Cerca:tib

It’s 5 AM, the world is still quiet as dawn begins to rise. While most are asleep, a few of us are in the final stretch, finishing last edits or easing into the day, surrounded by scattered notes in the living room with a sleepy cat nearby.

5 AM Study Session is a tribute to the early risers and the night owls. This collection of 34 tracks carries early-morning focus and momentum, guiding you through the quiet and setting the tone for the day ahead. Sunlight slowly peeks in as the melodies play, creating a soundtrack for productivity and peace.

The physical edition captures the warmth of a fresh cup of coffee: pressed on double "Morning Latte" marble vinyl, the swirling beige and brown tones mirror the cozy, studious atmosphere of the artwork. A tangible reminder that the best work often happens when the world is still.

Slip on your headphones, pour a hot drink, and let the sunrise guide your workflow.

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.

Demetrio Castellucci and Massimo Pupillo present the music of Sleep Technique, a performance by Dewey Dell inspired by the Chauvet cave and its ancient cave paintings.
The music comes to life anew on record, an immersion into the depths of sonic particles, moist electroacoustic rhythms, the repeated forms of speleothems, and the electric bass that scrapes the walls, shaping them into concave or convex surfaces. A voice that moves incredibly slowly, yet is in constant motion, like the millennia-old, unceasing erosion of water.
The album’s journey follows the geography of the cave in reverse, moving from its deepest chamber back to the entrance.

Demetrio Castellucci is a composer and sound designer who has been involved in theater productions, choreography, and film since 2004. Around the same time, he began performing as a DJ, favoring an omnitemporal approach geared toward dance that transcends musical genres. Since 2006, he has been a member of the dance company Dewey Dell, and since 2007, he has been active as Black Fanfare, a maximalist electroacoustic project. He has collaborated on performances by Andreco and Enrico Ticconi/Ginevra Panzetti, as well as on films by Ahmed Ben Nessib, Beatrice Pucci, and Ilaria di Carlo. After living in London and Berlin, he settled in Vilnius, where in 2018 he founded Unarcheology, a digital platform that publishes music and radio programs. He is also active as Airport Gad, an ambient project which, together with Unarcheology, launched its own “Airline Company”: concerts in a flight simulator built from cardboard, where the pilots are also the musicians.

Massimo Pupillo is best known as a founding member of the band Zu, with whom he has released 18 albums and performed over 2,000 live shows worldwide. He has maintained a highly open and multidisciplinary approach that has led him to work with some of the most acclaimed figures in the contemporary art world: South African photographer Roger Ballen, actors Malcolm McDowell and Marton Csokas, Romeo Castellucci and Chiara Guidi of Societas Raffaello Sanzio, American choreographer Meg Stuart, poet Anne Waldman, and Italian poet Gabriele Tinti, among others. He has collaborated live and in the studio with avant-garde musicians and composers such as Alvin Curran, piano duo Katia & Marielle Labèque, and classical virtuosos like Viktoria Mullova and Giovanni Sollima. He has also worked with some of the most influential names in the international rock scene, including Mike Patton, Thurston Moore, Jim O’Rourke (Sonic Youth), Guy Picciotto & Joe Lally (Fugazi), Buzz Osborne (Melvins), and Damo Suzuki (CAN).

In the field of improvised music, he has collaborated with Peter Brötzmann, Toshinori Kondo, Mats Gustafsson, Ken Vandermark, and Tony Buck, among others. Within the experimental music scene, his collaborations include Oren Ambarchi, David Tibet (Current 93), Thighpaulsandra (Coil), Stephen O’Malley (Sunn O))), Abul Mogard, Mick Harris (Scorn), Gordon Sharp (This Mortal Coil), FM Einheit (Einstürzende Neubauten), and many more. In cinema, he composed the score for Kirill Serebrennikov’s film LIMONOV, presented at Festival de Cannes in 2024.

Mit Yenbett kehrt die mauretanische Sängerin Noura Mint Seymali eindrucksvoll zurück. Bereits die ersten beiden Tracks - zwei Versionen des Songs "Lehjibb" - zeigen die Spannweite ihres musikalischen Ausdrucks: archaische Klanglandschaften mit der traditionellen Harfe ardine treffen auf flirrende E-Gitarren, donnernde Drums und hypnotischen Gesang. Seymali verbindet die uralte Tradition der nordwestafrikanischen Griot-Musik mit modernen, elektrifizierten Klängen zu einem tranceartigen, kraftvollen Sound, der tief verwurzelt und zugleich zukunftsweisend ist. Als Tochter des Komponisten Seymali Ould Ahmed Vall und Stieftochter der berühmten Sängerin Dimi Mint Abba trägt sie ein musikalisches Erbe weiter, das sie mit eigener Handschrift neu interpretiert. "Die Griots sind Spiegel der Gesellschaft", sagt Seymali. "Wir bewahren Geschichte, feiern Kultur und schaffen Verbindung." Yenbett, ihr drittes Album und das erste seit 2016, wurde von Matthew Tinari (Drums) und Mikey Coltun (Mdou Moctar) produziert. Es ist roh, experimentell und voller Energie - ein Beweis für Seymalis Status als eine der kraftvollsten Stimmen der Weltmusik.

