation, and the audacious Speedy J collab "Shaping Frequencies" is a beatless flow that tests the boundaries between signal and noise. But for all its complexity, conceptualism, and stylistic branching out, every last part unmistakably powered by that dark techno-cavern energy above all else. All of it positively radiates the qualities of Liebing's greatest work and sets to date - but somehow even more so than before. Whether you're listening for aesthetic inspiration, cerebral stimulation or just that raw physical power, this album will sweep you up into its momentum and won't let go of you until it's done.

1 Umbrella represents a watershed moment for modern Bay Area hip-hop, effectively serving as the region’s "Avengers" assembly designed to consolidate the Northern California sound. For years, the local scene has been bisected by the distinct "mob music" bounce of Oakland and the melodic, trauma-drenched "pain music" of San Francisco; this collective is the first major commercial force to deliberately fuse these competing energies into a single, dominant infrastructure. The roster is a calculated cross-Bay alliance that balances opposing sonic weights: Lil Bean and Lil Yee anchor the group with the emotive, auto-tune-heavy melodies that define the current SF landscape, while Zaybang cuts through that introspection with his signature high-octane aggression.

Balancing the scales are ALLBLACK and 22nd Jim, who inject the classic East Bay attitude—ALLBLACK delivering the motivational, sports-heavy "player" lineage of the region, contrasted against Jim’s nonchalant, rhythmic flow. Backed by the powerhouse infrastructure of EMPIRE and united under tracks like "Baller Blockin" and the unification anthem "The Blueprint," the group is attempting to solve the fragmentation that has historically plagued the Bay’s independent market. By synchronizing their movement with the arrival of Super Bowl LX, 1 Umbrella is positioning itself not merely as a rap group, but as the official cultural ambassadors for the region, betting that a unified front can finally command the national spotlight that often eludes the West Coast’s independent giants.

A GOOD FUN record, the new album from Lipphead – aka the collaborative NYC duo consisting of the producer Tony Simon (Blockhead) and Eliot Lipp – will be the group’s 3rd official full- length, having released the first two records via Detroit’s Young Heavy Soul label.

Lipphead’s music occupies the sweet spot between Blockhead’s groovy, sample-based hip- hop and Eliot Lipp’s upbeat electronic funk. The duo have performed live at select festivals throughout North America and are booked to tour this album, 17 dates in the US starting right after release, April 3rd. European/UK festivals are confirmed in the summer and are waiting to be announced.

The internationally renowned NYC producer Tony Simon—aka Blockhead—has released 15 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop and has more recently been releasing music on other platforms like Future Archive Recordings and Backwoodz Studios.

Eliot Lipp is an electronic musician based in Brooklyn, New York. His work was picked up by Scott Herren of Prefuse 73 (Warp Records) after Herren heard him working the club circuit. In 2004, Lipp released his first studio album, S/T, with Eastern Developments Music, a label owned by Warp Records. Lipp has also released music with Pretty Lights Music and his own label Old Tacoma Records.

“Our process for this album was very much "Take this, and add to it" . We both made beats and sent them to the other to add things to. Eliot would generally start the arrangement process and then I'd come in and give my two cents. Gotta say, these Lipphead albums generally come together seamlessly . We definitely have a simple flow and method as to how we create things together, even though the "together" part comes at the end.” - Blockhead

“This is definitely the goofiest record so far. I imagine Lipphead did a little too much doomscrolling between ‘From The Back’ and this one, based on all the meme samples sprinkled throughout.

One difference this time around was that we made way more music than what ended up coming out. It was tough to figure out how to fit it all on one LP, we’ll definitely have some leftovers to drop later on.” - Eliot Lipp

Embrace The Abandon is the new project by THE MON, the solo vision of Urlo, vocalist, bassist, and founding member of the Italian heavy-psych veterans Ufomammut.
Structured in two complementary chapters - Songs of Abandon (November 7th, 2025) and Songs of Embrace (March 6th, 2026) - the project tells a journey of duality: loss and surrender on one side, acceptance and rebirth on the other.
“
Songs Of Embrace” is the second chapter of “Embrace The Abandon”, expanding its emotional landscape rather than closing it.
Where the first part explored abandonment and loss, “Songs Of Embrace” focuses on presence, proximity, and the physical act of staying.
It is the answering breath, the inner voice.

The album avoids resolution and comfort, embracing slowness, repetition, and bodily tension.
It is not just music, it is a stream of consciousness, an inner search, a way of inhabiting what weighs without letting go.
While “Songs Of Abandon” is a collection of songs, nine tracks written in nine days, Songs Of Embrace is a continuous musical flow.
It is a movement that changes, grows, erupts, slows down, settles, and rises again.

