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In the Summer of 2023, Dans Dans were nearing the end of a two-and-a-half-year-long period of intense creativity, during which they had released two celebrated albums, Zink and 6, and had toured extensively in Belgium and abroad. Feeling it was time for a well-deserved break in activity, they decided to play three final, intimate concerts before going into hiding: two consecutive nights at Trix in Antwerp (hometown of drummer Steven Cassiers and guitarist Bert Dockx) and one at Botanique in Brussels (hometown of bassist Frederic Jacques). 'LIVE!', Dans Dans' first ever full length live record, features highlights from these memorable nights, offering excitingversions of several of the group's most beloved compositions from across their back catalogue. While the band is, at the time of writing, getting ready to start working on new material, these recordings from 2023 are a good reminder of the magic Dans Dans are able to conjur when they get together and play. Here is one of the most original instrumental trios of the last two decades in their natural habitat, on stage, performing for a live audience, speaking through their intensely personal music. Here is Dans Dans at full flight, effortlessly blending different musical genres and painting fascinating sonic landscapes full of energy, mystery and contrast.

To commemorate the 40th Anniversary of the passing of James Darroch, singer/songwriter/guitarist for Sydney's incredible The Eastern Dark, Grown Up Wrong! is thrilled to announce a long-awaited reissue of the band's classic single "Julie Is A Junkie/Johnny and Dee Dee".

Heavily influenced by the Ramones - the band opened their first live show with 'Blitzkrieg Bop' and from then on opened with a new Ramones song every time they played, working through the band's complete catalogue in chronological order - as all manner of hyper-melodic and high energy rock. The Eastern Dark were a classic trio powered by former Celibate Rifles bassplayer James Darroch's blazing guitar and anchored by former Lime Spiders backing vocalist Bill Gibson's hard driving and melodic bass playing (and supreme backing vocals) and Geoff Milne's untouchable beat keeping. They set Sydney's Radio Birdman influenced scene alight in 1984 and quickly built an international following on the back of their classic single. Sadly, just hours after completing what would become their next release - the mini-LP "Long Live the New Flesh" - the band's life, and that of 26-year old James Darroch, was brutally ended in a road accident whilst the band was on its way to Melbourne.

On the back of the tragedy, the band's music lived on and it's global impact was reflected in the influence it bore on numerous bands, from Boston's the Lemoneads to Tokyo's Teengenenete, and obviously a succession of Australian bands from the Hard-Ons through to God and the Meanies and beyond.

After years of searching, surviving members Bill Gibson and Geoff Milne recently found the single's original multi-track tapes, and for the new release, the original recordings have been both remixed and remastered for maximum impact under their supervision.

In the vibrant, post-millennial landscape of independent hip-hop, few collective names commanded as much respect as the Living Legends. A monumental alliance of some of the West Coast's most respected solo artists—including Murs, The Grouch, Eligh, Aesop, Bicasso, Luckyiam, Sunspot Jonz, and Arata—the crew's 2008 album, The Gathering, served as a powerful declaration of their unity and enduring relevance.

The Gathering was a snapshot of a legendary crew working at the peak of their collaborative power. The project masterfully weaves together the diverse styles of its eight members, moving effortlessly from the conscious storytelling of Murs to the soulful, introspective flow of The Grouch and Eligh, and the abstract lyrical dexterity of Aesop. The production, handled largely within the collective, provides a lush, sample-heavy, and distinctly West Coast soundscape that perfectly complements the lyrical fireworks. Tracks like the anthemic title track "The Gathering" and the legendary posse cut "After Hours" showcase the organic chemistry that made the Living Legends a seminal force in underground music.

For the first time ever, this pivotal album is being officially pressed on vinyl. This highly anticipated Record Store Day 2026 release finally delivers The Gathering to the format its rich, soulful production has always deserved. This limited edition pressing is presented on striking Coke Bottle Clear Vinyl, a perfect visual complement to the album's crisp, refreshing sound.

