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For the Seventh output through Stranger's Self Reflektion Imprint the Rotterdam based label welcomes fellow dutch artists ''Moving Thoughts" to the label roster. ''Forward Motion EP'' proves to be a perfect showcase of Moving Thoughts' household style which revolves around thight packed textures, thriving drum patterns and mindblowing taints of mechanic sounds and extravagant synthesis.

In 2006, Tim Arndt released the first Near the Paren- thesis album "Go Out and See". Arndt had intended to follow up that release with a more beatless ambient album, where percussion was left to the side and com- position took center stage. A shelved Idea that we now get the benefit of a full ten years later.

This new album Helical is the realization of Arndt's stripped down ambient concept. Helical features Arndt's characteristic experimental modem classical instrumentation and compositional style, but slows things down and stretches them out. The focus on the organic is clear, but moments of ethereal breath weave in and out and prevent the album from becoming too self aware.

Helical, as a loose reference to the geometric structure of our very DNA and it contains themes that are driven by a recent discovery of Arndt's past and ancestry. The release seamlessly stitches all of these concepts together and marks an unique release and new direction for Arndt's Near the Parenthesis.

Helical will be available in limited transparent coke bottle green and opaque grey vinyl flavors as well as compact disc on May 20th.

-7th album from bay area experimental composer Tim Arnt.
-Limited Grey and Coke bottle Clear Vinyl
-Near The Parenthesis has 3 tracks with over a million plays on Spotify.

'My last record was a break up record and if I had to label this one I would call it a make up record. I'm making up with myself. making up for lost time. making up for everything I ever did and never did.'

Adele is set to release '25,' her highly anticipated new album, which will be available globally on Friday November 20th and is the first new music from her since her Oscar winning single 'Skyfall' in 2012. 

'Hello,' the debut single from '25,' will be available to buy and stream on Friday October 23rd. The cinematic video for 'Hello' will also be revealed on Friday October 23rd. It was shot in the countryside surrounding Montreal and is directed by the celebrated young Canadian director Xavier Dolan (Mommy, Tom at the Farm).

Von Carl Bown und Colin Richardson (Slipknot, Machine Head, Trivium) in den Metropolis Studio in London produziert, entpuppt sich VENOM als kompromissloser, erbitterter Schritt für Bullet For My Valentine. Ihr heftigstes Album bislang packt den Hörer sofort an der Kehle, wofür die mächtige Performance von Sänger / Gitarrist Matt Tuck, die bissigen Riffs von Gitarrist Michael "Padge" Paget und das Drumming-Sperrfeuer von Michael "Moose" Thomas sorgen. Auf VENOM hält das Trio perfekt seine ureigene Balance zwischen Heaviness und dringlichen Melodien und schraubt sich so auf das nächste Level.
"Es ist schwierig, ein komplettes Album zusammenzufassen, nachdem wir soviel Zeit mit dem Songschreiben und Aufnehmen verbracht haben und Blut, Schweiß und Tränen flossen," erzählt Frontmann Matt Tuck. "Es war hart, für die Texte wieder an einige äußerst dunkle Orte zurückzukehren, aber sobald ich Fährte aufgenommen hatte, war es OK für mich, gewisse Themen einfach rauszulassen - und die Hölle brach los. Dieses Album ist ganz klar das aggressivste, das wir je eingespielt haben, und textlich wird es sicherlich Viele aufhorchen lassen.

New FXHE, you know the drill. Pure belters only.

BEGR-001 by Basement Grey Records is a 3 track 12' EP produced by Teersom including a reinterpretation of B1 - Waves E by Felix K.

The EP includes minimalistic and experimental soundscaping through the record made for dark dancefloors. The label and the record keeps an eye on the atmosphere where people enjoy dancing eyes wide shut.

Package includes a Hand-Stamped 140g 12" Vinyl record.

Mastering & cutting by Helmut Erler @ Dubplates & Mastering, Berlin

Second EP from enigmatic electronic popster FKA Twigs (formerly known as Twigs) packed full of turbulent beats and floating vocals that compliment her glitchy striking visuals that accompany each release
Now, following a name alteration to FKA twigs, she unveils the brand new 'EP2', which will be released on the Young Turks label, available on 12' vinyl.

'So, so amazing ethereal dubstep pop from Gloucestershire... The UK's best example to date of ethereal, twisted R&B.' - The

Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time
in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as
Reggae .
Lee Perry (b. Rainford Hugh Perry, 28 March 1936, Hanover,Jamaica) began his entry into the music business at
the age of 16.Moving up to Kingston Town and working around various Sound Systems, before finding
employment at Coxonne Dodd's Studio One set up, in the late 50's early 1960's. Perry started out as a record
scout, organising sessions and supervising auditions at Dodd's record shop on Orange Street. Helping to make
hits for Delroy Wilson ( 'Joe Liges','Spit In The Sky') and the Maytals, which would lead to his own vocal records
released through Studio One.The musical backing for which, came from legendary Studio One house band The
Skatalites. Another important relationship for Perry, his first recordings with Bob Marley came in the form of
the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley. Cutting such tunes as
'Chicken Scratch' around 1965/1966. This tune was also to provide him with one of his future nicknames
'Scratch'. A dispute over credits and money saw Perry leave Studio One and work with various producers
including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he
would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. A tune cut during his
time with Gibbs, voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his
frustrations in the business.This particular tune 'The Upsetter' would also provide another moniker and a name
for his label 'Upsetter'. Again lack of musical credit and financial reward saw Perry move on this time to WIRL
(West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio
time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would
carry out on his trusted Honda 50 motorcycle around Kingston town.
This period at WIRL saw some inspired work from Perry. 'Run For Cover' was another musical blow to a
previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt's guitar
picking skills. 'People Funny Boy' was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs
would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had
provided hits for groups like, The Pioneers amongst others. The song would be one of the first records to
feature a New Beat (Reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one
night.The congregation inside, wailed in a more slower way than the current musical style of the time Ska!. Perry
worked up this new style with Clancy Eccles, who would come under attack himself in 'You Crummy'. Their
closeness, which as detailed in that song would find them, 'Even shared the same Gal' but 'Now it's plain to see we
reached the end'. 'Set Them Free' was an answer record to Prince Buster's 'Judge Dread' (which had
featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young
offenders of the time. The track was cut on the same rhythm as 'Run For Cover' . 'Django Shoots First'
inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ's who
used a jive talking style over rhythms. 'Night Doctor' was a hit instrumental that featured the organ talents
of Ansel Collins, that really push the tune along. 'Something You Got' was a cover of an USA R& B track by
Chris Kenner and 'Wind Up Girl' was cut at the same session. 'Water Pump' was a rude style track that
was cut later and originally released in 1974.As was 'People Sokup Boy' a later version of 'People Funny Boy'.
'Labrish' which means idol talk and gossip, was one of the first great talk over tunes that features Lee Perry
and producer Bunny 'Striker' Lee talking about the Political situation in Jamaica at the time and their own
financial situation and stories of various comrades.The track was originally released in 1973.
Bunny Lee would play a major part in lee Perry's career around this time and they were very close, often
sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry's roll at WIRL and become
responsible for the labels products in years to come. Clifford Rae who give control to Bunny for a lot of the
WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out
of a time spent at WIRL Records and providing an important chapter in Lee Perry's career and indeed to the
story of Reggae itself.
Hope you enjoy the set.

out of nowhere white label on Skudge....

The debut album by the L.A. based Dexter Story. Featuring many guests artists such as The Life Force Trio, Mark de Clive-Lowe and others !

Soap Dodgers long awaited Unleashed EP, featuring tracks battered by N-Type Youngsta, Hatcha, Dismantle, MistaJam and Tubby Newham Generals.Unleashed: Unleash the beast! Skanking dark half stepper with the energy to match any tear out tune. Bassline is raw and twisted, dark and industrial. This track is thick with sub, but spacious following the code of the original dubstep sound.Waterlanding: This track was championed by Youngsta late last year. Future dub technologies, skanking reggae dub style with a 2012 twisted bass and 808s.Strobes: Catering for the more jump up side, this is the lighter side of the E.P, as its title suggests, rave driven glitchy, hard and furious. Reminiscent of Benga and The Others.Twister: Euphoric build ups, industrial filtered bass, and a sample that spells it all out; Twisted! A favourite with N-Type & Walsh.

Amsterdam's wild-man San Proper is unleashing his inner beast! The results are being served up on his debut album 'Animal', due out spring 2012. The whole album was mixed by San & Ricardo Villalobos...sounds GREAT! TIP!

The next various artist release on Houseworx "Lost Housetracks vol.3 " welcomes 4 new artists to the Houseworx family!

Siggatunez from Germany, Anton Mayer from Russia, Freischwimmer from Japan and last but not least, Rhymos from UK.

Hui Terra. The dreamlike shape of the half-heard word, abstracts with faint impressions of bucolic landscape, or handfuls of translucent and brightly-colored gemstones that hold odd, elusive, asymmetrical form. This enchanting, gently surreal debut album from Alex Cobb's Etelin project explores the power and playfulness of impulsive action diffused through electro-acoustic and ambient sound.

This music was created with digital synthesizers and a sampler in the four months immediately following the birth of his first child, a hazy period marked by a lack of regular sleep and a diet of INA-GRM, Nuno Canavarro's "Plux Quba", and Microstoria's "Init Ding" - records that appeared to produce both stimulating and soothing effects on a newborn's nascent consciousness. Recorded and arranged at all hours, this is an album that reflects on moments of tumult and fragility. Cobb sews small sharpnesses and surprises into its movements to uncover different aspects of each sound source, doubling as hypnic starts cast to advance and variate the narrative in subtle and unexpected ways. Sound and atmosphere manifest in eccentric, alchemical fashion, as though forming in processes of sublimation - solids dissipating into vapor - and deposition - clouds resolving and dropping to the ground in piles - to an obscure and domestic rhythm. There's the purveying sense of moving within the boundaries of small, hermetic ecosystem. This is underscored and doused by a slow, blooming sense of warmth; growing joy without bombast. Even the more startling textures conceal this same truth and emphasis, such as the alien, sour salt-butter electronic babble in "Little Rig", largely sampled from Cobb's son's voice at just a week old. It is emotional music - devoted, affectionate, and playful.

First released in 2009, Only Built 4 Cuban Linx… Pt. II stands as Raekwon’s celebrated sequel to the Purple Tape, expanding his cinematic mafioso rap universe.

This newly designed instrumental edition removes the vocals to place full focus on the album’s production, featuring beats by J Dilla, Dr. Dre, RZA, Pete Rock, The Alchemist, and more.

For the first time ever on vinyl, the instrumentals are presented as a standalone listening experience, revealing the album’s grit, mood, and layered sound design.

Pressed on classic black vinyl and housed in a heavy matte-finish jacket with spot gloss text, the Shaolin Noir Edition keeps the spotlight on the music itself, serving as a clean, essential companion to one of Raekwon’s most acclaimed releases.

