Suche:we love

AS THE WORLD TURNS is the newly founded label by Rob Manga -- a platform created to channel his distinct sonic identity while cultivating a community rooted in shared energy and expression. The label emerges from a clear intention: to push a personal sound forward while opening space for others to connect, contribute, and evolve alongside it. It is both a statement and an invitation -- a place where sound becomes a meeting point. The first release marks this vision with a four-track EP, weaving together soulful textures, deep atmospheres, and club-driven impact. Each track reflects a different facet of the dancefloor, balancing introspection with movement, and depth with raw energy. With this debut, AS THE WORLD TURNS sets the tone -- not just as a label, but as a growing circle centered around sound, rhythm, and connection.

Little Beat More welcomes a new 7” from Conjunto Media Luna, a release that moves along the deep axis connecting Colombia and Mexico where cumbia mutates, and projects itself into new dimensions.
On the A-side, “Kumbia Tequendama” sees the group joined by rebajada pioneer Amantes del Futuro, a key figure in shaping the futuristic vision of cumbia across generations and geographies. Born between Mérida, Medellín, and the legendary Mambo Negro studios in Bogotá, the track reflects years of friendship and shared sonic research. Hypnotic accordion lines intertwine with dense low-end pressure, channeling an energy rooted in tradition but fully tuned to the present, built for dancefloors, sound systems, and the growing decentralized community of modern cumbia.
On the flip side, French producer La Dame reshapes “No es Moda”, originally featuring La Terrorista del Sabor, into a forward-leaning DnB and Future Bass reinterpretation. Faster, sharper, and more weightless, the remix opens a new perspective on the original while preserving its nocturnal spirit and emotional depth.
The artwork is signed by Bogotá’s own Mateo Rivano, whose unmistakable visual language has defined the aesthetic of some of the most visionary projects in contemporary cumbia.
Part of the wider sonic universe of Sociedad Internacional de la Kumbia, Conjunto Media Luna’s upcoming album, this 7” captures the group’s ongoing exploration of cumbia as a shared space, where distance disappears, traditions remain in motion, and new frequencies emerge from collective memory.


Made with Love by Little Beat More 2026
“We Dance We Think”

Straddling an intriguing intersection of Drum & Bass, Jazz, Fusion and unidentifiable electronica, ‘You Won't Find Your Way From Here’ is the debut album from Jhauk.

An extremely talented multi-instrumentalist from Sheffield, UK, Jhauk came to Blu Mar Ten’s attention when, in 2017, he created a wild prog-rock inflected remix of BMT’s track ‘Titans’
Further conversations with Jhauk revealed the depth of his unorthodox approach to electronic music and unearthed a treasure trove of production skills, culminating in the album before you.

Oscillating between the late-night, moody calm of late 50s Miles Davis, John Coltrane & Bill Evans, the riotous 70s instrumentation of Weather Report, the modern cool stylings of Matthew Halsall and the gritty edges of modern D&B production, it’s scarcely believable that this collection of tracks came from one person working alone in their studio. With tempos and time signatures skittering all over the place, Jhauk uses genres as catalysts rather than containers, he finds the interesting stuff in the hinterlands of their structural relationships and tensions. 

Talking about the album, Jhauk has strong opinions:

“Drum & Bass emerged as club music, and club music comes with its own logic. Specific structures, specific build-ups, a formula that supports that context. 
That's fair enough, but almost 40 years later, why is 99% of D&B still made the exact same way when 99% of the time it's never heard in a club? The same structure, the same formula, barely any development beyond the core idea. Tracks where you can hear 10 seconds of the drop and know almost beat-for-beat how the next 5 minutes sound. No real musical depth or exploration. People regurgitating the same material ad-nauseum but never actually saying anything for themselves. 
This period of composition for me was about taking what I love about D&B, the rhythmic energy and potential for creative freedom it presents and really stretching it to its limits. Of taking drum & bass as a starting point and seeing where it ends up without an idea of what that destination might be. Most people would probably never call a lot of the results D&B, but that's okay because it was never the point.”

 
Dripping with melancholy, euphoria, longing and pure urgency ‘You Won't Find Your Way From Here’ is unlike anything else you’ll hear this year. The sound of an artist entirely unconcerned with impressing peers or performing on ‘socials’; you're hearing a true musician at work, expressing ideas through the skill of his hands, mind and ears. The album’s secrets aren’t revealed with a single play-through, but bears (or even requires) multiple listens to expose its layers.
In previous times, they called this ‘art'.

Five years after their radiant debut Ufo Bar, Italian cinematic funksters Banda Maje are back with Costa Sud to take us deeper into their land of ‘Salifornia’—a Southern province of sun-drenched coastlines and decaying buildings where dreams of exotic escapism sprout and bloom.

Once again, behind the eight tracks in the album—and behind the wheel of the fiery red Alfasud on the cover—is composer and keyboardist Peppe Maiellano. He has meticulously tailored each piece to his virtuoso partners in crime: a 'family' of exuberant musicians spread between Salerno and Naples, all bound by deep-rooted ties to the region and a shared belief in the grit of independent artistry.

The Costa Sud (South Coast) imagined by Banda Maje is a shimmering ribbon of sun-baked asphalt stretched between the sea and the ancient pine forests of the Gulf of Salerno. It is a land of enchanting but wounded places, where the grace of Ancient Greek civilization sits in a restless silence alongside the scars of rampant building and neglect. “But if truth is beauty and beauty is truth,” Maiellano explains, inverting Keats’s famous line, “with the right eyes, you can find beauty and poetry even under a layer of moral and material filth."

Conceived and recorded entirely in the South, the album nevertheless looks beyond the horizon. While Neapolitan funk and golden-age Italian soundtracks remain the double helix of the band's DNA, this album welcomes new influences from across the ocean, weaving Italy, Brazil, Africa, and contemporary sounds into its unique vision of the 'global South.'

Side A is an immersion into Salifornian territory and its myths: from the carefree instrumental disco-funk of the title track, which sublimates local contradictions into enveloping cinematic atmospheres, to the mellow groove of “Baia”—a fusion of Neapolitan funk, afrobeat, and disco that pays homage to Salerno’s famous beach, squeezed between millennia-old sea rocks and mountains of shipping containers. The band’s heartfelt sense of belonging shines in their fresh soul-disco version of “Mo…” (a 1981 cult classic by Neapolitan legend Peppino di Capri) featuring Maiellano’s own vocals, while the reimagining of Tonico 70's “Jet Lag” celebrates a fraternal partnership with the Salerno-based rapper/producer, charting a musical itinerary that unites Brazil, the States, and Salifornia through evocative grooves, sharp synths, and Gianfranco Campagnoli’s exquisite trumpet.

On Side B, the sound becomes even more eclectic with the samba-funk warmth of “Samba Maje”, where Mediterranean melodies and lush vocal harmonies marry jazz-funk arrangements and disco-inflected Brazilian rhythms. The next track, “Africana”, is dedicated to a legendary dolce vita nightclub on the Amalfi Coast (and its founder Luca Milano); here, a rhythmic mantra incorporating tribal African elements blends with synths that evoke RAI television themes of the late 70s. The journey concludes under the sign of the silver screen: the disco-funk elegance of “Black Glamour Girl” (from the early-80s road-trip comedy In viaggio con papà), a tribute to the compositional genius of Piero Piccioni, and “Lovebossa”—an easy-listening homage to the "Cine Bossa" atmospheres that characterized so many Italian soundtracks of the 60s and 70s, finally carrying the listener ‘ncopp’ ‘e nuvole (above the clouds—which is basically Salifornian for "somewhere over the rainbow").