A crucial artifact of independent hip-hop history, The Gathering on vinyl is an essential addition for fans who have supported the Living Legends for decades and a must-have for vinyl collectors looking to own a tangible piece of the era's best crew collaborations. Don't miss the chance to own this definitive, first-ever vinyl pressing of a true underground classic.

Belgian minimalist, Dutch-language new wave/synth pop, since 1981! The historic album ‘Jonge Helden’ (1981) brought them instant eternal fame, the single ‘Lekker Westers’ (1983) a Belpop classic & the line-up changed wildly with icons such as Luc Van Acker (Revolting Cocks), Dani Klein (Vaya Con Dios), Willy Willy (The Scabs) or Andrew Chi Claes (Stuff) ...

However, MARCEL VANTHILT (lyrics & music) continues to rock the anarcho-Dadaist-electro-super-tronica scene to this day. Side note: Vanthilt often strayed into TV land (BRT, VPRO, MTV-EUROPE, BBC) and is now a DJ at Radio WILLY with the alternative ‘De M-Show’.

AA! is once again performing frequently in the best clubs (Depot, Casino, Macca) and on major stages (Pukkelpop, Villa Pace, Paulus Oostende). This will also be the case in 2026! This is due to the fresh and spicy new album ‘AA!PKPP’ in collaboration with PARKAPARAPLU.

PARKAPARAPLU: New dark wave duo from Antwerp. With ...

> EMMA ROTSAERT, singer and actress. She plays the lead role in the Ensor-nominated TV drama series ‘How To Kill Your Sister’ (2025). And comes from the same absurd planet as Vanthilt.
> GEERT VANBEVER, veteran of Wizards Of Ooze, Rudy Trouvé Septet, Dead Man Ray, Tuff Guac, among others... worked with Hugh Cornwell (The Stranglers) and Budgie (The Banshees), among others. Together, Emma & Geert also have a Sisters Of Mercy tribute band: Body Electric.

Niels Orens is an electronic producer and live performer working at the intersection of acoustic instrumentation and immersive electronic sound design, creating deeply textural compositions that prioritize atmosphere, space, and emotional weight overtraditional song structures. "Never Again EP" expands on the introspective tone of slow night/s, pushing further into rhythm and sonic detail while exploring themes of alienation, loneliness, and quiet internal violence.



After successful collaborations with Max Cooper, the new EP marks a pivotal moment in Orens' evolution. "Never Again EP" forms the foundation of a new live chapter currently unfolding across Europe, while signaling a deeper dive into experimentation, texture, and the evolving dialogue between acoustic sound and electronic manipulation.

Papooz & Friends ! is a collaborative album where French duo Papooz gather a constellation of kindred artists, including Molly Lewis, Erlend Øye (Kings of Convenience / Whitest Boy Alive), Arto Lindsay, Oracle Sisters, Sacha Got (La Femme), Zé Ibarra and Hugo Hamlet, to create original songs born from true artistic encounters.



Blending elegant indie pop, modern folk and sun-soaked experimentation, the project unfolds as a collective musical journey celebrating friendship and creative dialogue.

ORDH's debut, "Blind In Abyssal Realms", sets out to redefine what the term 'progressive death metal' truly means. But before ORDH, there was BARISHI. When their bass player threw in the towel to pursue other interests in life, guitarist and vocalist Graham Brooks, "looking for a fresh start", decided the time had come to finally dwell in his favorite genre: death metal. But not just any kind of death metal_ Having drafted BARISHI drummer Dylan Blake, with whom Graham has been playing since he was twelve years old, and Josh Smith from KIEFCATCHER on bass, the trio then spent a few gruelling years working on their debut, with Graham writing most of the music and ironing the songs out with Dylan and Josh. Having toured with COME TO GRIEF when BARISHI was still around, Graham and the latter's singer Jonathan Hébert had hit it off really well, so when the time came to find a vocalist, Jonathan was called upon, "right on time to jump straight into the recording and writing process, as most of the music was ready to go".