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

Ben is a Detroit-based producer who makes up half of Symptoms of Love, along with BPT records alum Ryan Spencer. He here brings us a 4 tracker of the absolute highest order. It both sounds like music that no one else is making, while also sounding like a pastiche of everything that you've ever liked in the past. The magic formula baby!!!!!!! Shall we walk thru the music together?

BPT founder and music's #1 man Jeremy Castillo has described the EP absolutely brilliantly as such: "YMO style dissonant electro with a Detroit touch on the a side, with pitched down Patrick Cowley psychedelic Macarena on the B-side.

The A1 and title track is an incredible statement of intent from Ben - it really does sound like if Hosono grew up in Detroit listening to Electrifying Mojo. It's an absolute blast of sunlight coming through your headphones. Press play and watch your vitamin D levels rise baby!!!

A2 cut "Music Remembers" is a groovy joy ride reminiscent of Galaxy II Galaxy, complete with re-pitched vocal chops and 808 claps galore. This will hit SO hard on a spring day if you live in a city currently blanketed in snow.

On the flip, B1 "Whose Water" will be a big hit with anyone who dug Dam Funk's Garret project. Introspective downtempo synth fans rejoice!!! And we wrap a stellar outing with B2's "New Sun" - a propulsive Cosmic workout that will open up any dancefloor. The psychedelic Macarena is right baby!!!

“In The Mix: Volume 1” is the first vinyl compilation of artists that have performed in one of New Orleans most beloved record shops - NOLA Mix Records. Though these aren't live recordings, they capture the spirit and soul of both the shop and the Crescent City itself. You’ll hear everything from Jazz and Funk to Hip-Hop, House, and Latin — all infused with the unmistakable energy of New Orleans.
The artists included on this 10-track compilation are: Flagboy Giz, Troy Sawyer and The Elementz, Water Seed, Santero, ET Deaux, Alfred Banks, Connie Price & The Keystones, A Lovely Triangle, Lisbon Girls, Loucey, Bo Dollis Jr., Hasizzle and more…

180g Heavy double vinyl LP with liner notes by Tyran Grillo. Limited Japanese Obi for the first pressing. Original artwork by Russell Mills and photography by Jean-Baptiste Mondino.

The third Time Capsule is a body of dub reinterpretations by celebrated producer Bill Laswell of Ethiopian singer Gigi. Curated by Tokyo record collector, music researcher and seasoned reissue supervisor Ken Hidaka, it is the first time Illuminated Audio is pressed to vinyl after its CD release in 2003.

Ejigayehu Shibabaw was born in 1974 in Chagni, northwestern Ethiopia and by pursuing a career as a singer, went against her father’s strict, traditional gender roles. As Gigi, she embraced the same musical freedom she had strived for in her personal life, incorporating the Ethiopian church, funk, hip-hop, West and South African music into her work. She first settled in Nairobi, then Addis Ababa, where she quickly established herself as one of the city’s leading singers. A move to San Francisco in 1998 led to a long and fruitful creative partnership with bassist and producer Bill Laswell.

Around the same time, Chris Blackwell had stepped away from Island Records to start the art house film company and label Palm Pictures. He took an interest in Gigi and together with Laswell, pulled together an all-star cast of musicians for her self-titled US debut album, including Herbie Hancock, Pharoah Sanders and Wayne Shorter. It won international critical acclaim, not just for its musicianship but for making Gigi a “defining voice for the Ethiopian expatriate community”, as journalist Tyran Grillo praises in his Time Capsule liner notes. From the nation-defining 1896 victory over Italian invaders to the quiet revolutionaries who wear simple shemma garments, Grillo believes the themes in Gigi make it “a shower of sunlight on her homeland for those ignorant of its struggles.”

After its success, Blackwell encouraged them to go back into the studio to rethink the album and Illuminated Audio was born. “Anyone can make a voice sound worldly”, Grillo remarks, “but rare are those who can make one sound inner-worldly.” Gigi was clear with Laswell to give her vocals a minor role “because it’s already been done.” Instead her Amharic verse is fleeting, exhaling through the textures like ghostly fragments; soaring yet muted. Yet the album is still titled under her name, an assertion by Laswell of her central role in the album’s creation. Not only was it a fully endorsed project by Gigi, but she would be present throughout its development, giving feedback on half-finished ideas as Laswell played them back in the studio. “It works perfectly”, she reflected after the album’s release. “We wanted to capture the whole spirit of each track, and Bill’s remixes create a different music language that really puts you in a pleasant place”.

This new vocabulary takes its lead from a technical approach that Laswell had been perfecting during a furtive creative period at the turn of the millennium. Much like his ambient interpretations of Miles Davis (Panthalassa, 1998), Bob Marley (Dreams of Freedom, 1997), and Carlos Santana (Divine Light, 2001), Laswell approached Illuminated Audio by returning to the original multitrack masters. Gigi wasn’t just reworked, but recomposed into an expansive lattice of instruments, submerged in a watery ambience of dub and trance undercurrents.

Sonically, this new language that Gigi refers to, is manifested by the original album’s more understated parts being pushed to the fore. Explaining his contrasting methods, Laswell saw Gigi as being “put together in a way that fits”. Contrastingly, in Illuminated Audio, “a lot of things that I featured in the remix weren’t as audible in the original.” Instrumentation laying near-dormant, deep in the mix, are brought to the fore: the acid rock guitar and Wayne Shorter’s saxophone on ‘Tew Ante Sew’, Graham Haynes’ flugelhorn on ‘Nafekeñ’, Laswell’s bass on ‘Kahn’, the melodica in Mengedegna or the floating synths and talking drums in ‘Gud Fella’.