It feels like the sea: calm and still one moment, then moved by a simple breath of wind, suddenly breaking into a storm.
“Songs Of Embrace” was conceived more like a ritual, a work of classical music, a suite.

Different parts unfolding one into the next, each a continuation of the previous one, finding meaning only as a whole.
The pieces are deeply interconnected, like embraces: some bring comfort, others carry pain.
These are compositions meant to be listened to in one continuous breath, allowing yourself to be held, rocked, and sometimes pushed away, just like in an embrace.

A GOOD FUN record, the new album from Lipphead – aka the collaborative NYC duo consisting of the producer Tony Simon (Blockhead) and Eliot Lipp – will be the group’s 3rd official full- length, having released the first two records via Detroit’s Young Heavy Soul label.

Lipphead’s music occupies the sweet spot between Blockhead’s groovy, sample-based hip- hop and Eliot Lipp’s upbeat electronic funk. The duo have performed live at select festivals throughout North America and are booked to tour this album, 17 dates in the US starting right after release, April 3rd. European/UK festivals are confirmed in the summer and are waiting to be announced.

The internationally renowned NYC producer Tony Simon—aka Blockhead—has released 15 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop and has more recently been releasing music on other platforms like Future Archive Recordings and Backwoodz Studios.

Eliot Lipp is an electronic musician based in Brooklyn, New York. His work was picked up by Scott Herren of Prefuse 73 (Warp Records) after Herren heard him working the club circuit. In 2004, Lipp released his first studio album, S/T, with Eastern Developments Music, a label owned by Warp Records. Lipp has also released music with Pretty Lights Music and his own label Old Tacoma Records.

“Our process for this album was very much "Take this, and add to it" . We both made beats and sent them to the other to add things to. Eliot would generally start the arrangement process and then I'd come in and give my two cents. Gotta say, these Lipphead albums generally come together seamlessly . We definitely have a simple flow and method as to how we create things together, even though the "together" part comes at the end.” - Blockhead

“This is definitely the goofiest record so far. I imagine Lipphead did a little too much doomscrolling between ‘From The Back’ and this one, based on all the meme samples sprinkled throughout.

One difference this time around was that we made way more music than what ended up coming out. It was tough to figure out how to fit it all on one LP, we’ll definitely have some leftovers to drop later on.” - Eliot Lipp

Emerging from the vivid chaos of Detroit’s underground, ZelooperZ returns with Dali Ain’t Dead — a surreal yet deeply grounded statement from one of rap’s most singular voices. Following his recent collaborative exploration Dear Psilocybin (with Real Bad Man) — which found him moving through a “stream of psychosis” just before sobriety. (Pitchfork) — ZelooperZ enters this new chapter not simply as the same intricate-flows rapper, but as a rising cult-figure in underground hip-hop who’s forged an identity both enigmatic and quietly unstoppable.

On Dali Ain’t Dead, ZelooperZ channels the spirit of the surreal — the album’s title a nod to the iconic surrealist artist Salvador Dalí — as he reframes his world post-substance, post-chaos, yet still dripping with vivid imagination. Reviews highlight that the album finds him in a more focused mode: one critic writes that “ZelooperZ seems to have adopted a similar outlook to Dalí… embracing sobriety and allowing his art to exist as the psychotropic fuel for his mind.” (Album of the Year) Production (courtesy of Dilip) is inventive and cohesive, blending experimental hip-hop, trap, cloud-rap and drumless textures to mirror Ze’s newly clear-eyed vantage point and trademark eccentricity. (Legends Will Never Die)

Tracks like “Mona Lisa Left Eye” and “Push Me Around” (featuring Zack Fox) carry Z’s jagged humor and restless energy, while deeper cuts like “Shrooms” and “Take Me I’m Drugs” trace his evolving relationship with psychedelia and the legacy of his past. (Legends Will Never Die) In doing so, the record positions itself as the sound of a freak-icon in transition — still wild, still weird, but sharpened, matured, operating with a purpose and increasingly commanding the attention of fans who relish the underground unusual.

ZelooperZ’s trajectory continues to rise. From his roots in the Bruiser Brigade collective in Detroit to the present moment as a cult figure whose every release feels like a mission statement, Dali Ain’t Dead confirms that he’s no longer just the oddball off-to-the-side: he’s the weirdo that others are quietly watching. This album isn’t just for the longtime disciples of his left-field aesthetic — it’s an invitation to anyone curious about hip-hop bending, breaking, and rebuilding itself from the fringes inward.