All Cats Are Cute ist ein Instrumental-Funk-/Lofi-Beats-Party- und Chill-Album für alle Tierfreunde! Dieses Album feiert nicht nur Katzen, sondern auch den Geist der Vielfalt und Zusammengehörigkeit unter allen Lebewesen auf der Erde. Egal, ob man sein Zuhause mit Katzen, Hunden, Nagetieren, Vögeln, Menschen oder einfach nur mit der Liebe zu allen Lebewesen teilt, diese Platte ist der perfekte Soundtrack - eine Fahrt weg vom Trubel, auf einem bunten Katzenbus vorbei am Soul Train zur Regenbogenbrücke. Inspiriert von den Rettungskatzen Tibby und Slippy von Furnace Record Pressing, kommt diese LP Katzen zugute, die es am meisten brauchen. 100 % der Einnahmen werden an Brooklyn Animal Action gespendet, um deren Mission zu unterstützen, Tiere in Not zu retten, zu rehabilitieren und ihnen ein neues Zuhause zu geben. Dieses Projekt wurde ermöglicht durch die großzügige Unterstützung von Furnace Record Pressing, Catbeats und allen beteiligten Anbietern, die ihre Dienste gespendet haben, um sicherzustellen, dass jeder Cent direkt der Hilfe für Tiere zugute kommt. Hinter dem Namen steckt Shelby Cinca, bekannt als ehemaliger Sänger der 90er-Jahre-Hardcore-Band Frodus.

repress!

Seasoned musical maestro Argy unleashes his long-player, New World. Argy’s varied back catalogue showcases his versatility and deep knowledge of electronic music. An experienced producer and DJ, he channels a lifetime of skill and natural talent into his LP New World. Across 14 tracks, we enter ‘Dreamstates’, utilising ‘Mental Powers’ to explore the ‘Wilderness’ and connect with a ‘Higher Power’. Rooted in an underground sound with an array of impassioned vocals, highly emotive arrangement and potent rhythms, the album demonstrates Argy’s artistic maturity. Join him as he leads us on a voyage into a New World…

For the first time, all the 1978 recording sessions of Lino Capra Vaccina's legendary Antico Adagio - including Frammenti da Antico Adagio and Echi Armonici da Antico Adagio - collected in one definitive deluxe edition. Minimalism, and so much more. Sheets of resonance, stunning harmonic interplay, intricate rhythms rising as one. Sidelong works of pulsing, hypnotic, ritualistic drone built from vibraphones, marimbas, gongs, bells, and cymbals, threaded by the sustained vocal tones of Juri Camisasca and Dana Matus. A trance-inducing, meditative, cosmic world of sonic interplay - the world beyond, joined with that which lays within.

Before an aberrant idea of progress ludicrously sped up our daily lives, even in hectic Milan it was possible to "play slowly" - with no pressure, simply following the path your art was showing you. This music moves between modal fascinations, ritual evocations, and states of hypnotic trance, evoking the acoustic environment of Tibetan and Zen Buddhist ceremonies and the temporal structures of Noh theatre, from which Vaccina took the name of his original label, Nō. Now, fittingly, this complete collection appears on Ubi Kū, the label of the Italian Buddhist Union.

Lino Vaccina (1953) first gained note as a member of Aktuala, creating a hybrid of rock, avant-garde, and ancient musics while incorporating sonic traditions from across the globe. After leaving in 1974, he studied at Milano's Civica Scuola di Musica, collaborating with Franco Battiato and Juri Camisasca, and forming Telaio Magnetico in 1975. In 1978 he self-released Antico Adagio in a tiny edition and wouldn't be heard from again until 1992. From 1979 to 1985 he was percussionist with the Orchestra of Teatro alla Scala under maestros such as Abbado and Ozawa. His career has been marked by an incredibly high bar of quality and a tragically slim recorded output - a rigorous and sensual language fusing Oriental, Mediterranean, and African influences with ritual elements and a cosmic sense of time.

As Massimo Torrigiani writes: "Lino Vaccina's music captivates through its internal coherence and its ability to generate states of suspension and deep listening - through undulations, small melodic fragments, dialogues between acoustic instruments and resonances that seem to evoke a phantom orchestra. An example of personal exploration, discipline and openness that speaks across time to anyone willing to be drawn into its sound."

Frammenti da Antico Adagio and Echi Armonici da Antico Adagio contain material from the original sessions, restored and issued by Die Schachtel in 2014 and 2017. The new masters, prepared by Giuseppe Ielasi, are based on those restorations and the original material. The package includes previously unpublished photographs from the May 1978 sessions and liner notes by Mauro Radice in Italian, English, and French. Cover art by Dana Matus. Printed by Legno, Milano & Mother Tongue, Verona.

Personnel: Lino Capra Vaccina (vibraphone, marimba, tablas, wooden drums, darbuka, cymbals, gong, metal sheets, bells, bass drum, tom, snare drum, piano, voice), Dana Matus (voice, percussion, cetra), Juri Camisasca (voice), Mario Garuti (violin), Roberto Mazza (oboe). Original production by Massimo Villa & Lino Vaccina with Piero Cannizzaro. Recorded May 1978 at Circle Studios, Milano.

The heights of the Italian avant-garde, at their very best.