Brought to his attention by mentor DJ Nori, Hidaka describes Illuminated Audio as a “masterful sonic exploration into ethereal ambience and dub” and made sure this reissue also contained a full remaster to give its “deep musicality” much better dynamics and density in the overall sound. Hidaka admits that Laswell's music “is sometimes so out-there, it is often misunderstood” and, indeed, to dub album non-believers this might seem like a prolific producer imposing himself on another artist’s work; eternally developing rearrangements that never quite get to its destination. But that’s missing its true power and triumph. This is more than the reissue of a remix, but “a wholly unique musical entity”, as Hidaka describes. Illuminated Audio refers to the illuminated manuscripts that comprise the major part of Ethiopian art and its new compositions stand in proud solitude as a rare body of reworks that both informs and enhances their originals.

Celebrating the 30th Anniversary of Jennifer Warnes' Pop Classic on Crystal Clear Green Vinyl!
All-Tube Mastering by Chris Bellman at Bernie Grundman Mastering from the Original Master Analog Tapes on 180 Gram Vinyl!
One-Time Pressing of 3,000 Individually Numbered Copies!
New Inner Sleeve and LP Labels!
Pressed at RTI!

Impex Records is celebrating the 30th Anniversary of The Hunter with a one-time, individually-numbered pressing of 3,000 in crystal clear green vinyl! Jennifer Warnes’ acclaimed follow-up to Famous Blue Raincoat features a Grammy-nominated recording by Elliot Scheiner and all-tube mastering by Chris Bellman at Bernie Grundman Mastering using Jennifer’s personal original analogue master tapes.

‘The Hunter’ was released five years after her breakthrough with ‘Famous Blue Raincoat’. A TOP 100 LP when first released in 1992, The Hunter’s audiophile credibility is best summed up by Elliot Scheiner’s Grammy-nominated recording and mix. It contains the charting single “Rock You Gently,” a sonically dense yet expansive cover of The Waterboy’s classic “The Whole of the Moon,” a soulful Jennifer Warnes/Leonard Cohen composition “Way Down Deep,” Todd Rundgren’s “Pretending to Care” and even a Donald Fagen tune (“Big Noise, New York”). She owns every tune here, backed by a-list session players who ground the songs with solid and unobtrusive authority, letting Jennifer’s peerless interpretive skills bring the soul of every lyric to the forefront. Ms. Warnes uses her voice to serve the lyrics, allowing the song to return the favour.

“The follow-up to Warnes’ FBR offers crisp percussion cues, solid bass throughout – but especially during “Way Down Deep” – and a surprise chamber quartet on the title track” – Neil Gader, TAS Guide to Audiophile Demo Disc

Arista (now Sony/BMG) never released The Hunter on vinyl in the U.S. A regular-weight LP floated around Europe for a while but is not noted for exceptional sound or quiet vinyl.

“Remastered by Chris Bellman at Bernie Grundman Mastering, the sonics are luscious. Warnes has always had an audiophile’s ear and was hands-on with this effort–one of the last from now-defunct Cisco Records. It soars effortlessly, restoring warmth and delicacy and easily besting the earth-bound but otherwise excellent CD. It’s an example of both an artist in full charge of her powers, and analogue art its very best.” – Greg Cahill, The Absolute Sound

Alchemical amalgamations abound on Gloomy Reflection's Debut LP. The combining of two explosive musical forces in Lord Gordith (Quest Master, Steröid) and Will Spectre (Crypt Vapor, Dracula, Tarot, The Wizar'd) is in and of itself an act of strong and dangerous magick yielding the potent chemical reaction that has brought forth The Oath of the Paladins.
These seven tracks of synth drenched hard rock/heavy metal are each the product of significant symbiosis. Wrenching together lofi basement blackened heavy metal, with bombastic fist pumping progressive hard rock. The fusion of these ever so unstable elements has resulted in one of the most electric albums of 2025.

Drawing from traditions of musique concrète and ambient synthesis, The Vertical Luminous creates a world of textural depth and microscopic wonder. Across its tracks, bubbling tones, processed field recordings, and shifting electronic layers intertwine, evoking the sensation of listening in on the hidden rhythms of atoms, molecules, and micro-organisms.
'While grounded in experimental technique, The Vertical Luminous avoids the academic or austere, instead embracing a mischievous sense of melody and curiosity - a reminder that exploration and joy can coexist in sound.
'The result is a record that is both meditative and playful, equally suited to deep listening or casual drift.'