Talulah’s Tape is the debut offering from magnetic Midwest-jangle collective Good Flying Birds. Across a patchwork mixtape of stripped-down home recordings that span the independent-guitar spectrum, the band delivers colorful, intricate pop songs perched between the immediacy of DIY punk and the intimate sweetness of twee. Breakbeats, memes, and noise glue everything together, making the album feel as chronically online as it is timeless.

Originally released on cassette in January 2025 by Midwest-punk legend Martin Meyers’s Rotten Apple label, the tape sold more than 300 copies in under a month and quickly became an out-of-print and coveted item. Meyers called it “certified catnip for popheads.” Now, with a refined track list and a fresh master from Greg Obis, Talulah’s Tape returns on LP and CD via Carpark and Smoking Room in October 2025.

While production and approach vary, a through-line of sensitive self-contemplation rests on bright, scrappy guitars and hyperactive melodic bass. Opener “Down on Me” rides a buoyant bass line while jangling guitars frame reflections on overcoming trauma: “I see you in the mirror every time I cry / I hear your voice every time I try.” Next, the guitars trade twinkling counter-melodies on “I Care for You,” pairing sugary, lovestruck lyrics with effervescent strums: “You catch me when I fall / You build me up so tall.”

The rosy grin occasionally twists into a wicked smirk. “Dynamic” warns, “You used to paint the face, but now you’re just the clown,” while “Glass” asks, “Is it lonely at the top when everyone follows the trend, and you hold the pen?” Both tracks brim with sparkling guitar interplay. By the closing, nearly five-minute “Last Straw,” Good Flying Birds stand far beyond conventional indie-pop or 4-track punk, unveiling a roller-coaster of unpredictable changes, vocal harmonies, and instrumental cross-talk.

Altogether, Talulah’s Tape is a pastel-yellow, candy-coated shell filled with thoughtful juxtapositions and melodic experiments. Standing on the same ground as idiosyncratic songwriters like Connie Converse and Daniel Johnston, Good Flying Birds find sweetness in sadness, tear stains on a colorful flower-print couch. Simultaneously, it’s packed with the scratchy guitars and vibrant rhythms of Scottish guitar groups like The Pastels, Orange Juice, and Josef K. It’s a tremendous opening statement from a band just getting started.

From the quiet desolation of earlier Iterum Nata now rises something heavier – more aggressive and defiant. With “Heartwood”, Finnish multi-instrumentalist Jesse Heikkinen (The Abbey, Henget, ex-Hexvessel) reshapes his progressive rock and neo-folk foundations through the crucible of metal, layering doom-laden riffs and blackened textures upon the project’s introspective core.

To give this vision its pulse, Heikkinen enlisted Ukrainian drummer Yurii Ciel (Stoned Jesus, Cailleach Calling, ex-White Ward), whose expressive performance transforms “Heartwood” into the most visceral Iterum Nata release to date. Together they carve a sound both expansive and immediate: progressive journeys steeped in folk atmosphere, driven by the weight and force of metal.

The record also features rare guest appearances: King Dude lends his commanding voice to “Forgiveness Undone”, Alexander Kuoppala (ex-Children of Bodom) unleashes a searing solo in “I Have Been Sacrificed”, and Sami Hynninen (Reverend Bizarre) delivers an unearthly vocal in “Only Ash and Bones Remain”.

“Heartwood” is an album hewn from fury yet tempered by revelation. Where past Iterum Nata releases drew from solitude and sorrow, here the wellspring is anger – but anger that points beyond itself, toward beauty, hope, and transcendence. It is a meditation on the spiritual war within the collective unconscious, channelled through music that flows between Anathema and My Dying Bride, Opeth and In the Woods…, Pink Floyd and Green Carnation.

DISPLACES represents Fabris' most personal musical journey to date, inspired by the concept of hyperobjects and cartographic practices. The album sculpts a high-dimensional phased time-space composed of concrete materials and digital archetypes in a state of constant displacement. It delves into the symbolic and philosophical realms of mapping as one of the greatest sense-making mechanisms for life, in dialogue with object-oriented environments, superimposition and non-locality applied to cosmic, temporal, and emotional memory.