This 1983 period in which Gyllensköld was recorded was a fantastic time for the evolution of Steven Stapleton’s audio art. His collaborations with Diana Rogerson, Robert Haigh (Sema), David Tibet, and Thirlwell around this time elicited some of the most exciting work Nurse With Wound had yet recorded. Listen to this material and compare it to Chance Meeting and it becomes clear that in just a few years, Stapleton’s art had grown by leaps and bounds. The production quality on these tracks is remarkable, and the widening out of the NWW soundworld opened up a whole new audio toybox that Stapleton has continued to experiment with up to today. This new sound encompasses vocal experiments, vintage LPs of easy listening music, demented nursery rhymes, lateral references to disposable pop music, avant-garde jazz and minimalistic piano composition, all glued together with evocative atmospheres redolent of things unholy, troubling and perverse, but always oddly indefinable and puzzlingly misshapen. In retrospect, Gyllensköld can be seen as the beginning of the “mature” period of NWW, and thus it is an indispensible release for fans of the project. : Brainwashed

Active for 40 years, Nurse with wound is one of the projects of Steven Stapleton, materialized in a very wide range of hysterical noise over sound collages and cut ups, abstract music, soothing drones and surreal sound paintings, and more rhythmical and mechanical pieces, always inspired by Dadaism and Futurism, Krautrock, jazz improvisation, surrealism, never losing his main goal, that is having fun and enjoying himself.He has had many collaborators, a recurrent one in the 80s and 90’s being Current 93’s David Tibet, another noticeable one still at work with him is Andrew Liles.The main line of this unpredictable sound builder is hectic and uncompromised, his point of view is that everything is possible and applies it to himself. As a youngster he wanted to be an artist so decided he was one . He is not a musician, and says he has no interest in becoming one. Surprisingly, (or not!), the love of his life is building sculptures out of recycled and reclaimed materials, building things with anything, even junk. And sounds, we are a witness to it.With these very strange juxtapositions of styles and manners, female rap music and 50s and 60s lounge music having a special top priority in Steven’s tastes, and a creativity that has no bounds no taboos, with a taste of novelty every time, Nurse with wound will no doubt continue to surprise people listening to his works, and himself, as he wants to keep it fresh every time, mostly for him.

Nurse with Wound's epic Thunder Perfect Mind was originally released in 1992 on United Dairies and was a sort of twin sister album to Current 93's album sharing the same title. Both albums featured contributions from Coil's John Balance, David Tibet, Colin Potter, Rose McDowall and more. A masterclass in ominous ghostly atmospheres and mind-warping psychedelic sound collage, this enhanced, extended and remastered edition has been overseen by Stephen Stapleton himself.

After digging deep into the overwhelming archives of Discos Fuentes, Codiscos and Discos MAG in our previous volumes, this fourth instalment in the series "Cumbia Cumbia Cumbia!!!" comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Tropical, all of them originally released between 1960 and 1984. The historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. Discos Tropical was a Barranquilla-based label founded in the mid-1940s by Luis Emilio Fortou Pereira, a visionary who helped define Colombian dancing habits and tastes from the previous century. Until the late '50s, most cumbias were orchestral-based. However, even though formats and styles diversified from the following decade onward, these highly popular big bands spectacularly defined the sound of Discos Tropical and livened up the most cosmopolitan dances in the major coastal cities. After the mid-'60s, the big bands gradually fell into decline, but the popular demand for tropical music did not. Facing this situation, the major record companies created smaller-format groups with one particular feature: they mixed accordion music with brass bands. This new volume of "Cumbia Cumbia Cumbia!!!" combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Double Vinylalbum

2026 Restocked!

If you've been following the Payfone story over the last 13 years, you'll know that Phil Passera and Jimmy Day's long-running collaborative project has specialised in one-off musical morsels - sublime songs cooked up in cahoots with all manner of guest musicians and vocalists. Never ones to rest on their laurels, Day and Passera have now delivered a full six-track tasting menu in the shape of Lunch, their hotly anticipated debut album.

Recorded over an 18-month period at Passera's Barcelona studio and Day's studio in Brighton, Lunch is an unsurprisingly assured and musically detailed affair that's entirely made up of previously unheard songs. Unlike acid-flecked recent single 'Volt To Volt', which delivered a tweaked take on late 1980s house music, the album's six tracks showcase the trademark sound the duo has been developing since first joining forces 13 years ago.

Trawl back through Passera and Day's high-quality catalogue, which includes outings on Leng, Golf Channel Recordings and Defected as well as their own OTIS imprint, and that distinctive musical recipe becomes clear. Rooted in their love of classic drum machines and their trusty JUNO-60 synthesiser, the Payfone sound combines equal amounts of electronic and organic instrumentation, warm and inviting downtempo and mid-tempo grooves, and pertinent and thoughtful lyrics delivered with panache by an impressive roll call of guest vocalists.

Lunch, then, is a standalone sonic statement - an initially vinyl only album on their own OTIS imprint - that continues this impressive lineage. Like all Passera and Day's collaborative work, it is free of samples, with the pair preferring to create their own sounds from scratch. Opener 'Movin' On', featuring the honeyed vocals of former XL Recordings artist Willis Earl Beal AKA Nobody and slap-bass from Jo Gabriel Harris (who also features on three other songs across the album), is a deep and effortlessly evocative mid-tempo delight that perfectly sets the tone for what's to come.