Available on LP and Digital from 15 May 2026.

Audiojack and Kevin Knapp return to Crosstown Rebels with their ‘Get It’ EP. Out on 22nd May 2026, the longstanding collaborators serve up a heavyweight two-tracker on Damian Lazarus’ imprint.

Leeds-born, Ibiza-based duo Audiojack reunite with US mainstay Kevin Knapp for their third Crosstown Rebels collaboration together on 22nd May, adding to 2021’s impressive ‘Under Your Skin’ EP and 2017’s ‘Implications’ EP. Having spent two decades at the forefront of the scene, the Gruuv bosses’ blend of house, minimal, and garage influences has landed on labels such as Hot Creations, Solid Grooves, 8bit, and more. Meanwhile, house music stalwart Kevin Knapp continues to push his own chunky and vibrant take on house music via international performances at venues such as fabric, Circo Loco, and Elrow, as well as releases on labels like Cuttin Headz, Repopulate Mars, Desert Hearts, and his own Plump Recordings. Marking their return to Damian Lazarus’ iconic imprint once more, they serve up two punchy cuts that showcase their ability to balance attitude and authority into a house workout.


“Get It,' is all about momentum! A driving club track with a mantra-like vocal to lift you up and motivate you to go harder at whatever you’re doing in life.” - Audiojack


"I'm just enamoured with the concept of being in charge of our own destiny and the thought of getting out of things what you put into them. I feel like this record sonically presents those sentiments in a way I love and appreciate.” - Kevin Knapp


Title track ‘Get It’ is a rolling floor-focused cut, driven by a tightly wound bassline and rattling cowbells, while a brooding low-end foundation sets the stage for Kevin Knapp’s commanding vocal drops, elevating the cut into a full-throttle peak-time weapon. On the flip, ‘This Frequency’ is an equally potent club tool, built around an unfolding tracking groove and a wobbling melodic synth line, propelled by an electro-tinged bassline that steadily draws listeners further into its spell.

For Record Store Day 2026, Brownswood Recordings mark two decades of boundary-pushing independent music with Twenty Years Deep, a limited-edition 3xLP vinyl compilation celebrating the label’s rich, global catalogue and enduring influence.

Founded in 2006 by broadcaster, DJ, and cultural tastemaker Gilles Peterson, Brownswood has spent the last 20 years championing forward-thinking artists who sit just left of centre: rooted in Afro-diasporic music, but never confined by genre. Twenty Years Deep is a snapshot of that journey: a carefully curated collection spanning the label’s early breakthroughs, cult classics, and defining moments.

Pressed exclusively for Record Store Day on 3 piece coloured vinyl Twenty Years Deep brings together tracks that reflect Brownswood’s long-standing commitment to artistic freedom, musical lineage, and future-facing sounds. From deep jazz explorations and dancefloor mutations to global collaborations and genre-defying hybrids, the compilation captures the connective thread that has defined the label since day one: trust in artists and belief in music that lasts.
Rather than a greatest-hits exercise, Twenty Years Deep functions as an archive and a statement documenting how Brownswood has maintained its own point of view. By following a highly instinctive approach to A&R the label has shaped music culture, introduced new voices, and built a catalogue that continues to resonate well beyond release cycles.

Twenty Years Deep will be available exclusively at participating independent record stores on Record Store Day 2026, pressed as a limited-edition 3 piece vinyl release.

For his sixth solo album, Ezéchiel Pailhès returns with a new collection of songs infused by a sunny wandering spirit.
Within each of the twelve songs on SOL is a thread of melancholic happiness that has permeated much of Pailhès’ music and songwriting. He addresses love, the passing of time, hope, lost illusions, fleeting moments of grace, the temptation of forgetting, a need to escape, and desire. All this is
insulated by understated orchestrations that blend acoustic and electronic instrumentation with deft confidence.
The Portuguese and Brazilian concept of saudade—a form of melancholic longing and nostalgia— pervades, thanks in part to Pailhès decision to record the album in Rio de Janiero and to reinterpret some of the finest works of Música Popular Brasileira (MPB). In particular, he revisits a handful of
lesser known classics from the mid-century samba and bossa nova era—originally written or performed by talents including Vinícius de Moraes, João Gilberto, Tom Zé, Dorival Caymmi, João Donato, Os Tincoãs, and Ataulfo Alves.
The shift from Brazilian Portuguese to French and the decision to adapt rather than perform a straightforward cover versions, allows Pailhès to invent a form of prosody and euphony (the musicality and harmonious combination of words) that feels vibrant and unlike anything else in today’s French
chanson landscape.
“Some lyrics are simple translations from Portuguese, in what I’d call an expanded version. For others, I started from a single word or a single phrase and embroidered an entirely new text that carried me elsewhere,” explains Pailhès. “I allowed myself great interpretive freedom, while preserving the humanist dimension of the original songs. I’ve always been deeply moved by the way Brazilians transfigure reality through heightened emotion. I love this visceral and spontaneous country, which always seems to live through emotion. And above all, I love its music both popular and unifying,
bringing together all social classes. In that sense, it’s very political music, but even more so utopian, made by the people and for the people.”
On this new album, however, the French artist was keen to avoid cliché. Each song is therefore built around a carefully balanced interplay between Pailhès’ piano and synthesizers, alongside restrained arrangements of percussion, brass, bass, and cavaquinho (a small four-string plucked guitar). These parts were recorded in Rio de Janeiro with two musicians who regularly perform alongside the legendary Caetano Veloso—Kainã Do Jêje and Alberto Continentino—joined by Thomas Harres, Antônio Neves, Eduardo Neves, and Gabriel Loddo.
Since the 1960s, France and Brazil have shared a long-standing cultural and musical relationship. Some Brazilian artists, most famously Gilberto Gil, took refuge in France during the dictatorship years (1964–1985). But above all, French chanson quickly fell in love with the richness and ingenuity of
bossa nova and samba, translating and reinventing them in the language of Molière. Throughout the 1960s and 1970s, albums and hits by Henri Salvador, Georges Moustaki, Pierre Barouh, Pierre Vassiliu, and Claude Nougaro all drew from the MPB repertoire.
Fifty years later, with SOL, Ezéchiel Pailhès reinvents this rich Franco-Brazilian musical legacy, bringing to it a personality and modernity that stand confidently alongside those of his forbears.

Golden Earring were together between 1961 and 2021, and their last and best known line-up included two founding members George Kooymans (vocals and guitar) and Rinus Gerritsen (bass, keyboard) along with Barry Hay (vocals, guitar, flute and saxophone) a member since 1968 and Cesar Zuiderwijk (drums) a member since 1970.

They had over 40 hits and released 30 albums, many achieving either gold or platinum status in their home country, The Netherlands. They are best known for their 1973 hit single "Radar Love" and their 1982 single "Twilight Zone".

Around 1992, the unplugged sessions on MTV were a trend; almost every rock band or artist was doing them. Bass player Rinus Gerritsen suggested to record an acoustic album themselves. The record company wasn't very enthusiastic at first so with a small budget the band recorded the album live in an intimate cafe in Amsterdam. The Naked Truth turned out to be the Golden Earring's best selling album.

The Naked Truth is available as a limited edition of 2000 individually numbered copies on purple vinyl. The 2LP is packaged in a deluxe sleeve with linen laminate finish and includes an insert.