Eine Frau ist auf einem Kreuzfahrtschiff gefangen. Ein Prediger beschließt, mit seiner Stadt unterzugehen. Ein Mann im Blumenladen verliert sich in der Bedeutung eines Arrangements. Diese und andere Menschen an persönlichen wie gesellschaftlichen Grenzpunkten stehen im Mittelpunkt von zehn zeitgemäßen und zugleich zeitlosen Kurzgeschichten, die The New Pornographers auf ihrem kommenden Album The Former Site Of in Form sorgfältig komponierter Popsongs versammeln.Wie schon Continue as a Guest zeigt auch dieses Album The New Pornographers - Bandleader A.C. Newman, Neko Case, Kathryn Calder, John Collins und Todd Fancey - dabei, wie sie ihren ohnehin reichen Katalog auf überraschende Weise erweitern. Unterstützt vom legendären Session-Drummer Charley Drayton (Divinyls, Keith Richards, Fiona Apple) war der Raum innerhalb eines New-Pornographers-Songs noch nie so klar definiert und zugleich so reich texturiert. Das verleiht den Figuren, deren Leben sich in Newmans einfühlsamen, bildhaften Texten entfalten, einen unverwechselbaren Puls.The Former Site Of verleiht dem Sound, den Newman durch das Schreiben und Aufnehmen im Heimstudio entwickelte, zusätzliche Tiefe und verfeinert den kreativen Prozess der Band weit über die Notwendigkeiten der Lockdown-Ära und der damaligen Remote-Zusammenarbeit hinaus. ,Die Zeit in meinem Studio hat vieles geöffnet", erklärt er. ,Ich kann zuerst das Skelett eines Songs zusammenstellen - nur ein paar Elemente, das zentrale Gefühl, wirklich so wenig wie möglich - bevor ich ihn zur Band bringe und von dort aus weitermache."Zwei Alben nach dieser Veränderung erschaffen The New Pornographers Klanguniversen von komplexer Textur und erzählerischer Detailfülle, bei denen jede Ebene darauf abgestimmt ist, eine unerwartete neue Facette offenzulegen. Wie schon auf Continue as a Guest ist eine der deutlichsten Ebenen die Art und Weise, wie sich ein Song um ein hervorgehobenes Instrument formt. Auf The Former Site Of ist es die Mandoline, die - in Carl Newmans Händen - der Lead-Single ,Votive" ihr Gefühl von Beschleunigung verleiht, während sie sich vom atmosphärischen Synth- und Keyboard-Intro zu einer klassischen, weit offenen Jam-Nummer aufbaut.,Hände schützen ein Streichholz / Ich versuche nur, das Licht am Brennen zu halten", singt Newman in dem Stück. Diese Metapher - das Festhalten trotz der Unsicherheit des Lebens - zieht sich wie ein roter Faden durch The Former Site Of. ,Bonus Mai Tais" handelt im Grunde davon, wie die Flamme erlischt: Newman schreibt darin offen über ein Treffen mit einem Freund, der an fortgeschrittenem Krebs erkrankt ist, und über seine eigene Entwaffnung angesichts dessen Offenheit im Angesicht des Todes. Es ist ein brutal trauriger Song, dessen Schmerz in Newmans Stimme schwebt - und zugleich einer der schönsten der Band, wobei die Harmonien von Neko Case und Kathryn Calder wie ein ätherischer Spiegel der Szene wirken.The Former Site Of platziert viele seiner Figuren am Rand des Vergessens - ihre Zeit wird knapp, ihre Situation scheint aussichtslos -, und doch halten sie fest. Das gilt auch, wenn The New Pornographers den Blick nach innen richten, wie auf ,Pure Sticker Shock", in dem Newmans Texte um Selbstwert kreisen. Dass sie sich selbst unter dieser so unterschiedlichen Figurenriege wiederfinden können - sogar die Cassini-Huygens-Sonde aus ,Spooky Action" - verleiht dem Album Zusammenhalt, noch bevor die sich wiederholende Schlusszeile des Titeltracks erklingt, die den Weg ins Herz jedes einzelnen Songs warm erleuchtet und einladend macht.Weit davon entfernt, einfach das erwartbare nächste Kapitel von The New Pornographers zu sein, ist The Former Site Of ein Plädoyer gegen Erwartungen - von einer Band, die sich weiterentwickelt, statt sich auf ihren Lorbeeren auszuruhen. Selbst in den dunkelsten oder selbstironischsten Momenten liegt in dieser Musik eine unwiderstehliche Spritzigkeit: eine Bestätigung, dass der Kampf ihrer Figuren und der Hörer:innen - wie das Foto eines fernen Planeten - es wert ist.