The sonic ecosystem expands on the image of navigating a path through a set of places, from the microcosm of quanta to the macro force of dark matter, from underwater depths to overland terrains, encapsulating the cyclical flow between birth and death, both in ecological and anthropological sense. The intersection of these shifting states is explored through the extensive processing of the langspil, Iceland's only traditional instrument, intertwined with manipulated field recordings of biophonies and geophonies captured across Icelandic and Venetian territories. These recordings form the backdrop for a meditative process that relocate familiar objects into unfamiliar realms, reflecting on the transformative power of self-reflection while encapsulating the fragmentation and entanglement found in nature and the human state. The record plunges the listener into a disconcerting and physical soundscape, as a “ghostly spectrality that comes in and out of phase with normalized human spacetime,” evoking sensations of suffocation and release as each layer continuously unfolds the palimpsest of the enclosed labyrinth.

“Extraction of the I” embodies a subatomic reaction—erupting as a molecular force that rises, only to re-submerge with a solitary exhale underwater. In this mutated dark space, beluga whales breathe into "Xanadu Phasing," creating a pulsating tension that releases only to unveil a frozen landscape.

In “Barricading the Ice Sheets” the glacial material morphs into a liquid tunnel of digital artifacts, building a wall of noise that shatters into scattered fragments of ice, resembling bird calls from another world.

A moment of stasis is offered with the appearance of an asymmetrical loop in Monolith I, evoking a primitive rite before an unknown force emerges.

The physical intensity of subsonic material in "A Quake in Being" interrupts the hieratic tone, detuning into polluted sonic matter sourced from relics of the First World War in the Venetian Prealps. The geography of this place reconciles with the original homeland in "The Map is the Territory," blending negative space with anthropogenic elements and exploited sounds of the langspil.

The burning density of "Wolf-Rayet" projects into the void, echoing the residual sounds of a local church as relics of fossilized religions. Wolf tones are the remains in Monolith II, introducing the final track, "Topography of Extinction," where evolving psilocin textures invite the listener to uncover deeper layers of meaning and dislocation.

Tom Misch’s long-awaited sophomore album Full Circle finds the London-based artist, songwriter, and producer at his most personal and honest. Exploring the moments that have shaped him over the last four years: family, friendships, nature, and celebrates the work of finding his way back to himself. Made during his time spent between London, Cornwall, Portugal, and Nashville with a focus on classic songwriting, honing a collection of eleven timeless songs including the previously released singles ‘Old Man’ and ‘Red Moon’. While Full Circle contends with some of quieter moments of the last four years, it remains optimistic and effortlessly listenable, anchored by unadorned vocals and a warm, analogue sound. And the beauty of Full Circle lies in the universality of its lyrics, inviting listeners to inhabit Tom’s world or trace their own path within it. Full Circle stands as both a reflection of his journey and a statement of ongoing evolution.

Liva K and OVEOUS unite for transcendent new single, ‘Blessings’, on Crosstown Rebels. Out on 27th March 2026, the Greek producer and NYC-based artist deliver a hypnotic journey of spiritual rhythm and soulful energy.

A groove-driven journey arrives on Crosstown Rebels on 27th March, with Greek DJ/producer Liva K and New York DJ/producer and vocalist OVEOUS guiding the way. Their label debut, ‘Blessings’, emerges as a meeting of instinct and intention. Crafted from Liva K’s fusion of sounds and textures, the track flows with captivating suspense, while OVEOUS’ voice carries a magnetic, ritualistic weight. The result is a record that exists in both body and mind, designed to move crowds while resonating on a deeper, spiritual plane.

Liva K has quietly carved his own path since emerging onto the international scene, weaving melodic house and techno, and Afro-infused rhythms into sets and productions that pulse with movement and depth. From his debut album ‘1994’ to recent material on Defected, Black Book Records, and When Stars Align, he balances studio craftsmanship with spontaneity while creating moments across venues from Hï Ibiza to Miami’s Factory Town. Meanwhile, OVEOUS brings his HYPER SOUL and Hyper Ancestral sound to every stage and recording, merging house, afro-soul, and ritualistic energy. As a DJ, producer, and poet, his voice and presence cut through tracks with spiritual weight, turning grooves into experiences that are simultaneously sensual, reflective, and kinetic. providing moments that resonate long after the lights come up.

Yellow Vinyl

Blue Lake reveals his most ambitious album yet, which finds its visionary creator Jason Dungan harnessing the collective alchemy of his band, with ten spirited tracks that resonate with a powerful directness, evoking an ecological connection to the wider world.

The solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry's 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album 'Sun Arcs' (2023), with its "ornate, zither-led lattices" (Pitchfork, Best New Music). Conceived in the blissful isolation of a Swedish cabin set in the woods, this was music that soundtracked spring in full bloom. Then, in contrast to the solitary approach of 'Sun Arcs', the highly lauded mini-album 'Weft' (2025) began to set the tone for a more band-oriented approach to delivering the Blue Lake sound. Jason had by this time experienced a special collective energy with his band during a swathe of live performances, which he then sought to harness and distill on 'The Animal', leading him to take the project into a traditional recording studio (The Village) and its limitless potential along with his gifted cohorts.

'The Animal' at its core vividly celebrates human collaboration and is deeply rooted in a sense of community and non-hierarchical connectivity. The group's creative alchemy transcends outwards and beyond the musicians performing together, to summon an inclusive, existential and ecological connection to the wider world and its inhabited spaces. The album contemplates the idea of the human as an animal as Dungan explains: "I'm quite fascinated in thinking about humans more as part of the animal environment and not as something that's so separated into a "human" realm, or sitting on top of a hierarchical pyramid. So the Animal is also me, or us - that we are just living, existing, in the same way as a piece of moss or a sparrow or a cow.

'The Animal' is a form of musical metamorphosis, still acoustic, yet more amplified, elevating it to new dimensions. The Blue Lake project takes on a new lease of life to encompass collaboration with Jason Dungan bound in a universal connectivity, resulting in his most ambitious album to date. A harmonious rejoicing that cements his reputation as a transformative presence in contemporary music.

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.

Here comes the first appearance on vinyl of Elf Bagatellen, a 1990 FMP classic from the legendary Schlippenbach Trio where the group achieved fever-dream beauty through self-imposed temporal limitations. The trio deliberately shaped the music, opting for more concise pieces rather than concert-length performances that had become standard practice. Those durational limitations clearly inspired them, bringing a jewel-like, compositional flow to many of the works, although even when the trio seems to be playing a tune in a piece like "Analogue: Scaled" the performance moves so rapidly into the next event any such notion is banished. And yet some of Schlippenbach's older themes resurface in abstracted ways, whether it's Pakistani Pomade's "Sun-Luck Night-Rain" appearing as quicksilver line in "Sun-Luck: Revisited" or Globe Unity's "The Forge" sneaking into "The Forge: Rebellowed." The concision of shorter pieces, including several solo works, arrive as a kind of fever dream in the usual context of free jazz. Schlippenbach Trio soon snapped back into its working methodology on its follow up album, Physics, in 1993, which further elevates the singularity of Elf Bagatellen. The album captured a different side of the trio and helped inform the modern classical tilt in European improvised music. Cien Fuegos is delighted to reissue this undeniable classic, making it available on vinyl for the first time ever, freshly remastered by Martin Siewert. Evan Parker - soprano & tenor saxophone - Alexander von Schlippenbach - piano - Paul Lovens - selected drums and cymbals This album was released as a cd on FMP 1990, remastering for vinyl by Martin Siewert 2025

Joff Bush and the Bluey Music team proudly present the brand-new Bluey album. Featuring 17 brand-new recordings including ‘Sleepytime’, ‘Flat Pack’, ‘Seesaw’, and the new ‘Bluey Theme Tune (Orchestral Version)’.

“This was our most ambitious album to date - so we wanted something extra special - something we’ve wanted to make for a long time."..."Hearing the music from episodes like ‘Sleepytime’ and ‘The Sign’ in all its orchestral splendour meant tissues needed to be on hand throughout the mixing process.”


“Fittingly, the theme of this album is ‘growing up’. Much of this music, like the episodes they derive from, explore what it means when kids start to discover their independence and venture out on their own. Whether that’s learning to sleep in their own bed or taking a spaceship to Mars. I hope you enjoy ‘Up Here’, as the opportunity I had to make this album is thanks to YOU!"

Their debut album, Why Trains Crash was released in June of that year to rave reviews. In 2023 they released their follow-up LP, A Company Sleeve, solidifying their reputation with critics and fans alike for all- killer/ no- filler indie rock. Their third LP, Never Felt Bitter, will be released on March 27, 2026. The music on Never Felt Bitter -- the quartet's first release for Chicago- based Forge Again Records--is the result of playing together on hundreds of nights in innumerable bars and clubs across Southern California and beyond. Over the years the band has honed a fearsome melding of pop melodicism and raw physicality. Their knack for crafting catchy anthems for outsiders and underdogs has made them one of the most respected underground bands in L.A.