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

The Mamas & The Papas were formed by husband and wife John and Michelle Phillips, formerly of The New Journeymen, and Denny Doherty, formerly of The Mugwumps. The last member to join was Cass Elliot, Doherty's bandmate in The Mugwumps. The group considered calling itself The Magic Cyrcle before switching to The Mamas and the Papas as apparently inspired by the Hells Angels, whose female associates were called "mamas".

They released a total of five studio albums and seventeen singles over a four-year period, six of which made the Billboard top ten, and sold close to 40 million records worldwide. The band was inducted into the Rock and Roll Hall of Fame in 1998 for their contributions to the music industry.

The band’s first single, “Go Where You Wanna Go”, was released in 1965. The second single, “California Dreamin’”, was released later in 1965 and quickly peaked in the charts. The band’s album, If You Can Believe Your Eyes And Ears, was released in March 1966 and became the band’s only number 1 album on the Billboard 200. The third and final single from their debut was “Monday, Monday”, which became the band’s only US number 1 hit. The song brought the band international success.

Collected is a perfect overview of the multiple classic hits and tracks throughout the career of The Mamas & The Papas and complimented with several popular tracks by Mama Cass Elliot.

Music On Vinyl proudly presents a special edition of The Mamas & The Papas Collected compilation, which is available as a limited edition of 5.000 individually numbered copies on blue vinyl, and includes a booklet with liner notes.

Born from a demo session originally recorded in 2011, “I Like” finally came to life when Daniele “Shield” Contrini and Piero Pirupa reunited in late 2025 to complete the track, transforming an early idea into a powerful new collaboration featuring two legendary voices of house music: The Egyptian Lover and Paris Brightledge.

Daniele “Shield” Contrini, founder and creative force behind Rebirth Records, joins forces with globally respected DJ and producer Piero Pirupa to deliver a record designed to fire any dancefloor.

Blending Italo disco influences, classic house grooves and a powerful bassline, “I Like” carries a warm, uplifting energy while paying tribute to the golden era of club music. The track is driven by the unmistakable vocal presence of The Egyptian Lover, the pioneering American artist, producer and DJ Greg Broussard. Widely recognized as one of the architects of West Coast electro and early hip-hop, he helped shape the sound of 1980s Los Angeles electronic music through his groundbreaking use of the Roland TR-808.

Adding further depth to the record is the distinctive voice of Chicago house legend Paris Brightledge, whose haunting and melodic tone became iconic through classics such as “It’s Alright” and “Paris Dub 1”. Over the years he has collaborated with some of the most important names in house music including Joe Smooth, Frankie Knuckles, Marshall Jefferson, Ron Hardy, Mike Dunn, Farley “Jackmaster” Funk and Byron Stingily, while also appearing on projects with Pet Shop Boys, Paranoid London and Groove Armada.

With its blend of electro heritage, Chicago house soul and contemporary club production, “I Like”connects different generations of dance music in a single record, a collaboration that bridges eras, styles and scenes. Set for an official release on 22nd May, the track marks another chapter in the label’s ongoing story and its commitment to celebrating the roots of club culture while pushing it forward.

Step into the golden era of soul-jazz with the long-awaited vinyl reissue of “Vibrations” by Roy Ayers Ubiquity — a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers’ sound at its peak.

Originally released in 1976, “Vibrations” stands as a cornerstone in Ayers’ catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide.

Roy Ayers was a pioneering vibraphonist, composer, and producer whose influence stretches far beyond jazz into R&B, neo-soul, and hip-hop. Often referred to as the “Godfather of Neo Soul,” Ayers crafted a sound that feels both timeless and forward-thinking, pairing silky vocals with hypnotic grooves and rich instrumental arrangements. His work throughout the 1970s helped shape the sonic DNA of modern Black music, and “Vibrations” is one of its purest expressions.

The album flows effortlessly between moods: from the jazz-inflected elegance of ‘Searching’ to the irresistible funk pulse of ‘The Memory,’ the dancefloor-ready ‘One Sweet Love to Remember,’ and the laid-back, atmospheric title track ‘Vibrations.’ Each track showcases a masterful balance between musicianship and groove, brought to life by a stellar ensemble of collaborators who elevate every moment.

Beyond its original impact, “Vibrations” has taken on a second life through hip-hop. Its grooves, breaks, and melodies have been extensively sampled by generations of producers and artists, becoming a foundational source for crate diggers and beatmakers alike. Tracks from the album have been reinterpreted and flipped by influential names such as A Tribe Called Quest, J Dilla, Dr. Dre, and Common, cementing its legacy as a vital bridge between 1970s soul-jazz and contemporary hip-hop culture.

After almost two decades out of print, we are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers’ career. Whether you’re discovering it for the first time or returning to a beloved classic, this album remains an essential piece of musical history. Pressed on 180g vinyl.

50 years ago, Nancy Spungeon reviewed the Heartbreakers relaunch gig for New York Rocker. They"d hired bassist Billy Rath to replace Richard Hell and written new songs. This was the genesis of the L.A.M.F. story. FOUND IN AN ATTIC - a copy master of the original 1977 Track Records tape, without "mud"! This classic punk album, recorded in London by the band featuring New York Dolls Johnny Thunders and Jerry Nolan, along was universally condemned in the music press for having a "muddy mix" - later found to be a mastering fault. When Track went bust the following year, manager Leee Black Childers burgled the Track Records" Carnaby Street 3rd floor office and liberated the tapes that belonged to him and the band. He found everything - except for the master-tape, which remained undiscovered until last year. Other releases had been from outtakes or remixes. First released for RSD in 2021 with not enough copies, and has been unavailable for three years. Now reissued to satisfy the demand for this latterly discovered, acclaimed recording.

The Heartbreakers" "D.T.K" ("Down To Kill") is the incendiary live 1977 companion to "L.A.M.F." (Like A Mother Fucker), which is hailed as one of the classic punk albums. Formed by New York Dolls Johnny Thunders and Jerry Nolan in 1975, they influenced the UK punk scene, joining the Sex Pistols, Damned & Clash on the infamous "Anarchy" tour. "D.T.K" was recorded by Track Records on the Maison Rouge mobile studio on 15th March 1977 at the notorious musicians" nightclub and features Johnny infamously abusing the audience. It was a warm-up for the "L.A.M.F." sessions starting the following week. Originally released in 1982 as a 10-track album, it was remixed in 2005 and five more tracks were found on the 2" multi-track tapes. Now the album has the entire two sets played that night, 15 unexpurgated tracks in all. The sleeve has notes by journalist Kris Needs and contemporary photos.

"Imagine a classic singer/songwriter record loaded with the intimacy and grit reminiscent of Alex Chilton or Nikki Sudden." Shindig

Los Angeles singer-songwriter Tracy Bryant returns with his new album The Well, which is his first release since 2019’s critically acclaimed Hush. His fourth solo album, The Well marks a striking new chapter, trading his signature guitar-driven sound for piano-led songwriting that took root during the pandemic. The album was born out of one of the most turbulent periods of his life, written in the wake of his father’s sudden passing and birth of his first child. It was produced by longtime friend and compatriot Joo-Joo Ashworth at Studio 22 in Cypress Park, CA, and mastered by Dave Cooley at Elysian Masters. The nine songs are filled with raw emotion and driving motorik rhythm, telling tales of loss and love, relationships beginning and ending.
 