Eine Frau ist auf einem Kreuzfahrtschiff gefangen. Ein Prediger beschließt, mit seiner Stadt unterzugehen. Ein Mann im Blumenladen verliert sich in der Bedeutung eines Arrangements. Diese und andere Menschen an persönlichen wie gesellschaftlichen Grenzpunkten stehen im Mittelpunkt von zehn zeitgemäßen und zugleich zeitlosen Kurzgeschichten, die The New Pornographers auf ihrem kommenden Album The Former Site Of in Form sorgfältig komponierter Popsongs versammeln.Wie schon Continue as a Guest zeigt auch dieses Album The New Pornographers - Bandleader A.C. Newman, Neko Case, Kathryn Calder, John Collins und Todd Fancey - dabei, wie sie ihren ohnehin reichen Katalog auf überraschende Weise erweitern. Unterstützt vom legendären Session-Drummer Charley Drayton (Divinyls, Keith Richards, Fiona Apple) war der Raum innerhalb eines New-Pornographers-Songs noch nie so klar definiert und zugleich so reich texturiert. Das verleiht den Figuren, deren Leben sich in Newmans einfühlsamen, bildhaften Texten entfalten, einen unverwechselbaren Puls.The Former Site Of verleiht dem Sound, den Newman durch das Schreiben und Aufnehmen im Heimstudio entwickelte, zusätzliche Tiefe und verfeinert den kreativen Prozess der Band weit über die Notwendigkeiten der Lockdown-Ära und der damaligen Remote-Zusammenarbeit hinaus. ,Die Zeit in meinem Studio hat vieles geöffnet", erklärt er. ,Ich kann zuerst das Skelett eines Songs zusammenstellen - nur ein paar Elemente, das zentrale Gefühl, wirklich so wenig wie möglich - bevor ich ihn zur Band bringe und von dort aus weitermache."Zwei Alben nach dieser Veränderung erschaffen The New Pornographers Klanguniversen von komplexer Textur und erzählerischer Detailfülle, bei denen jede Ebene darauf abgestimmt ist, eine unerwartete neue Facette offenzulegen. Wie schon auf Continue as a Guest ist eine der deutlichsten Ebenen die Art und Weise, wie sich ein Song um ein hervorgehobenes Instrument formt. Auf The Former Site Of ist es die Mandoline, die - in Carl Newmans Händen - der Lead-Single ,Votive" ihr Gefühl von Beschleunigung verleiht, während sie sich vom atmosphärischen Synth- und Keyboard-Intro zu einer klassischen, weit offenen Jam-Nummer aufbaut.,Hände schützen ein Streichholz / Ich versuche nur, das Licht am Brennen zu halten", singt Newman in dem Stück. Diese Metapher - das Festhalten trotz der Unsicherheit des Lebens - zieht sich wie ein roter Faden durch The Former Site Of. ,Bonus Mai Tais" handelt im Grunde davon, wie die Flamme erlischt: Newman schreibt darin offen über ein Treffen mit einem Freund, der an fortgeschrittenem Krebs erkrankt ist, und über seine eigene Entwaffnung angesichts dessen Offenheit im Angesicht des Todes. Es ist ein brutal trauriger Song, dessen Schmerz in Newmans Stimme schwebt - und zugleich einer der schönsten der Band, wobei die Harmonien von Neko Case und Kathryn Calder wie ein ätherischer Spiegel der Szene wirken.The Former Site Of platziert viele seiner Figuren am Rand des Vergessens - ihre Zeit wird knapp, ihre Situation scheint aussichtslos -, und doch halten sie fest. Das gilt auch, wenn The New Pornographers den Blick nach innen richten, wie auf ,Pure Sticker Shock", in dem Newmans Texte um Selbstwert kreisen. Dass sie sich selbst unter dieser so unterschiedlichen Figurenriege wiederfinden können - sogar die Cassini-Huygens-Sonde aus ,Spooky Action" - verleiht dem Album Zusammenhalt, noch bevor die sich wiederholende Schlusszeile des Titeltracks erklingt, die den Weg ins Herz jedes einzelnen Songs warm erleuchtet und einladend macht.Weit davon entfernt, einfach das erwartbare nächste Kapitel von The New Pornographers zu sein, ist The Former Site Of ein Plädoyer gegen Erwartungen - von einer Band, die sich weiterentwickelt, statt sich auf ihren Lorbeeren auszuruhen. Selbst in den dunkelsten oder selbstironischsten Momenten liegt in dieser Musik eine unwiderstehliche Spritzigkeit: eine Bestätigung, dass der Kampf ihrer Figuren und der Hörer:innen - wie das Foto eines fernen Planeten - es wert ist.

Ushering in a new era, Berlin based, New Zealand heavy psych duo Earth Tongue lower the castle gates on their third album Dungeon Vision, a trove of fuzz-drenched anthems produced by garage rock luminary Ty Segall in Los Angeles. Guitarist Gussie Larkin and drummer Ezra Simons spent the Berlin winter of 2025 refining the album’s twelve tracks in their self-described “windowless cave” rehearsal space, crafting a record that channels both isolation and the duo’s live intensity. With the songs finally taking shape and a studio deadline looming, they flew to Los Angeles to turn their hard-won ideas into the real thing. Once there, the band and Ty captured lightning in a bottle, recording and mixing Dungeon Vision in just ten days at Altamira Sound. Tracked live to tape, Dungeon Vision pulses with human energy, fuzz guitars, bone-battering drums, and hauntingly tuneful vocals. Ty Segall’s influence is all over the record with Ty choosing the best takes based on feel rather than technical perfection. The “king of fuzzy guitar tones” pushed the duo to find new sonic textures while championing their raw chemistry. “Ty’s been a big driving force,” says Ezra. “We supported him in New Zealand back in 2023, and he’s backed us ever since even bringing us on tour through Europe and the UK in 2024.” Since their emergence in 2016, Earth Tongue’s world-building, visuals, and relentless touring have earned them global attention and a cult-like following. Their 2024 album Great Haunting, also released on In The Red Records, received a Taite Music Prize nomination and saw them win Best Group at the 2025 Aotearoa Music Awards. They’ve toured extensively, sharing stages with the likes of Queens of the Stone Age, IDLES, Acid King, Brant Bjork and Kikagaku Moyo. With Dungeon Vision, Earth Tongue deliver their most immersive work yet, a richly human, fuzz-soaked journey that bottles the magic of their live show and cements their reputation as one of the most exciting psych rock acts on the planet.

'Balconies' is an urgent, physical record shaped by momentum and heat. The album takes its title from a recurring metaphor: a balcony as a place of exposure and distance. Elevated, visible, yet removed from the action below. Throughout the record, Tin Fingers explore feelings of observation, displacement and restlessness, moving through places without fully belonging.

Musically, 'Balconies' marks a clear shift for the Antwerp band. Where earlier releases leaned into intimacy and melancholy, this album is louder, more direct and built for movement. Sharp, energetic songs are balanced by the band's continued attention to atmosphere and imagery.

The album was written instinctively over three months by frontman Felix Machtelinckx before being brought to the band, with arrangements coming together quickly thanks to years of shared experience. Recording took place over four hot summer days at The Old Carpet Factory on Hydra, Greece. The warmth, the sea and the island's isolation shaped both sound and mood, while limited time encouraged live recordings that capture the album's raw energy and immediacy. 'Balconies' was mixed by D. James Goodwin (The National, Kevin Morby, Whitney).