Brooklyn-born April Pittman and Russian/Armenian vocalist Zara Kian lend their talents to woozy, sun-baked shuffler 'Paperman' before regular Payfone collaborator Ludmilla Rodriguez headlines 'Joan of Arc', a veritable Mediterranean breeze rich in tumbling analogue synth synths, elastic bass and tumbling guitar solos. Those yearning for a touch of lightly disco-flecked dancefloor heat will savour 'Spend The Night', where Los Angeles singer Collette Tibbetts AKA Carmella The Balls, accompanied by virtuoso keys courtesy of Parisian pianist Gabriel Cazes, rises above a sweet, melodious, dub disco-adjacent backing track. In contrast, 'Pamela' is low-slung and hypnotic, with 'Sofian' vocalist Barbara Alcindor ushering us through a deep, heady groove-scape.

Fittingly, Passera and Day round off Lunch via a vibrant and potent sweet treat, 'Pony Bar'. Headed up by the J.J Cale-esque lead vocals of man of mystery Leon Lace, the pedal steel-sporting song joins the dots between dusty Americana, kaleidoscopic Balearic beats and lilting, slow-motion disco. Like the rest of the album, you'll be thinking about it long after you've washed down the last few musical mouthfuls.

Lillian King's debut album In Your Long Shadow is out October 24th. It is about letting the wind in, Lake Michigan in the winter, and the silence of a long summer evening. And really it's about the grief of losing her dad, Neil King Jr. When her dad died in September 2024, grief permeated every facet of Lillian's life. The loss is felt in everything, but especially when doing the things her dad loved the most -- the simple everyday good things that make life worth living: cooking, walking the longer way to work, swimming in cold water. In the throes of grief it feels impossible to find anything that doesn't just make you sadder, but when Lillian did find those things, she grabbed onto them. Soon it was clear that the best coping mechanisms weren't gin and tonics, but talking to her mom and sister as much as possible, and producing an album. The album arrangement came together in a couple of weeks as Lillian brought bandmates and friends Robert Salazar and Nick DePrey new and old songs to build on. Robert played the drums, while Nick played keys (with a smattering of bass and guitar). The process was collaborative and intimate, and only got better when Jack Henry (producer of albums by Friko and Free Range) joined to record and mix it. Some of the songs on this album are years old, including "Underwater", which Lillian wrote one late night in Montreal a decade ago. However, most came together in the months approaching recording."Dragging Dirt" was written just a week before getting into the studio. Despite the bummer material, the recording process was spontaneous and light hearted. The song "Echo" came together unexpectedly during a break between songs. In the midst of recording In Your Long Shadow, Lillian had concerns about making a "grief album." Her sister Frances, as usual, had the right advice: "Every album from now on is going to be a grief album." In Your Long Shadow is about loss as much as it is about living with it. Take it outside on a walk.

Mit Fieras präsentiert das kolumbianisch-deutsche Duo Cosmica Bandida - bestehend aus Manuela Illera und David Blitz - sein erstes vollständiges Album. Nach der EP Lágrimas Saladas entfaltet sich hier ein musikalisches Universum voller Mythen, Rituale und sinnlicher Visionen. Jeder Track öffnet eine neue Tür: vom surrealen Tiburón Blanco über das feurige Volcán bis zum hypnotischen Pantera del amor, das den Dembow neu denkt. Die Musik von Cosmica Bandida verbindet psychedelische Cumbia-Grooves mit elektronischen Texturen, durchzogen von Einflüssen aus Italo Disco, Trap und Latin Alternative. Fieras ist mehr als ein Album - es ist ein klangliches Ritual, das Körper, Schatten und Stimmen auf einer tropisch-kosmischen Tanzfläche vereint.

Mit Fieras präsentiert das kolumbianisch-deutsche Duo Cosmica Bandida - bestehend aus Manuela Illera und David Blitz - sein erstes vollständiges Album. Nach der EP Lágrimas Saladas entfaltet sich hier ein musikalisches Universum voller Mythen, Rituale und sinnlicher Visionen. Jeder Track öffnet eine neue Tür: vom surrealen Tiburón Blanco über das feurige Volcán bis zum hypnotischen Pantera del amor, das den Dembow neu denkt. Die Musik von Cosmica Bandida verbindet psychedelische Cumbia-Grooves mit elektronischen Texturen, durchzogen von Einflüssen aus Italo Disco, Trap und Latin Alternative. Fieras ist mehr als ein Album - es ist ein klangliches Ritual, das Körper, Schatten und Stimmen auf einer tropisch-kosmischen Tanzfläche vereint.

Three part journey into an imaginary Amazon from three artists working on the fringes of field recording.

Stories del Tibur​ó​n Llor​​​​​​​ó​​​​​​​n del Amazonas picks up where the previous, Stories of the Indian Dotted Whale trilogy left us. This time, the same three artists, Giovanni Lami, Hannibal Chew II aka Gonçalo F Cardoso and Bardo Todol aka Pablo Picco return to riff on an imaginary crying shark, known to swim in the amazon river. The sad and melancholic shark has never been seen but its weep and sob can be heard all over the region. Here are three works of sympathetic howls for a lonely and misunderstood creature.