When the pandemic upended Bryant’s promotion for Hush and brought his 2019 European tour to a halt, he found himself at home rediscovering his musical roots at the piano, listening to Vince Guaraldi and Arthur Russell to take inspiration for the song structures. Without a band around, Bryant used the instrument to create both rhythm and melody, which resulted in a repetitive and precise backbeat, which was elevated when he began working with drummer Carmeron Gartung to rehearse the new songs. This different approach would define the style of The Well, creating an amalgamation of sounds with classic songwriting structures blended with post-punk, 90s indie, krautrock and psychedelia.
 
To produce the record, Bryant turned to Joo-Joo Ashworth, who share a friendship stretching back to 2011 (when Joo Joo was only 18) when both of their bands, Corners and Froth, were at the forefront of the bourgeoning Los Angeles/Echo Park music scene of the time and embarked on their first national tours together. Ashworth, who has since become one of underground music’s most respected producers, recorded the album throughout 2024/2025 on half inch tape at Studio 22 in Cypress Park, California, giving The Well a warm, considered sound that matches the weight of its subject matter.
 
The album’s emotional core was forged by two significant life events arriving in close succession. In January 2022, Bryant’s father passed away unexpectedly at the age of 67. Just three months later, Tracy and his wife welcomed their first child. The Well is a direct result of those experiences, a songwriter processing grief and joy, endings and beginnings in real time. 
 
The nine songs take the listener on a meticulously crafted journey through the nooks and crannies of Bryant’s mind. Spanning 37 minutes, the album is an exploration of classic songwriting elements moving fluidly between driving beat punk, like “Weight” and “Widow”, and more melancholic tracks like “Halfway” and “Danny”. Album opener “Cold Floor” sets the tone immediately, Bryant’s lyrics confronting the day of his father’s death with unflinching directness – the breezy California piano sound is in direct contrast to the heavy theme. The Bowie-esque title track is perhaps the album’s most expansive moment – a fully realised epic composed with a dynamic flare. 
 
 The Well feels like an arrival. Dramatic and expansive, it is a true, visceral reflection of the life changing events that altered the course of Bryant’s life. Fans will be surprised by the heavy focus on piano but they will welcome the change as a bold turning point for an artist who has lived long enough to know exactly what he wants to say. 

Some previous press:

"feels like a slice of California, down to its ringing post-surf guitars and bright melodies, but cross-cut with a folk sensibility more aligned to the work of Elliot Smith or, on occasions, Conor Oberst." Uncut - lead album review

"…sees the Los Angeles rocker confront both the finer and uglier aspects of love and life, combining classic rock with psychedelic tinges and catchy melodies." Evening Standard 4*s

Growing together both personally and musically… That is indeed the good fortune of the musicians in the Marseille-based trio ubaq. We’re talking about bassist Antoine Carletto, guitarist Lucas Schemidt, and drummer Antoine Saussol, winners of the Rezzo springboard competition at Jazz à Vienne 2025. In their early twenties, they met in their late teens while still honing their musical skills. Nearly ten years later, they burst onto the scene, in perfect harmony, with their very first album, “Night WIP,” a follow-up to their EP, “20bis,” released in 2024. They owe their stylized stage name—written in lowercase with a “q”—to the ubac, that side of a mountain with very little sun exposure, where twilight reigns. “We liked that idea because we’re night owls,” says bassist Antoine Carletto. Hence the “night” for “nuit” and the “WIP” for “Work In Progress,” explains guitarist Lucas Shemidt. ubaq’s music is characterized by a nocturnal, melancholic heaviness, pierced by beams of light. “We love creating music that soothes us and highlights the precious nature of composing and playing in complete harmony,” says Antoine Carletto. “We cultivate complex tones, sometimes difficult to bear, whether they’re nostalgic or even verging on depression. But we manage to convey emotions without falling into clichés,” adds Antoine Saussol. Night and twilight serve as the perfect catalysts for this trio, which moves forward with perfect chemistry and harmony.

On this album, they feature the German-Armenian rapper and singer Talin, who is also based in Marseille. She appears on the track “Regarding Others,” where she chants that even though the year 2026 may see mothers weeping in every corner of the world, she still manages to smile. Thus, this track explores the three musicians’ relationship with the world and the necessity of looking at others. The unsettling “Sciatiq,” the haunting “Sakakinik,” and the ambivalence of “Flayosc”—the final track, on which the trio features trombonist Jules Regard—owe their titles to the musicians’ own observations and experiences. The multi-faceted track “Proud,” in two parts, is a tribute to Lucas Schemidt’s mother, who has since passed away. The presence of wind instruments—whether Jules Regard’s trombone or Mathieu Fabre’s saxophone on the intense track “From The Ending”—adds textures missing from the natural landscape depicted in “Night WIP.” This debut album captures the obsessions and introspective wanderings—sometimes anxious, sometimes enchanted—of a trio that cultivates melody as a pledge of warm fulfillment.

The Producers Press Volume 3 (WEB13-024) is a standout vinyl release celebrating the depth and diversity of House and Garage music. Featuring a strong and well established lineup of producers—Danny J Lewis, Para, Raw Groove, and James Lavonz—this compilation delivers a rich blend of House and Garage music.

Pressed with care for collectors and DJs alike, the record comes housed in a quality paper inner sleeve, paired with striking artwork presented on a printed card outer sleeve which features the artwork from all of the past releases on the Label and is A must-have addition for vinyl enthusiasts and fans of authentic underground House & Garage music, Volume 3 continues the series’ reputation for showcasing refined, forward-thinking production.

With their fourth full-length album Signal Fire, GENGHIS TRON awaken us from the post-apocalyptic daydreams of their previous work with a violent—and most welcome—shove. This time, the distant-future reveries we first heard on Board Up The House give way to an unsettling awareness of the present we’re actually living, as our circumstances grow too pressing to try and escape. “Signal Fire envisions a Kojima-esque dystopia of endless proxy warfare,” says vocalist and lyricist Tony Wolski (The Armed), “where the deluge of available information has outmoded the human ability to parse it. A world where those amoral, shameless and cunning enough can literally reshape reality at their whim through sheer insistence." Having roared onto the scene in 2004 with a uniquely demented blend of extreme metal, synthesizer textures, and drum-machine madness, GENGHIS TRON are no strangers to making a forceful impression. But Signal Fire marks the first time bandleaders Michael Sochynsky and Hamilton Jordan –joined again by Wolski and Nick Yacyshyn (SUMAC) on drums, plus newcomer Kenny Szymanski (The Armed) on bass–has captured this level of urgency with such visceral precision. “This album is very much rooted in the now,” confirms Jordan. Album opener “I Am All” sets the table with a chest-throbbing synth pulse as Wolski declares “I’m on a tear, I’m on a tear,” over swirling industrial rhythms and creeping synthlines. “Nothing Blooms in the Hollow” grafts desert-rock swagger onto interlocking layers of dizzying riffs and chants before Wolski steers the band into full-on sonic burnout, like a spaceship careening into the sun. “Born Prey” navigates deftly through Genghis Tron’s classic sonic touchpoints: furious blastbeats, electronic breaks, haunting vocal earworms, and a towering synth-pop crescendo. Meditative interludes like “Like Fotocrom” and “Without Form” deliver shimmering, ominous beauty. And “New Gods” invokes Rabies-era Skinny Puppy to bring the album to a bludgeoning, anthemic finale, as Wolski screams on repeat: “New gods to bleed me out / No new peace / Bleed me out / I love it.” Twenty years into their career, having proven their ability to forge common ground between Ministry and Aphex Twin, between Brutal Truth and Boards Of Canada, between Cluster and Converge, ugly-beautiful new genre hybrids from GENGHIS TRON no longer come as a surprise. What’s remarkable, however, is how Sochynsky and Jordan have taken a project that started in 2004 as a dorm-room genre-pastiche experiment —”a chaotic, wild amalgamation of all our favorite stuff, literally slammed together,” says Jordan—and refined their songwriting craft to deliver a sound that is unmistakably their own.