Es ist schon drei Jahre her, seit CTMF ihr letztes Studioalbum ,Failure Not Success" rausgebracht haben, und jetzt sind sie mit einem brandneuen Album zurück! Auf ,House On Fire" geben sie richtig Gas und man kann echt sagen, dass sie noch nie so gut geklungen haben! Das Album enthält Remix-Versionen ihrer Coverversionen von ,Untitled" von The Saints und ,Shapes Of Things" von The Yarbirds (beide bisher nur auf limitierten 7"-Singles erhältlich) sowie zwölf neue Aufnahmen, die von Billy Childish geschrieben wurden. Aufgenommen in den Ranscombe Studios, Rochester, Kent mit Toningenieur Jim Riley. CTMF: Billy - Gitarre/Gesang + Julie - Bass/Gesang + Wolf - Schlagzeug/Percussion.

Nacar02: Totem Pulse EP


Totem Pulse emerges as a coded breath slow, persistent, alive.
A rhythm not built for time, but for alignment.
The pulse does not command.It attunes.

Bodies orbit the frequency.
Thought dissolves into motion.
The totem stands invisible,
yet everything moves around it.

LIMITED EDITION 200 COPIES

Hurts Like Hell ist Charlotte Cornfields sechstes Album und das erste, das sie seit der Geburt ihrer Tochter aufgenommen hat - ein Wendepunkt für sie als Mensch und Künstlerin. Die wiederkehrenden Themen des Albums - persönliche Entwicklung und Erneuerung, die Beständigkeit der Liebe trotz Schwierigkeiten, Scham und Unbeholfenheit - haben dort ihren Ursprung. ,Diese Erfahrung hat mich aus mir selbst herausgeholt und mir eine andere Sichtweise auf die Dinge gegeben", sagt sie. ,Die Verletzlichkeit, Zerbrechlichkeit und Wildheit des Ganzen haben dazu geführt, dass ich mich weniger auf mich selbst konzentriere und mehr Abstand gewinne." Hurts Like Hell ist das offenste und stimmgewaltigste Album ihrer Karriere und auch dasjenige, an dem am meisten mitgearbeitet wurde. Cornfield zog sich in Philip Weinrobes Sugar Mountain Studio in Brooklyn zurück und wurde von einer kompletten Begleitband unterstützt, darunter El Kempner von Palehound, Bridget Kearney von Lake Street Dive, Adam Brisbin und Sean Mullins, mit wichtigen Beiträgen von Núria Graham und Daniel Pencer. Cornfield holte dann Feist, Buck Meek, Christian Lee Hutson und Maia Friedman als Gastsänger für das Album dazu. Das Ergebnis dieses Prozesses wird sofort in der Lead-Single ,Hurts Like Hell" deutlich, einem von Country-Klängen durchdrungenen Sehnsuchtslied, das Cornfield als ,eine Liebesgeschichte schüchterner Menschen" bezeichnet, wobei die Band Cornfields eigenwilligen Flow aufnimmt, als wolle sie das Herz ihrer Protagonistin wiegen. Dass der Song so verletzlich und so lebendig ist, ist eine Frage des Vertrauens zwischen Cornfield und ihren Bandkollegen, untereinander und in ihr Bauchgefühl. Ihr Sound liegt irgendwo zwischen Nashville Skyline und Harvest - eine warme, reichhaltige Antwort auf ihren verletzten, aber suchenden Ruf. Ein Großteil der Magie von Hurts Like Hell entsteht in dem Raum, den Cornfield für Harmonie schafft. Von Meek oder Hutson aufgegriffen, werden die Charaktere wie mit einem Pinselstrich zum Leben erweckt. Wenn Kempner oder Kearney hinzukommen, entsteht eine schillernde Facette der natürlichen, blitzartigen Chemie ihrer Band. In ,Kitchen" spiegelt Friedman Cornfields Erstaunen darüber wider, dass sie sich verliebt hat, und bringt die Emotion auf ihren ätherischen Höhepunkt. In ,Living With It" wird sie von Feist begleitet, die Cornfield über einen Gruppenchat für Mütter, die als Musikerinnen auf Tournee sind, kennengelernt hat. Cornfield ist mit den Narben ihrer Vergangenheit und der Hoffnung für die Zukunft zu diesem Album gekommen. Sie hat sich selbst von außen betrachtet und überlegt, was sie mit ihrer Musik nach der Geburt ihres Kindes erreichen will. Dabei war sie mutig genug, um Freiraum, Zeit und Hilfe von vertrauten und unerwarteten Quellen zu bitten - einem Gruppenchat, Songwritern, die sie bewundert, aber nicht persönlich kennt, Freunden, deren längst vergessener Song ihr den Refrain für einen neuen Song geliefert hat. Jedes ,Ja", jede Sprachmemo, jede geteilte Datei, jede offene Tür führte zu diesem Moment in Charlotte Cornfields Karriere. Nenn diesen Moment, wie du willst - eine Erweiterung, eine Wiedergeburt, ein Durchbruch - Hurts Like Hell ist groß genug, um ihm gerecht zu werden, und hat nichts von Cornfields Charme, Witz oder Dringlichkeit verloren. Es ist gleichzeitig eine Bestätigung ihrer Stellung unter den großen Singer-Songwritern ihrer Generation und die erste Formulierung ihrer Zukunft, egal welche Unsicherheiten und welche Liebe sie mit sich bringen mag.