Following the release, Tin Fingers will present 'Balconies' live, with shows at De Roma (Antwerp), Mezz (Breda) and Supersonic (Paris).

,Stürmische und kathartische Dark-Pop-Perlen", schrieb Gorilla vs Bear über Jessica Weiss' frühe Soloarbeiten. Die Sängerin und Songwriterin von Fear of Men bringt dieselbe lyrische Präzision und emotionale Intensität in ihr Soloprojekt New German Cinema ein. Es hat fünf Jahre gedauert, zwischen London und LA, aufgebaut aus nächtlichen Dateien, langen Stillephasen und der stillen Beharrlichkeit zweier Menschen, die versuchen, etwas Schönes von entgegengesetzten Enden der Welt aus zu vollenden. Produziert mit Alex DeGroot (Zola Jesus, Cate Le Bon), wirkt es sowohl forensisch als auch hingebungsvoll, das Produkt von jemandem, der die Katharsis nicht überstürzt. Pain Will Polish Me präsentiert sich sowohl einsam als auch verbindend, als wäre es aus Fernübertragungen zwischen zwei Traumzuständen entstanden. Weiss nennt es eine Meditation über Pop und den europäischen Arthouse-Autoren Rainer Werner Fassbinder. Es verfolgt, wie Intimität und Kontrolle ineinander übergehen, bis es unmöglich ist zu sagen, wo das eine endet. Die Songs handeln von den Teilen von dir selbst, die sich in der Liebe auflösen, und von den kleinen Gewalttaten, die damit einhergehen, wenn man bekannt ist. Sie bewegen sich durch klaustrophobische Beziehungen, Obsession, Hingabe, Zyklen des Leidens, die sich allmählich wie Hingabe anfühlen. Die Sprache ist Pop, aber das Gefühl ist etwas Fremderes, Kälteres, Innerlicheres. Die Songs bewegen sich im Schatten. Es ist ein Album darüber, sich selbst zu verlieren, um zu sehen, was übrig bleibt. Ein Dokument der Liebe als Besessenheit, Wiederholung, Überleben. Eine Meditation über die Liebe als Spiegel und Untergang, in Fragmenten gestaltet und dann zu einem Ganzen zusammengefügt.

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.

"Nachpressung als limitiertes gelbes Vinyl! Das in Australien gegründete und in LA ansässige Duo VOWWS meldet sich mit „I'll Fill Your House With an Army“ zurück, ihrem bisher ehrgeizigsten und am besten umgesetzten Album.

„I'll Fill Your House With an Army“ (2025) ist der Höhepunkt der kühnsten Ideen der Band und zeigt, wie VOWWS, bestehend aus Rizz und Matt James, ihre charakteristische „Death-Pop“-Ästhetik vertiefen: eine genreübergreifende Mischung aus industrieller Elektronik, alternativem Rock, cineastischer Nostalgie und melancholischer Pop-Sensibilität. Co-produziert von Billy Howerdel (A Perfect Circle) und mit Gastauftritten von Josh Freese (A Perfect Circle, NIN, Devo) und James „Munky“ Shaffer (KORN), ist das Album eine Reise durch Sehnsucht, Entfremdung und die surreale Schönheit des Chaos.

Dieses Album zeigt perfekt die dynamische Bandbreite des Duos: von verzerrter Intimität bis hin zu gewaltigen Klangattacken reflektieren VOWWS ein zerbrochenes Spiegelbild des modernen Zustands - romantisch, aber desillusioniert, viszeral und doch seltsam erhebend.

Nachdem sie sich durch Touren mit den Deftones, Twin Temple und Poppy bereits eine kultige Fangemeinde erspielt haben und gerade einen bahnbrechenden Live-Auftritt im Golden Gate Park neben System of a Down und The Mars Volta absolviert haben, sind VOWWS bereit, ihr Vermächtnis mit dieser Veröffentlichung zu zementieren. Ihr künstlerisches Ethos, unbeugsam in einer Ära der Wegwerfbarkeit, hat sie auch in die Welt der High Fashion geführt, wo sie mit Comme des Garçons, Givenchy und Byredo zusammenarbeiten.

d 4 Siena (64kbit/s) feat. Raelle Meron


[g] 7 Crimson (64kbit/s) [feat. Raelle]



[k] 11 24h (Joyride) [feat. Jerome Thomas]




[d] 4 Siena (64kbit/s) [feat. Raelle Meron]


[g] 7 Crimson (64kbit/s) [feat. Raelle]



[k] 11 24h (Joyride) [feat. Jerome Thomas]




[d] 4 Siena (64kbit/s) [feat. Raelle Meron]


[g] 7 Crimson (64kbit/s) [feat. Raelle]



[k] 11 24h (Joyride) [feat. Jerome Thomas]

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album, ‘All Clouds Bring Not Rain’. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it’s striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you’re somewhere in the right ballpark.

The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. This attention to detail in their sound meant finding several other studios to get what they needed to record with, including a harpsichord at 4AD’s studio in London and a vibraphone and vintage Leslie speaker in Stereolab drummer Andy Ramsay’s studio Press Play. Verity’s distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs’ more unorthodox elements are arranged, which is where Matthew’s unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that’s accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows.

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album proper, 'All Clouds Bring Not Rain'. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it's striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you're somewhere in the right ballpark. The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. Verity's distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs' more unorthodox elements are arranged, which is where Matthew's unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that's accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows. "Exciting and unpredictable" The Guardian "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus "Stunning, kaleidoscopic tunes" Electronic Sound "Engagingly eclectic" UNCUT "Divinely tuneful yet confrontational" The Wire "Kaleidoscopic art-pop and adventurous psych-rock with an immersive, experimental aura." KEXP.