A closing chapter for Iro Aka: ambient introspection and precise IDM meet in a deeply personal, memory-driven LP.
Barcelona-based duo Iro Aka present "Memories Exploration" (GLOSSY025), a record that marks the closing of a creative chapter. Set for release on May 29th via Glossy Mistakes, the LP unfolds as a personal archive-tracing ideas, influences, and emotional states shaped over time.
The A-side moves through ambient-leaning territories, building meditative landscapes where time seems to dissolve and blur. Through tracks like "Frozen Sun" and "Golden Sea", the duo showcase a refined approach to sound design, shaped by carefully distilled emotion. Meanwhile, "Gendo" and "Intervertert" lean further inward-sketching moments of deep introspection through soft textures and a minimalist sensitivity that invites contemplation.
On the B-side, the record shifts. Rhythmic structures come into focus, drawing from IDM and broken beat patterns with a precise, understated touch. "L", "Ozadene" and "Phased9" introduce movement while maintaining the album's introspective core. Closing track "We Felt in Love with a Loop" brings the album to a gentle, open-ended close.
The artwork by Jack Anderson reflects this sense of fragmented memory and process, complementing the album's emotional tone.
Rather than a definitive ending, "Memories Exploration" feels like a transition-an understated way of closing one chapter before the next begins.
"An autumn evening - without a single tear, things come to an end."

"Over the past three decades, Philipp Lauer has produced an incredible body of work, deploying a myriad of aliases, both as a solo artist and as a part of collaborative projects. From his hardware-steeped Frankfurt studio Pyramide 2, he has built this catalogue through original material and remix commissions, taking on the full spectrum of electronic music while retaining an unmistakable signature. He combines a hands-on approach to rhythm and composition with a DIY MO and a love of big hooks. The level of expertise at hand seems to facilitate a playfulness that subtly permeates all layers of his work. He's a pop melody natural who just so happens to love fiddling with synthesizers, drum machines, and effects an equal amount. All of these qualities are exemplified on "Embalmed In Martino": Lauer's four-track ode to the Belgian Martino sauce, a spicy tomato-based condiment, and arguably the essential ingredient to top off the namesake raw meat sandwich. On "Embalmed", which makes use of instrumentation that would fit right in on an early eighties Manchester cut, and "Martino", where a sturdy, electroclash flavored arp bass provides the stamina, a slew of big and small riffs easily work their way in, thirsting for our ears. On the other side, "Transactional" combines Miami basslines and similarly electro-fundamental twinkling synth work with a flanger-laced 4/4 beat, while "Don't You Know" features soaring synthwave patterns and the only vocal samples on the EP. Both sport rich arrangements as well, right down to the cowbell overdubs. Lauer's often lauded for his "summery sound". In this light ALT026 lands right on time - yet we might disagree here, as it's suited for all seasons, and all terrains, both the shiny festival grounds and the dim-lit club floors."

Furniture is British new wave band active between 1979 and 1991, but were far more eclectic than you'd think, incorporating jazz, blues and post-punk sounds as well. They are noted both for their poetic storytelling and high-quality productions as for the numerous setbacks they experienced. These setbacks ultimately prevented them from making their big break, making them a big what-if of the burgeoning English new wave scene.

Although active since the late 70s, their 1986 debut album The Wrong People gave them their commercial breakthrough. It was supported by the single Brilliant Mind which eventually reached #21 on the UK Singles Chart and remains their only entry on it. They followed it up with a re-recording of their 1984 single Love Your Shoes. Although a radio hit, it ultimately failed to chart as not enough copies were pressed to match demand.

The album ultimately suffered from the same fate which means there are not a lot of copies floating around. In recent years it became a cult classic so we thought it would be fitting to reissue it on vinyl for the first time since its initial release in 1986.

The Wrong People is available as a 40th anniversary edition on orange vinyl, and includes an insert with lyrics.

Label owner of Mauna and rising star Delazar gives us a personal and versatile EP that we are so proud to present to you. A side is for the club, strong baselines and punch kicks. B side is for the soul and for unforgettable times. Check it yourself and use it as you wish.

"4EVER" is a complete and eternal album.
It celebrates friendships, connections, discoveries, travels, and experiences that Buvette has honored over more than ten years of activity around the world. Through 4EVER, he pays tribute to those without whom nothing would exist: loved ones, those who have passed, love itself, and this life, which must be lived as fully as possible. Music remains the universal language, and 4EVER is a kind of Buvette DNA, one he invites you to incorporate into your own.

Roland Kirk was an extremely talented multi-instrumentalist, who lost his sight at a very early age, and played unconventional jazz, which was not entirely free but in which melodic and very beautiful phases alternated with moments of complete dissonance and conjured up his urban background, especially reflecting his view of the world as a handicapped man. Kirk was not only famous for his unique sound achieved through his playing several instruments simultaneously and his innovative approach to music but also for his dynamic live performances.

In November 1967 Kirk left EmArcy for Atlantic Records, leading his quartet through a highly introspective, somewhat melancholy programme, which was based in the blues and groove traditions of the mid-60s. Kirk himself played flutes, the stritch, manzello and tenor saxophones, the whistle, clarinet and more – precisely those instruments that had created his unique sound, particularly when some of these instruments were played simultaneously by him. Jazz critics who had previously criticised Kirk’s sound now praised him once they had heard the restrained and elegantly layered "Black And Crazy Blues", the breathtakingly executed Creole "Love Call", the razor-sharp soul in "The Inflated Tear" and the gyrating lyricism of the winds in "Fly By Night" – and quite rightly so.

Roland Kirk convinced his listenership anyway and sold over 10,000 copies of the present LP in the very first year of its release. This is Roland Kirk in his most competent and visionary form; his reading of jazz harmony and capricious sonances is virtually incomparable.

Long-time house architect Louie Vega dropped his comprehensive last album, ‘Expansions In The NYC’, as another homage to New York City's 50-year history with dance music. It was full of vocal collaborations and spanned disco, boogie and all forms of house.

'Touch The Sky' feat Tony Momrelle is the latest track from it to get full remix treatment, following on from 'All My Love' late last year.

First to offer his own perspective is Japan's Masaki Morii, a regular on the likes of King Street and Shelter, as well as the founder of his own M2SOUL MUSIC & NU ONE. He bridges soul, deep and Afro house, always with plenty of emotion. His first remix is a lush layering of feathery drums and skyward melodies with the original vocal bringing plenty of heart-aching soul. It's a life-giving work for a moment of pure celebration and release, and shows how musical and artful house can be in the right hands. Extended dub and instrumental remixes all bring out subtly different facets of the original without losing its uplifting essence.