First part from Giovanni Lami is made of ghost recordings made during 2020 in Iquitos, Perú, in the amazon forest during the film shoot of “Tras el Barco de Fitzcarraldo”. Second part from Hannibal Chew II is a collection of re-assembled recordings and jams gathered from a trip through the Amazon in late 2017 to early 2018. Later assembled during various improvised recording sessions during the long hot summer of 2023 in Tenerife, Canary Islands. The third and final part comes from Bardo Todol and features abrasive tape and digital field recordings manipulation made by Picco in Iquitos in 2020 during the shooting of “Tras el barco de Fitzcaraldo”.

All three feature sounds of: people talking, static radios, saturday night churches, river people, shawi people, dolphin people, shark people, market people, vibrating insects, zombie insects, giant insects, giant motors and of course various weeps of a crying shark.

Mit Yenbett kehrt die mauretanische Sängerin Noura Mint Seymali eindrucksvoll zurück. Bereits die ersten beiden Tracks - zwei Versionen des Songs "Lehjibb" - zeigen die Spannweite ihres musikalischen Ausdrucks: archaische Klanglandschaften mit der traditionellen Harfe ardine treffen auf flirrende E-Gitarren, donnernde Drums und hypnotischen Gesang. Seymali verbindet die uralte Tradition der nordwestafrikanischen Griot-Musik mit modernen, elektrifizierten Klängen zu einem tranceartigen, kraftvollen Sound, der tief verwurzelt und zugleich zukunftsweisend ist. Als Tochter des Komponisten Seymali Ould Ahmed Vall und Stieftochter der berühmten Sängerin Dimi Mint Abba trägt sie ein musikalisches Erbe weiter, das sie mit eigener Handschrift neu interpretiert. "Die Griots sind Spiegel der Gesellschaft", sagt Seymali. "Wir bewahren Geschichte, feiern Kultur und schaffen Verbindung." Yenbett, ihr drittes Album und das erste seit 2016, wurde von Matthew Tinari (Drums) und Mikey Coltun (Mdou Moctar) produziert. Es ist roh, experimentell und voller Energie - ein Beweis für Seymalis Status als eine der kraftvollsten Stimmen der Weltmusik.

Charmaine Lee ist eine in New York lebende Sängerin, Komponistin und Elektronik-Künstlerin, die für ihre furchtlosen Erkundungen von Stimme, Geräuschen und Improvisation bekannt ist. Zu ihren Kollaborationen zählen Ikue Mori, Conrad Tao, JACK Quartet, Spektral Quartet und Wet Ink Ensemble, mit Auftritten im Lincoln Center, MoMA und Storm King Art Center. Nach ihrem von der Kritik gefeierten Debüt KNVF (Erratum Musical , 2021) kehrt Charmaine Lee mit Tulpaa zurück, einem kühnen neuen Statement, das das Ausdruckspotenzial der menschlichen Stimme und der Elektronik bis an die Grenzen treibt. Während ihre früheren Arbeiten ruhige Texturen und gestische Nuancen erforschten, ist Tulpa viszeral und unmittelbar und verbindet rohe Stimmkraft mit dichten Schichten analoger und digitaler Bearbeitung. Inspiriert von der Körperlichkeit des Rock der 70er Jahre und den esoterischen Eigenschaften von Hochspannungs-Röhrengeräten, schafft Lee eine Klangwelt, die sowohl wild als auch futuristisch ist. Tulpa pulsiert mit gesättigten Obertönen, mikroskopischen Details und dynamischen Verschiebungen in der Skala, die zwischen Intimität und Unermesslichkeit hin- und herpendeln. Produziert und aufgenommen von Randall Dunn (SUNNO))), Kali Malone, Anna von Hausswolff), wurde Tulpa mit einer einzigartigen räumlichen Technik erstellt: Lees Stimme wurde in ein direktes Signal und mehrere Vintage-Röhrenverstärker aufgeteilt, die als Lautsprecher dienten, wodurch eine feedbackreiche, dimensionale Umgebung entstand. Das Ergebnis ist eine Aufnahme, die sich taktil und immersiv anfühlt - gleichzeitig geerdet und spektral. ,Ich war fasziniert von diesem Sound der 70er Jahre - wie lebendig und unvorhersehbar er sich anfühlte und doch so tief verkörpert war", sagt Lee. ,In Tulpa geht es darum, Grenzen aufzulösen: zwischen Körper und Maschine, Raum und Wahrnehmung, Klang und Illusion." Der Titel bezieht sich auf ein Konzept aus der tibetischen Mystik: Ein Tulpa ist ein Wesen, das durch konzentriertes Denken heraufbeschworen wird. Lee verwendet diese Idee als Metapher für ihre Praxis, in der Klang zu einem materiellen Akt der Vorstellungskraft wird, der zwischen Präsenz und Erscheinung wechselt. Das Album endet mit einem meditativen Duett mit dem weltberühmten Reed-Spieler Ned Rothenberg an der Bassklarinette , einem spärlichen und weitläufigen Track, der vom Noh-Theater inspiriert ist. Es bietet einen Moment der Stille, der noch lange nach dem Ende des Albums nachhallt.