You Spin Me Round (Like a Record)" is the biggest hit single of Dead or Alive.
It was the first No. 1 hit by the Stock Aitken Waterman production trio. The Guardian listed the song at number one in their

"Stock Aitken Waterman's 20 greatest songs – ranked!"

To celebrate the 40th anniversary of "You Spin Me Round (Like a Record)", it is now available as a limited 12",
including 6 remixes; the Murder Mix, Metro 12" Extended Mix and 400 Hz - Kleopatra , Performance Mix,
Mark Moore Mr Motion remix and of course the original 7" mix.

‘In Virus Times’ is an acoustic instrumental piece by Lee Ranaldo.
Composed during the pandemic, ‘In Virus Times’ is released as a onesided LP with an etching on Side B. The cover is a beautiful photo by
Lee’s friend, the great Brazilian photographer Anna Paula Bogaciovas.
 Originally released as one track as part of a collaboration with Lucien
Jean for Le Presses du Reel, the music was featured on a mini CD that
accompanied a book that featured two short stories.
 ‘In Virus Times’, released by Mute, sees the track transformed into 4
pieces and is available on transparent turquoise vinyl with digital
download and an exclusive poster, designed, signed and individually
numbered by Lee Ranaldo. The poster design is based on an electron
microscope photo of the COVID-19 molecule.
 Lee has written some of his own ‘loner notes’ for the release:
 “This recording began on an evening in September 2020, stuck at home
in lower Manhattan during the dark days of the Covid-19 pandemic as
we came out of a deadly summer. A heightened sense of anxiety
stemming from the then-upcoming US Presidential elections as well as
the virus seemed to pervade all aspects of life, for myself and everyone I
knew. Its minimal quality reflects the sense of ‘motionless time’ that
many of us felt. I set up some microphones in our darkened living room
(studios being closed due to Covid restrictions), coaxing out one simple,
repetitive phrase, and then another, sounding them out into the air. The
casual home ambience - a siren or truck rumbling down the street out
the window; someone talking around the table in another part of the loft;
water running - intrudes at points. I worked to develop a few simple
thematic elements, but mostly I wanted to hear the notes and chords
ringing out, hanging in the air for a long time on that evening when the
world seemed close to stopped on its axis.
 “I’d been listening closely to Morton Feldman’s catalog throughout the
pandemic. His sparse, long-duration music could often be heard playing
on repeat as we spent endless days locked inside. His willingness to do
very little, with very simple elements, and to such profound effect, has
been inspirational. I found the vast open spaces in his works thrilling,
miraculous, and comforting in those empty times. Additionally, the Drop
D guitar tuning used here has prompted my own variations on Bach’s
works for solo cello, open strings droning against melodic lines, so
simple and perfect…” - Lee Ranaldo, New York City, August 2021

Far Out Recordings proudly presents Ladeiras De Santa Teresa, the debut collaboration between Rio-jazz maverick Antonio Neves and carioca percussion master Thiaguinho Silva. In what could well be the first ever Brazilian jazz album centered around two drummers, Ladeiras De Santa Teresa is an uncompromisingly groove-rich recording, steeped in trad-samba roots and brass power.

Since his acclaimed 2021 album A Pegada Agora E Esssa Antonio Neves has remained a mainstay of the international facing Brazilian scene, performing both as a trombonist and drummer. His instrumental contributions to contemporary classics like Ana Frango Eletrico’s Little Electric Chicken Heart, Bruno Berle’s No Reino Dos Afetos 2, and Bala Desejo’s Sim Sim Sim will be marveled upon by future generations. His partner in crime Thiaguinho Silva happens to be the son of percussion icon Robertinho Silva, who has played on more or less every canonical Brazilian record, Arthur Verocai (1972), Clube Da Esquina (Milton Nascimento and Lo Borges, 1972), and India (Gal Costa, 1973) to name barely a few. Thiaguinho himself has worked with Marcelo D2, Gal Costa, Liniker and Alice Caymmi, and upon listening to Ladeiras De Santa Teresa, it’s clear that Thiaguinho is more than a worthy successor to carry the Silva family torch.

Some listeners may already be familiar with “Das Neves,” which appeared on Mr Bongo’s Rio De Janeiro-focused Hidden Waters compilation in 2023. The track showcases the profoundly skilled Neves brothers brass section (Antonio alongside brother Edu, who has performed with Hermeto Pascoal), the fiery elegance of pianist Luiz Otávio (Dora Morelenbaum), and Thiaguinho’s pulsating samba breaks. This synergised combo continues across the album, notably on “Fendas Vocais” with Neves doubling up on drums, exhibiting his inventive and fearless skill as an arranger. The album also features street-artist, musician and rapper Joca, adding vocalised dynamism and swagger to an otherwise entirely instrumental record on “Viagem de Trem”.

The album’s title Ladeiras De Santa Teresa (The hills of Santa Teresa) is named in tribute to Rio De Janeiro’s famed Santa Teresa neighborhood, a bohemian enclave with scenic views of the iconic cityscape. The spirit of Santa Teresa with its expansive city views and bustling energy is embodied in the album which encapsulates the jazz and samba histories felt within the neighborhood’s windy alleyways and cobbled streets.

Ladeiras De Santa Teresa by Neves E Silva is out on vinyl, CD and digital on Friday 20th March 2026.