Brandon Weems and Craig Handfield are Musclecars, a duo with a community-first approach to music. From high-profile magazine front covers to gigs at Panoramabar and their residency at Nowadays in New York, they have a fresh and authentic sound that pulls from soul, jazz and disco on labels like BBE, Rhythm Section and their own Coloring Lessons. Their majestic, 10-minute remix is a soulful deep house odyssey designed to nourish and enrich. The soaring vocals come from a place of love, and there is freedom to the jazzy melodies and lavish percussion that warms the heart while pianos and synths are locked in a joyous tussle. The dub shifts things back to chunkier, more bouncy drums, with slightly pared-back, more late-night melodies, while the instrumental is all about giving everything room to breathe.

‘Richness of tone; precision of articulation; ingenuity of timbre that, when Akinmusire pursues microtonal avenues, creates the sense that particular sounds are almost hermetically sealed before being slowly squeezed and pinched into the air. In other words there is a high degree of technical mastery, but, tellingly, it underpins a profound and often engrossing sense of narrative.’ - Jazzwise

‘Halvorson has formulated a guitar style with few precedents. One inspiration might be the painter George Seurat, whose Impressionist paintings of a hundred isolated dots cohere into a picture if one steps back from the canvas. Halvorson’s pointillist approach to the guitar works much the same way.’ - JazzTimes

Slo-Mo Neon Luminate Hoverings, the new album by trumpeter/composer Ambrose Akinmusire and guitarist/composer Mary Halvorson, features four new compositions by each musician as well as one collaboration. The duo, long admirers of each other’s musicianship, met at Halvorson’s Brooklyn apartment and began playing together periodically, going back as far as 2009. They rehearsed the music on Slo-Mo Neon Luminate Hoverings in January 2025, just before performing it at the New York City club The Stone; they recorded this album the next day at Sear Sound.

Akinmusire and Halvorson made two previous attempts at recording an album but felt that they got it right with this third session. Halvorson says of their rapport, which developed over those years of friendship and collaboration, “I think it’s partly a shared aesthetic and an ease of communication. I feel comfortable to try whatever.” Akinmusire concurs, “I think it’s rare to find an improviser that all goes and nothing has to go at all. It’s rare to feel like you don’t have to do anything and you can do anything. And that’s what I love about playing with Mary.”

Though Halvorson regularly uses effects pedals on her guitar, Akinmusire’s use of one on Slo-Mo Neon Luminate Hoverings is new. Having recently gotten an updated model of the Line 6, Halvorson was passing her old ones along to friends. “Ambrose was interested in trying a Line Six. I gave him one five minutes before the rehearsal and was amazed how quickly he was able to do incredible shit on it ... in literally five minutes,” she says.

“But I’ve been watching you, I’ve been watching Bill Frisell and other people use it for a long time,” Akinmusire says. “I approached it as if it were its own musician. I played and it would process the sound and then I would choose to react to that or not. The people like Mary that I love to listen to who use delay, I like being able to hear the process of the texture that’s being built. With some people, when they use it, you don’t really hear it. But with Mary, she’ll play a line and then she’ll react to that line and then react to that,” he continues. “It’s really cool to hear how something is being built. So I kind of stole that.”

Halvorson says, “I’ve never seen someone pick up a pedal and then immediately do something with it that felt like, ‘Oh, this is a sound,’ as opposed to just tinkering, you know? It felt like he was making music on it right away, and then also doing things that surprised me, like the vocalizing really surprised me. I wasn’t expecting that, and it was awesome.”

Newly signed to Heist or Hit (Westside Cowboy, Her’s, Nature TV), Georgian's forthcoming debut EP 'Crackled Grounds' reads like an anthology in the vein of The Ballad of Buster Scruggs. These aren’t just songs, but scenes, self-contained worlds that glimmer with strange detail before dissolving into mirage. “We recorded on a farm just north of Amsterdam” states James. “It gave us space and focus and helped us channel the Western feel we wanted to impress upon the tracks. Arno gave us lots of pedal board options and guitar choices. Those things in particular helped us fine-tune the sound we were chasing.” The resulting collection chronicles the ups and downs of existence and blooms with natural imagery. ‘Strike a Wound’ seethes with revenge. The slow attack on the guitars has the onomatopoeic effect of enacting each blow. ‘Crackled Grounds’ conjures an apocalyptic wilderness that wouldn’t be out of place on the ‘Kill Bill’ soundtrack. ‘Medusa’ is a parable of strong women overcoming obstacles and jolts with the energy of those early Johnny Cash Sun recordings. ‘Gardens’ lingers on the awkward tenderness of running into a long-lost lover; while ‘Californian Jeans’ pays homage to denim as talisman, armour, and second skin.

We are pleased to announce the first FEX live album, Don't Look Back. The release features selected recordings from two concerts in Paderborn and Uelzen, both captured in 1985. All tracks on the album are previously unissued, including entirely unheard songs such as It's a Hard Life, Just Get Back, Legend, and Waiting Song, alongside a previously unreleased version of Subways of Your Mind, widely known as "The Most Mysterious Song on the Internet."
One of the most striking aspects of the album is the remarkable sound quality of the live recordings, as well as the strength of the performances themselves - particularly given that FEX were still considered a newcomer band at the time. The four-piece lineup consisted of singer, guitarist, and primary songwriter Ture Rückwardt, Michael Hädrich on keyboards and occasional second guitar, Norbert Ziermann on bass, and Hans-Reimer Sievers on drums. In 1985, the band was preparing for broader exposure through a nationwide tour organized by the small promotion company HBM-Musikbüro.
The album opens with the psychedelic Skyscraper, a track Rückwardt reportedly regarded as a personal favorite to perform. Hädrich contributes dynamic synthesizer layers, while Ziermann underpins the track with a distinctive slap bass groove. This is followed by the energetic rock number It's a Hard Life, which once again demonstrates that the band possessed multiple songs capable of matching the impact of their best known track Subways of Your Mind.
After this energetic opening, the album shifts into a more restrained mood with the synth-pop ballad I Got My Eyes On You. It is followed by Strange Feeling, presented here in a particularly compelling live version that arguably surpasses the previously released studio demo featured on the Skyscraper LP, with Rückwardt delivering one of his most expressive vocal performances. On Goldrush, another fan favorite, it is Hädrich's DX7 synthesizer work that stands out.
Don't Look Back continues to flow seamlessly, moving between styles such as new wave, synth pop, and a blues-influenced form of classic rock. On It's Good To Know, a song addressing the theme of stardom, the band returns to a heavier rock sound. In contrast, the synth-driven Just Get Back reflects on the conflict in Northern Ireland, then ongoing at the time. Lines such as "It's the money, it's the money why they come along" are directed at mercenary soldiers, while "even Sunday's a killing time" directly references Sunday Bloody Sunday by U2.
Previously known songs such as Dirty Slapstick and Heart in Danger lead into We Don't Want It No More, perhaps the band's most striking pop ballad. It is easy to imagine that the track had the potential to achieve radio success in the 1980s. The following piece, the epic Legend, explores themes of loneliness and love simultaneously. With poetic and abstract lines such as "some isolate in the falling rain" and "that's why I count all the reasons they call out for living, sadness is falling inside," it builds an almost eerie atmosphere.
One of the final highlights of the album is Subways of Your Mind, recorded in Uelzen. In this version, Rückwardt's vocal performance is even more on point than on the previously issued recording from Paderborn. Another notable moment is the driving, 1970s-inspired rock 'n' roll track Waiting Song. Both the composition and its live performance carry an energy that could easily stand alongside the repertoire of bands such as AC/DC. It was usually the track that FEX ended their concerts with, calling out each band member at the end of the song.
This leads to a broader reflection: it is striking that FEX did not achieve a wider breakthrough at the time. The performances captured here suggest a band capable of delivering consistently, song by song, note by note. It is not difficult to imagine FEX performing in large venues and engaging sizeable audiences. In reality, however, most performances in 1985 took place in front of relatively small crowds. The recordings featured on this album originate from the Roxy club in Paderborn and a small, unknown venue in Uelzen, likely in front of fewer than fifty attendees.
An essential figure behind these recordings is the engineer known only under his nickname Hase (German for "rabbit"), who was responsible for capturing not only these concerts but many other surviving FEX recordings. Bringing his own mixing desk to performances, he developed a deep familiarity with the band's material and was able to shape the live sound with precision, including the timely use of vocal effects. The original recordings existed only on cassette and required careful and extensive restoration work. Zoey Cairs was finally responsible for bringing them to their present quality.
This album marks the beginning of the Live Waves series, following the rediscovery of additional recordings that have gained international attention since November 2024, when they surfaced through what has been described as the largest "lost wave" music search to date. The title of this first live LP Don't Look Back carries a certain paradox. While the album invites listeners to revisit recordings from forty years ago, FEX themselves were always oriented toward the future. In that spirit, further releases of brand new material are already planned.
The cover artwork is once again based on an image by Magnussen from the Kiel archive, depicting the Prinz-Heinrich-Brücke. The bridge, once located in the northern part of the city, no longer exists. As a symbol, however, it remains fitting: a bridge stands for movement and connection - qualities that FEX sought to embody on tour, bringing their music to different places and audiences.