Bumping pop winners from this cool Danish Duo.. TIP! info soon

Music and lyrics by Snuggle: Vilhelm Tiburtz Strange, Andrea Thuesen Johansen

Produced by Snuggle

”Sun Tan” produced by Snuggle and Nis Bysted
Mixed by Snuggle and Nis Bysted at Grapehouse Studios
Mastered by Emil Thomsen

Andrea Thuesen Johansen: Vocals, electric guitars, acoustic guitars, piano, synths
Vilhelm Tiburtz Strange: Electric guitars, acoustic guitars, electric bass, piano, synths, drums, percussion
Tobias Laust: drums on “Woman Lake” and “Dust”
Naja Soulie: cello on “Woman Lake”, “Marigold” and “Driving Me Crazy”

I found something — I think it’s for you.

It followed me back from the Looping Fence… or maybe I followed it.

It gave off a warmth that didn’t belong to the weather.

I’ll leave it here. You’ll know what to do.

If it wiggles, just nod politely.

— P ꩜☍

We reunited for this second EP two best friends who have been shaking up the South of France techno community for a few years now. They started as a duo named Flyov before exploring their solo projects. Tibahuult has since been touring all over Europe with his explosive live set, blending Techno, Electro, and Punk music. Nathanaël, on his side, has grown into one of the DJs you don’t want to miss when partying in Marseille.

We’re thrilled to bring them back together on this project, where you can witness how a shared universe can evolve in two very different ways as each artist grows. To highlight this evolution, we selected for each of them one track produced a few years ago and one track created more recently with this project in mind.

On the A-side, Nathanaël opens the EP with a mysterious, trippy, jazz-infused house track, revealing all his finesse as the bass comes to embrace you like a big warm morning hug. For his second track, Cosmic Messenger, Nathanaël dives into a much darker space with a banger designed to destroy any dancefloor it hits

With Bass in the Sound, Tibahuult expresses his love for Punk music and flawlessly merges both worlds into an addictive ear-worm that will stick in your mind all day long. Tibahuult closes the B-side with one of his all-time festival anthems—the track that made me fall in love with his music. This high-energy piece will make anyone dance like the devil has taken over their body.

BPitch Berlin setzt die Erweiterung seiner Klangwelt fort und präsentiert die neunte Ausgabe von WE ARE NOT ALONE, einer 12-Track-Compilation, die eine Brücke zwischen verschiedenen Formen und Rahmen schlägt, die von einer echten Liebe für den Underground zusammengehalten werden.

Jede WE ARE NOT ALONE-Compilation ist ein Beweis für die stilistische und genreübergreifende Vielfalt, die BPitch ausmacht, und bietet einen Einblick in verschiedene Subkulturen und verbindet Künstler aus aller Welt mit einer gemeinsamen Vision. Von Acid bis Industrial, von EBM bis Trance - Genrebezeichnungen verpuffen und machen einem Gefühl Platz, das jedem Künstler die Möglichkeit gibt, seine eigene Interpretation einer Energie zu dokumentieren, die das Label und die Veranstaltungsreihe seit ihren Anfängen getragen hat. Verspielt wie immer, ohne dabei den funktionalen Kern von Techno aus den Augen zu verlieren, ist WE ARE NOT ALONE pt. 9 ein Versuch, ein Gefühl zu dokumentieren, und eine wichtige Momentaufnahme einiger der aufregendsten Stimmen der elektronischen Musik.

Official Licence.

This limited-edition vinyl release brings together Lofi Girl and Assassin’s Creed Shadows in a legendary collaboration.

The album features 20 lofi remixes inspired by the Assassin’s Creed Shadows Original Game Soundtrack. Familiar melodies like Ezio’s Family have been reimagined as softer, more atmospheric tracks - ideal for unwinding, studying, or finding focus.

2025 Record Store Day title - now available for general sale. A selection of top quality tracks from some of reggae’s legendary singers backed by some of the best musicians - Tyrone Taylor, Joseph Cotton, Errol Dunkley, Gregory Isaacs,Frederica Tibbs, J Nile featuring his son J Nile, Cornell Campbell, Jimmy James (of Jimmy James and the Vagabonds fame, one of the first Jamaican recording artists), Winston Reedy (Mr Dim The Lights – lovers rock king) , The Heptones - top Jamaican group who recorded countless hits for Studio One, and BB Seaton (one of Jamaicas best songwriters). Recorded at the Room in the Sky Studio, Tuff Gong Jamaica, Music Lab Jamaica, and Ariwa,. Musiciams: Sly Dunbar, , Winston Horseman Williams, Michael ""Megahbass"" Fletcher, Flabba Holt, Alan Weekes, Vin Gordon,,Noel Fish Salmon, ,Ashanti Selah, Bongo Herman.

Introducing ‘Principauté de Bowl-Air’.

A brand-new label founded by DJ Bowlcut from South Korea, a key figure in supporting Seoul’s underground scene through Seoul Community Radio. This project presents his vision of deep, glitchy, minimal house music—woven with the story of a secret micronation hidden in the heart of Seoul.

The debut vinyl release, PBAVINYL001, features an original track by DJ Bowlcut, alongside reinterpretations by his friends DOTT and Rudolf C.

The A-side opens with “Tibetan Bowl”, a track built around the sound of a Tibetan singing bowl and vocal samples taken from a singing bowl tutorial—inviting listeners into the surreal world of Bowl-Air.