Hurts Like Hell ist Charlotte Cornfields sechstes Album und das erste, das sie seit der Geburt ihrer Tochter aufgenommen hat - ein Wendepunkt für sie als Mensch und Künstlerin. Die wiederkehrenden Themen des Albums - persönliche Entwicklung und Erneuerung, die Beständigkeit der Liebe trotz Schwierigkeiten, Scham und Unbeholfenheit - haben dort ihren Ursprung. ,Diese Erfahrung hat mich aus mir selbst herausgeholt und mir eine andere Sichtweise auf die Dinge gegeben", sagt sie. ,Die Verletzlichkeit, Zerbrechlichkeit und Wildheit des Ganzen haben dazu geführt, dass ich mich weniger auf mich selbst konzentriere und mehr Abstand gewinne." Hurts Like Hell ist das offenste und stimmgewaltigste Album ihrer Karriere und auch dasjenige, an dem am meisten mitgearbeitet wurde. Cornfield zog sich in Philip Weinrobes Sugar Mountain Studio in Brooklyn zurück und wurde von einer kompletten Begleitband unterstützt, darunter El Kempner von Palehound, Bridget Kearney von Lake Street Dive, Adam Brisbin und Sean Mullins, mit wichtigen Beiträgen von Núria Graham und Daniel Pencer. Cornfield holte dann Feist, Buck Meek, Christian Lee Hutson und Maia Friedman als Gastsänger für das Album dazu. Das Ergebnis dieses Prozesses wird sofort in der Lead-Single ,Hurts Like Hell" deutlich, einem von Country-Klängen durchdrungenen Sehnsuchtslied, das Cornfield als ,eine Liebesgeschichte schüchterner Menschen" bezeichnet, wobei die Band Cornfields eigenwilligen Flow aufnimmt, als wolle sie das Herz ihrer Protagonistin wiegen. Dass der Song so verletzlich und so lebendig ist, ist eine Frage des Vertrauens zwischen Cornfield und ihren Bandkollegen, untereinander und in ihr Bauchgefühl. Ihr Sound liegt irgendwo zwischen Nashville Skyline und Harvest - eine warme, reichhaltige Antwort auf ihren verletzten, aber suchenden Ruf. Ein Großteil der Magie von Hurts Like Hell entsteht in dem Raum, den Cornfield für Harmonie schafft. Von Meek oder Hutson aufgegriffen, werden die Charaktere wie mit einem Pinselstrich zum Leben erweckt. Wenn Kempner oder Kearney hinzukommen, entsteht eine schillernde Facette der natürlichen, blitzartigen Chemie ihrer Band. In ,Kitchen" spiegelt Friedman Cornfields Erstaunen darüber wider, dass sie sich verliebt hat, und bringt die Emotion auf ihren ätherischen Höhepunkt. In ,Living With It" wird sie von Feist begleitet, die Cornfield über einen Gruppenchat für Mütter, die als Musikerinnen auf Tournee sind, kennengelernt hat. Cornfield ist mit den Narben ihrer Vergangenheit und der Hoffnung für die Zukunft zu diesem Album gekommen. Sie hat sich selbst von außen betrachtet und überlegt, was sie mit ihrer Musik nach der Geburt ihres Kindes erreichen will. Dabei war sie mutig genug, um Freiraum, Zeit und Hilfe von vertrauten und unerwarteten Quellen zu bitten - einem Gruppenchat, Songwritern, die sie bewundert, aber nicht persönlich kennt, Freunden, deren längst vergessener Song ihr den Refrain für einen neuen Song geliefert hat. Jedes ,Ja", jede Sprachmemo, jede geteilte Datei, jede offene Tür führte zu diesem Moment in Charlotte Cornfields Karriere. Nenn diesen Moment, wie du willst - eine Erweiterung, eine Wiedergeburt, ein Durchbruch - Hurts Like Hell ist groß genug, um ihm gerecht zu werden, und hat nichts von Cornfields Charme, Witz oder Dringlichkeit verloren. Es ist gleichzeitig eine Bestätigung ihrer Stellung unter den großen Singer-Songwritern ihrer Generation und die erste Formulierung ihrer Zukunft, egal welche Unsicherheiten und welche Liebe sie mit sich bringen mag.