What do we need now more than ever? Exactly, OPTIMISM. This is the place we long for, the solution we need, and also the name of DIGITALISM's new album, which will be released on May 29. German electronic pioneers DIGITALISM spread the urgent energy of OPTIMISM with their upcoming album and live performances all over Europe. A DIY spirit, in-the-moment energy and a low boredom threshold - all have been crucial to Digitalism's practice since they built their first track in a studio inside a WWII bunker in Hamburg, 20 years ago. OPTIMISM is the logical consequence of the band's steady development.

Soul Jazz Records’ ‘Calypso – Musical Poetry in the Caribbean’ was first issued in 2014 and has been out of print for nearly 10 years. On its release ‘Calypso’ was voted one of the year’s best 50 reissues in Rolling Stone magazine and received glowing reviews in Pitchfork, The Guardian, Songlines and many more. This new edition has been fully remastered and comes as a one-off limited-edition double vinyl pressing on translucent green vinyl, complete with bespoke inners featuring extensive sleevenotes, notes on all the artists and songs featured, and original artwork and photography. The album is also available in a new card-edition CD package, also with complete notes and text.

Featuring Lord Kitchener, The Mighty Viper, Count Zebra, Lord Flea, Lord Hummingbird, King Fighter, Lord Growler, Lord Byron, Lord Ivanhoe and other members of Calypso’s aristocracy and aristocrats, the album features the music of Calypso in its many styles. Calypso is one of the most exciting and enduring forms of musical expression that first emerged at the beginning of the 20th century – swinging, persuasive rhythms, brilliantly expressive melodies, and lyrics of great humour, wisdom and wit. Here you will find music from Trinidad, birthplace of Calypso, other Caribbean islands including Jamaica and the Bahamas, as well as sounds from the style’s subsequent onwards journey including Britain, Panama and the United States. Calypsonian songs play out a role in society similar to the storytelling Griots of West Africa (and the corresponding music of Kaiso); with their own tales about popular and incredible news items, modern life, local politics all mixed up with sexual innuendo, one-upmanship, comedy and more. At its source, Calypso is intricately and inextricably bound to the social history of Trinidad and its myriad of traditions, beliefs, folklore and fables. As the music spread around the world, both from the diaspora of many of its performers as well as its commercial success, the subjects of songs similarly took on local topics.The most notable singer of Calypso in England was the Trinidadian Lord Kitchener, who came to Britain in 1948 on HMS Empire Windrush, along with fellow Calypsonians Lord Beginner and Lord Woodbine.

Mission of Mercy, the fourth full length album from celebrated guitarist and songwriter Mike Campbell (Tom Petty and The Heartbreakers, Fleetwood Mac) and his band The Dirty Knobs, is due June 12 via Soundly Music/Thirty Tigers. The album features appearances from the B-52s’ Kate Pierson and Morgane Stapleton alongside the Dirty Knobs’ Chris Holt (guitars, keys), Lance Morrison (bass) and Campbell’s fellow Heartbreaker Steve Ferrone (drums, percussion). Mission of Mercy displays Campbell’s full songwriting range, with tracks ranging from the unbridled rock & roll of “I Remember” to the Americana ballad “More Than Gold” and even the Brian Wilson-inspired psychedelia of the title track. Campbell states that “Mission Of Mercy is an action-packed collection of tunes that continue the vibe we established as well as some new directions in the songwriting. It’s full-throttle Knobs from start to finish and we look forward to playing these live this year.” Last year saw the release of Campbell’s New York Times Best Selling memoir Heartbreaker, which Rolling Stone hailed as “essential…a vividly told new autobiography,” while the Los Angeles Times praised its “tale of endurance and patience rewarded” and No Depression proclaimed it “does what the best music memoirs do: encourage readers to listen once again, or for the first time, to Tom Petty and the Heartbreakers and to Campbell’s solo works.” The Dirty Knobs (named after tech slang for a broken amp dial) were founded in 2000 by Campbell as a writing and club-date project outside the Heartbreakers. The group finally got on record with 2020's Wreckless Abandon and 2022's External Combustion. Those LPs, Campbell says, were the Knobs “trying to find our way as a rock & roll band.” “Now it’s down to great songs,” adds Campbell, “the depth in the lyrics and chords.” He recalls something Petty once told him: “Tom said, ‘I love the English language. There’s so much you can do with it.’ I'm discovering that, too. Looking for rhyme schemes, the right word. At first it was a struggle. Now that door has opened,” Campbell says. “I’ve turned a corner.” The Dirty Knobs are “still a rock band but growing into different feels.”

TV and Radio Appearances 2008-2013

To Cherish zeigt Northcote, das Projekt des kanadischen Singer-Songwriters Matt Goud, in einer Phase persönlicher und kreativer Erneuerung. Seit 2008 bekannt für seine warme Stimme, seine aufrichtigen Texte und energiegeladenen Live-Shows, hat Northcote durch Touren in Nordamerika und Europa sowie gemeinsame Auftritte mit Künstlern wie The Gaslight Anthem, Frank Turner und Hot Water Music eine treue internationale Fangemeinde aufgebaut. Das Album entstand in den Rain City Studios in Vancouver unter der Leitung von Produzent Jesse Gander, der den Songs eine kraftvolle, unmittelbare Klarheit verleiht. To Cherish spiegelt eine Zeit des Umbruchs wider - das Ende einer langjährigen Beziehung, eine wichtige spirituelle Übergangsphase und die kreative Aufbruchsstimmung nach der Rückkehr auf die Bühne. Musikalisch knüpft das Werk an die intime Dynamik der Duo-Tourneen an. Langzeitpartner Stephen McGillivray trägt mit seinem charakteristischen Gitarrenspiel maßgeblich zur Atmosphäre bei, unterstützt von Paul Rigby, Percussionist Mike Battle und Bassist Eric Paone. Die Songs vereinen lyrische Tiefe mit emotionaler Intensität und laden dazu ein, die Höhen und Tiefen des Lebens bewusst wertzuschätzen.