The second A-side track, “The Moment”, delivers a minimal yet gritty bassline and a hypnotic minimal house rhythm, layered with glitchy, acidic patterns and a Korean vocal sample that says, “Now it’s the moment you are waiting for.”

The B-side features remixes by DOTT and Rudolf C. DOTT reimagines “Tibetan Bowl” into a deeper, darker exploration of Bowl-Air’s hidden layers. Meanwhile, Rudolf C transforms “The Moment” into a nostalgic machine-funk-style track reminiscent of the early 2000s—perfect for injecting some funk into the dance floor.

Originally released Earth Day '95 (4/25/95) on CD, this was reissued on double LP vinyl in 2006 by Sub Pop. This is the more recent reissue of the LP, which has a few differences from the 2006 pressing. This comes with transparent, thick inner sleeves, and includes a one-sided 29.2cm x 29.2cm black & white insert with a photo, plus track listings and some notes on the release (all of which are the same as the photo and notes from the CD version and 2006 LP version).

A stellar collaboration between composer Michael Cashmore (Current 93) and vocalist Marc Almond of Soft Cell fame. Two complementary creative sensibilities in intimate interlock; supreme compositional and vocal talents fusing to make uniquely dramatic musical and vocal interpretations of searing beauty and insight. Specifically, this suite of songs feature the heightened lyricism of a stunning array of cult poets, both contemporary and of yesteryear. 'Feasting With Panthers' is a stellar collaboration between composer Michael Cashmore (Current 93) and vocalist Marc Almond of Soft Cell fame, in the nearest thematic echo and nod, in the latter's vast back catalogue, to the darker gothic influences of his celebrated Marc And The Mambas period and his acclaimed 'L'Absinthe' and 'Jacques' twisted chanson solo albums. This album's defining aesthetic is the setting of outsider poems to music. Poems by Count Eric Stenbock plus unique lyrical translations - by celebrated poet Jeremy Reed - of works by Jean Genet, Jean Cocteau, Arthur Rimbaud, Paul Verlaine, as well as Reed's own poetry. The emphasis throughout is on 'decadent' poems of thwarted love, ill-fated romance, self-destruction and death: many poems are woven with homo-eroticism, laced with opium dreamstates and all are accompanied by Michael Cashmore's haunting and melancholic music that lends the verses a deft yearning for beauty and a bittersweet, melancholic longing for lost innocence and youth. Originally released in 2011 and long since deleted, 'Feasting With Panthers' is now restored to back catalogue availability as a double vinyl album - it's first ever vinyl edition - with a variant of the original album artwork and two printed, full colour inner sleeves complete with lyrics and pictures and featuring four bonus tracks. The album was recorded over several years by the artists sending music files back and forth by e-mail and post; the artists never once recording together in the studio. Berlin based Michael Cashmore worked at home composing the music, playing all of the instruments and adding Marc's vocals from files recorded in London. The resulting album is a glorious union of sensual talents, both in voice and music, complementing the intriguing and evocative poetic texts. The project began after Current 93's David Tibet gave Marc a book of poems by the Baltic German poet Count Stanislaus Eric Stenbock. Marc was instantly attracted to the dark eroticism and the melancholic yearning of the verse and, so, contacted Michael Cashmore, whom he had previously worked with on Current 93's reading of 'Idumea'. He felt Michael would have the right understanding of the verse with his intricate, beautiful musical compositions. From this, the project developed to include many of Marc's favourite poems by some of his favourite 'outsider' poets with common thematic ground.

"Salsa con charanga" is really a feast for all salsa music lovers, a true jewel, which deserved much better when it originally came out in 1978. In addition to being a great salsa album, has the distinction that was released on Orfeon, a Mexican record label, due to the diligent work of the extraordinary producer Bobby Marin, and which miraculously received air play when powerhouse Fania label and few others ruled radio in the salsa music world. It comprises eight great, solid tracks; some, new interpretations from other albums in which Mike Guagenti participated with his handsome and captivating voice - a crooner with a salsero soul -, that, at times, could remind us of the late Tito Rodríguez, and even Ray Ramos. "The Mike Guagenti album," as indicated by Marin, "is a compilation of recordings by other artists. Originally a salsa album, I brought in Cuban Pupi Legarreta (violin and flute) and [Panamanian] Mauricio Smith (flute) to give it a charanga sound." With the exception of the cut 'Salsa con charanga,' which is an instrumental, the rest feature vocals by Guagenti. "Salsa con charanga" has developed a cult following, and finding a copy of the original could be quite expensive. Luckily, this officially licensed and restored edition will fill that void.

Transport yourself to the enchanting Brazilian seaside with our latest release, BOSSA LOFI COMPILATION! Each track in this collection embodies the spirit of summer, immersing you in the rhythmic sway of sambas and the soulful strumming of guitars. Picture yourself at a lively beach party, dancing beneath the stars, or relaxing with friends on sun-kissed sands, savoring each moment. This compilation promises a perfect soundtrack for unforgettable experiences, filled with warmth, joy, and the timeless charm of Brazil's musical landscape.

We're excited to announce Discos Martos' second release: a 45-vinyl single from Rocksteady Romantics, celebrating the irresistible sounds of…you guessed it…rocksteady. True to the label's dedication to analog productions, this release offers what Jamaican music culture is known for: Dub music and classic soul covers in its own style.