Internal Battle sees Indra MC and Jman united over the riddim, each bringing their own unmistakable lyrical fire to the table. This is a heavyweight steppa built for the soundsystem!

Opening with an epic, cinematic intro that builds tension bar by bar before dropping into a thunderous steppa style and pattern. Deep subs, militant drums, and razor sharp flows collide as both vocalists dive into both the chaos and clarity of the mind’s internal war.

Internal Battle captures that raw clash between doubt and determination, shadow and strength. Crafted for late night sessions, stacked speaker boxes, and conscious crowds, this one hits with purpose and power.

For our first EP and 12", we're joined by Italian sound artist and long-time Goodness friend Yraki for 5 tracks of sonic hypnosis on a bass-heavy theme: ‘Tendril’ is meditative future-techno meticulously constructed through an experimental, high-poly lens.

Detailed, tactile sound design with deep, hypnotic momentum, it shapeshifts between stripped-back bass pressure and elastic, experimental flow in one costant, evolving, unravelling thread.

--

The shadowed interstice between root and circuit, Tendrils creep through soil and signal alike, tracing patterns unseen, carrying memory and mutation. Time folds in layers of sediment and data; decay becomes growth, fracture becomes connection.

Tendrils are the pulse of the unseen, a meditation on growth, entropy, and the uncanny geometry of becoming.

Leading voices in contemporary Organic House anchor LS001 V.A-Thunderlab Collective, the inaugural vinyl-only edition from Life Signal. This first chapter introduces Life Signal as a curated imprint dedicated to presenting standout works from modern electronic music-pieces selected for their lasting impact and now pressed exclusively for listeners who value both sound and physical format.

These tracks have earned significant attention within the digital space, and this release brings them to vinyl for the first time, giving collectors a chance to experience them in a new, tactile form.

A1-Volen Sentir & PROFF-"Luna Amazonia (PM Mix)"
The record opens with a signature blend of organic textures and melodic flow, shaping an atmosphere that sets the tone for the edition.

A2-Krasa Rosa-"
Kaftan"A refined balance of acoustic nuance and electronic drive, building toward a standout breakdown and a sharp, vocal-chopped lead.

B1-Jiminy Hop-"Cavalier (Extended)"
Marked by Jiminy Hop's characteristic phrasing and evolving percussive movement, this version extends the melodic narrative with precision.

B2-Audiense-"Winterfell (Extended)"
A steadily rising finale combining psychedelic touches and ethno-vocal textures, rounding out the collection with an expansive sense of lift.With LS001, the Life Signal vision arrives on vinyl: curated electronic works preserved for collectors who follow music not only by sound, but by legacy.

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.

The Activist returns to Sneaker Social Club with a fresh double-drop of mutant grime futurism featuring deadly flows from Tia Talks and Jammz.

Low End Activist first came through centred on link-ups with grime MCs before widening the scope of his sound with purely instrumental, conceptually-charged albums. This sure-shot double single reaffirms his affinity for outsider grime production as a vessel for deft bars from breakthrough talent and seasoned mic veterans alike.

On 'False Idols' and 'Atomic Clock' there's an emphasis on sharply angled, glitchy production that bends and warps well outside the established formula of MC-focused beats. Constantly shifting, hyper-detailed and front-loaded with walloping slabs of bass, both cuts are devastating in either vocal or instrumental form. Tia Talks pulls no punches stating her truth on the former, while Jammz muses on the endless battle against time on the latter, continuing the peerless run of avant-grime that courses through the Activist's back catalogue.

Jacaranda is an album published in 1973 that highlights Bonfá’s refined approach to bossa nova and Brazilian instrumental music, blending Brazilian melody and rhythms with jazz-influenced harmonies. The album is cantered on Bonfá’s classical-influenced guitar technique. Indeed, rather than focusing on vocals, Jacaranda lets the guitar lead the narrative, creating a relaxed yet sophisticated atmosphere which evokes Brazilian landscapes and moods. Compared to his previous album Introspection (HE72018), Jacaranda is less restrained and inward, it does not have a meditative mood but offers warmer harmonies and a stronger melodic richness. This is the first vinyl edition of this album since its first edition in 1973.