Pon is Tujiko Noriko’s sixth album for Editions Mego and a further extension of her already significant body of work as both a solo and collaborative artist. Dedicated to her cat who she adopted as an infant and passed away due an accident having been born deaf, Pon is imbued with abstraction, tenderness and a deep emotional resonance.

Noriko’s palette of electronics, romantic melodies and surprising sonic details are all fully present here, and like her last full length, 2023’s Crépuscule this is an epic work, released as a 2LP by Editions Mego alongside a Japanese CD release.

The unmistakable hue of Japan hovers throughout this emotional rich landscape. Subtle field recordings and fragile, abstract motifs drift through the album, all cloaked in a warmth and humanity that only Noriko seems able to conjure.

Pon moves effortlessly between the childlike and the obscure. There are moments of deceptive simplicity where unexpected elements suddenly surface — strange voices emerge on Boku Wa Obaka, Knife of Yonder is a standout: a startling ten-minute unfolding that begins with a warm, almost Eno-esque drift before launching into a soaring mid-section and finally landing somewhere unexpectedly blues-adjacent.

Kikoeru Pon is brimming with childlike wonder — a heartfelt ballad that dissolves into domestic field recordings, including sounds of the feline for whom both the album and track are named. A quietly devastating ending that brings the personal nature of the record into sharp focus.

There is a deep sense of the human in the way Noriko embraces technology. This is far from cold abstraction; rather, Ponfeels like a colourful photo album, documenting Noriko’s inner world and instincts with remarkable intimacy. Hovering in liminal states between pop, ambient and abstraction, this is a deeply affective and moving release that reveals new surprises with each listen.

The emotional range of Noriko’s latest offering inspires hope in a world in disarray. It is both gentle and epic and one which we feel embodies the work of an artist fully at the height of her powers.

Available as 2LP & as a Bundle 2LP+Book (English, Portuguese & French).

Featuring DJ Anderson do Paraiso, DJ Sandrinho, Jonas Albrecht, Xexa, Felinto, Gabi Guedes & Sávio de Queiroz, Vincent Taeger, Kimia.



Upon their arrival in Brazil after the traumatic Atlantic crossing, enslaved populations from West Africa sought to reconstruct their sacred cultural and spiritual systems within a profoundly hostile environment. Five centuries later, the vitality of terreiros (ritual grounds) across the country bears witness to a living and adaptive religion that continues to evolve while remaining deeply rooted in ancestral traditions. Today, Candomblé is celebrated throughout Brazil and increasingly recognised internationally, far beyond Afro-descendant communities.


The project “Candomblé: Sacred Rhythms in Brazil”, articulated around the publication of a book and a double LP combining original sound archives with newly commissioned compositions, seeks to honour this tradition by documenting its historical foundations while offering a critical and artistic reflection on its contemporary transformations and future trajectories.

Featuring DJ Anderson do Paraiso, DJ Sandrinho, Jonas Albrecht, Xexa, Felinto, Gabi Guedes & Sávio de Queiroz, Vincent Taeger, Kimia.



Upon their arrival in Brazil after the traumatic Atlantic crossing, enslaved populations from West Africa sought to reconstruct their sacred cultural and spiritual systems within a profoundly hostile environment. Five centuries later, the vitality of terreiros (ritual grounds) across the country bears witness to a living and adaptive religion that continues to evolve while remaining deeply rooted in ancestral traditions. Today, Candomblé is celebrated throughout Brazil and increasingly recognised internationally, far beyond Afro-descendant communities.


The project “Candomblé: Sacred Rhythms in Brazil”, articulated around the publication of a book and a double LP combining original sound archives with newly commissioned compositions, seeks to honour this tradition by documenting its historical foundations while offering a critical and artistic reflection on its contemporary transformations and future trajectories.

"raqs", which translates to the Dari noun for "dance" is written the same way like its Arabic original made of the three root letters: ra qa sa - to dance. under this premise of cultural kinship Afghan-German producer artist Farhot is about to addanother sonic layer to his discography, this time designed for the dance floor - a space, where culture can be shared by many, which invites movement and connection.while his earlier work was heavily influenced by the various traditions of hiphop, which later was enfused with sounds inspired by his Afghan roots, on "Raqs" he explores the vibrant musical heritage of mostly Arabic speaking regions from North Africa to West Asia, where as his fascination for Somali music also took him to East Africa. Like a well versed HipHop producer Farhot"s approach to "raqs" was guided by a virtual sampling journey which allowed him to connect and fuse sounds from Egypt, Lebanon or Somalia carefully woven into an EP that stands apart from his previous work but nevertheless carries his sonic signature: productions, that can sound as complex and immense as they sound playful and simple or creating intensity through unconventional ways of chopping and distorting vocals - amongst others one will find samples of Lebanese legend Fairuz dressed in an almost experimental uptempo production. Whoever followed Farhot"s work around the release of his sophomore LP Kabul Fire Vol. 2 via his own label Kabul Fire Records will know that he releases music intentionally alway ensuring a new quality to music, especially when he samples from cultures that are often times overshadowed by conflict or simply forgotten. With "raqs" he reminds us of the rich musical traditions that always existed beyond the west. he also reminds us of the ways that music can connect beyond borders, like an Afghan producer from Germany, who loves Somali music and Fairuz.

Wacho is Kabul Fire Records" newest of talented beat makers who"ll be sure to serve all lovers of instrumental hiphop productions more than well. With his debut album "Simplicies" he offers his very own synth heavy take on lo-fi & boombap instrumentals and creating atmospheric sounds that will always have you trip in between earth and the moon.

Dieses Album braucht keinen Anlauf und keine Vorrede. Von Sekunde eins an ist es da. Es türmt sich auf, überlebensgroß und mit einer nahezu existenziellen Dringlichkeit. "Einmal mehr mit Dir gegen die Furcht" ist das sechste Studiowerk der Berliner Band Klez.e. Es ist von der düsteren Ahnung getrieben, dass da draußen gerade etwas kippt, und es setzt dieser Bedrohungslage etwas entgegen. Klez.e, das sind fast 25 Jahre nach der Bandgründung: Tobias Siebert (Gesang, Gitarre), Daniel Moheit (Synthesizer, Bass) und Filip Pampuch (Schlagzeug, Percussion). Waren die Vorgänger "Erregung" (2023) und "Desintegration" (2017) von einer grimmigen Düsterheit geprägt, ist diese Trostlosigkeit einer bislang ungehörten musikalischen Luftigkeit gewichen. Und es ist, als habe sich die Band beim Schreiben der Songs auch erstmals bewusst gegen die Furcht vor dem Erzählen gestemmt. An die Stelle früherer Verklausulierung ist eine neue textliche Klarheit getreten. Musikalisch ist "Einmal mehr mit Dir gegen die Furcht" eine Kathedrale von einem Album: akustisch weit, mit glatten, kühlen Oberflächen, atmosphärisch dicht und verhallt. Das Licht, das durch die Fenster hereinfällt, verdrängt die Dunkelheit und malt hier und da tanzende Flecken auf den Boden und an die Wände. Klez.e den schmerzhaften persönlichen Erfahrungen in einer sich verdüsternden Welt ein drängendes und bestürzend schönes Album abgetrotzt. Eines, das die Antwort auf die bange Frage gibt: "Was tun, wenn alles zusammenbricht?" Sie lautet: näher zusammenrücken. Gemeinsam gegen die Furcht. CD, LP klassisch schwarz sowie LP farbig.