The A-side features a fantastic dub track featuring Tibstar, designed for loud soundsystems and clubs. With its catchy and powerful horn section, this track is guaranteed to get the dance floor moving.

On the B-side, the band presents a lovely Spanish version of the classic soul tune "I'm Your Puppet," sung by Tito Ramírez. This fresh interpretation blends the original's charm with a rocksteady twist.

With this release, Discos Martos continues to honor timeless sounds while infusing them with contemporary energy.

For this special release, we’re excited to unveil something brand new: a triple vinyl, perfect for casting a spell on your Halloween night

Witches brew and cauldrons bubble, as Halloween stirs up an eerie trouble! Step into the world of spooky beats with Lofi Girl's 'Halloween 2024' compilation. Featuring talented artists from around the world, this potion of ghostly rhythms and haunting melodies sets the mood for a night of chills and thrills. Whether you're conjuring up potions or unwinding under the moonlit sky, let the witchy magic of these chilling beats take over your Halloween night!

‘4th DIMENSION’ is the last and probably greatest album ever recorded by Italian piano Maestro Mario Rusca. This monumental music produc"on features tracks in Nonet, Quintet and Trio. Along with the faithful rhythm sec"on composed by Riccardo Fioravan" on bass and Maxx Furian on drums, on this slamming cinema"c jazz album Mario Rusca teamed up with two extraordinary wind players: legendary Flavio Boltro (of Michel Petrucciani Quintet fame) on trumpet and Gabriele Comeglio on sax alto.

As far as the choruses are concerned, Nicole4a Tiberini, Mar"na Rossi and Alice Macchi, from Maestro Rusca’s ensemble music courses at the Civica di Jazz School, provide inspired and swinging backing vocals. The cherry on the cake, the element that gives to ‘4th DIMENSION’ a pulsa"ng and swinging’ drive, is the par"cipa"on on the album of Marco Fadda, one of Italy’s leading percussion players.

This heterogeneous ensemble has shaped, during 5 days of intense studio recordings, an absolute masterpiece full of swinging rhythms along with a few magical in"mate moments. In his 65 years career, Italian piano legend Mario Rusca has shared the stage and recording studios with luminaries such as Chet Baker, Cur"s Fuller, Gerry Mulligan, Lou Donaldson, Art Farmer, Lee Konitz, Dusko Gojkovic, Enrico Rava, Tullio De Piscopo, Kenny Clarke, Stan Getz, Toots Thielemans, Gianni Basso, Pepper Adams, Steve Lacy and Tony Sco4 (with whom he formed an indissoluble partnership).

Being accompanied in this album by extraordinary musicians, Rusca chooses to flow in a repertoire that, like in his most recent records for Mono Jazz, bridges between original pieces and revisited standards from the American Jazz Songbook, approached with unprecedented sensi"vity and depth.

The journey of ‘4th DIMENSION’ is an extraordinary cinema"c musical voyage across various styles ranging from Bop, Hard Bop, Cool, Funk and La"n Jazz. ‘4th DIMENSION’ is a perfect follow up to the interna"onally acclaimed Easy Tempo legacy! In these 13 tracks, “il Maestro” embraces and enhances a ‘cinema"c’ component in his music - an a4ribute he has long cul"vated through original soundtracks and library albums recorded for diverse cult Italian labels.

This, as we were saying, is achieved through the addi"on of percussionist Marco Fadda, who introduces a series of rhythmic nuances across several tracks, and of the extraordinary female vocal trio reminiscent of I Cantori Moderni of Alessandro Alessandroni & Edda Dell'Orso, used in the tradi"on of Italian composers of ‘60s and ‘70s film music.

This natural progression reflects Italy's history, where jazz musicians have long been involved in soundtracks and film scoring since the late ‘50s. Italian jazz has integrated this approach into its composi"on and arranging styles, as demonstrated in the first 10 volumes of the Easy Tempo series. A spirit and tradi"on that Rusca's ‘4th DIMENSION’ record con"nues. Listening to some of the tracks on the record evokes the legendary works created for cinema by Piero Umiliani, Piero Piccioni, Lelio Lu4azzi, Armando Trovajoli, Gianni Ferrio and others.

For our first ever Vinyl release we are celebrating a one of a kind party that has been happening for the last three years in South of France. We teamed up with « L’archipel » and invited 4 Producer that have all been part of making this festival a formidable adventure between Trance, Techno and Electro.

Lombroso goes first with his sharp dark and religious atmosphere. A1, The Last Midnight, a slowly building Techno belter, not to remember his infamous project « La Decima Vittima » released on « La nota del diablo ».

A2, Delayscura takes you on a beautiful trance infused techno trip. Nativo grants us of his deep crazy synths that are progressively taking this beautiful ambiance to an all other level.

After two appearances on his own label, IVOE, Kamyar Keramati opens that side with an intense electro banger. B1, Elements of a Thread get more and more complex to finally unravel all his mysteries.

Tibahuult has been for the past two years traveling all around France with an unforgettable live act. He is also one of the founder of « L’archipel » where he played that live act for the first time. With B2, Feel some of my Jam, he delivers for us an incredible belter track that
kick with a sunny vibe only to unfold all the producer madness all along the track.