French artist Swan Wisnia, under her solo project molto morbidi, announces her second album Maybe Marcel for release on April 17th via No Salad Records. An experimental album forged in both tenderness and turmoil, combining art / weird pop and baroque pop, the album moves between the intimate and raw to the playful and inventive, creating a universe that is at once dark and hopeful.
"What inspires me are artists who stand by their influences while transcending traditions," she explains. "Artists who are recognisably their own." Drawing inspiration from everything from Siouxsie Sioux to The Raincoats to Broadcast, Lizzy Mercier Descloux, and ESG, Wisnia balances melodic sensibility with the experimentally daring, creating a body of work that is both timeless and wholly original.

Grounded in a season of life that has been earned rather than borrowed, Benjamin Tod speaks with the ease of someone no longer running from himself. There is joy now - a steadiness that comes from commitment. With the recent arrival of his son and a deep well of new music on the horizon, Tod is firmly rooted in both purpose and possibility. That clarity is evident in Vengeance and Grace, the Lost Dog Street Band frontman's forthcoming and most expansive solo album to date. Conceived as a "dual-version" release, the project presents two parallel worlds: (Alone) is a stripped solo-acoustic version, along with its full band counterpart.

Together, the two versions form the full range of what Tod is capable of: restraint on one side, force on the other. At the core of Tod's writing is a simple conviction: music should serve something larger than the moment. His writing speaks to mind, body, and soul, shaped by faith, discipline, and a hard-earned understanding of consequence. The darkness that once defined him is neither denied nor indulged. It is understood and no longer in control. Today, Tod moves with a sense of calm that wasn't always there. He is grateful, settled, and intentional, continuing to follow the compass that's guided him from the beginning. Rooted in traditional country and folk, his work stands firmly in the modern music landscape, shaped by experience, restraint, and the life he's built around it.

The Definitive Origins of the Chicago Electric Blues. Witness the birth of a legend. This essential collection captures Muddy Waters at the most pivotal moment of his career: the transition from a Mississippi Delta traveler to the "King of Chicago Blues." Muddy Waters was an ambitious young man who saw little future in Mississippi. In 1943, he headed for the bright lights, big city of Chicago, where he soon connected with blues giant Big Bill Broonzy, who began featuring Muddy as an opening act at his club dates. Within a year, Muddy had switched to electric guitar and formed his first blues combo, quickly becoming an established figure on Chicago's club scene. In 1947, Muddy came to the attention of the fledgling Aristocrat Records, just as Leonard Chess-then running a nightclub called the Macomba Lounge-invested in the company. Working frequently with pianist Sunnyland Slim, Muddy recorded a split session with him for Aristocrat in December 1947. This collection begins there: eight Aristocrat 78 rpm releases (sixteen sides), recorded between 1948 and 1950 and presented here in chronological order of release. Just three years later, Leonard and his brother Phil Chess would buy out Aristocrat's remaining partners and rename the label Chess Records-ushering in a new era of Chicago blues that would reverberate around the world. Includes extensive liner notes by Muddy Waters expert Fred Rothwell.

Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantle all borders and all styles of creative music.

On this second volume, the Intercommunal builds unprecedented soundscapes around a song of revolt, a dance tune, or a burst of dissonance. The journey is unforgettable, no question about it. On repeat listening, it even becomes… lunar!

“The music that we make is primarily meant to be listened to live,” warned a leaflet from the Intercommunal Free Dance Music Orchestra. This is precisely why the (restored!) reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is such an important event.

In 1971, after recording a series of albums that would leave a lasting mark on French jazz (Free Jazz, of course, with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais, but also Le Nouveau Jazz with Barney Wilen, or the solo Piano Dazibao), François Tusques founded the Intercommunal—a grouping whose very name called for the fraternization of the various communities making up the country: Our music will help, we hope, to resolve the contradictions that exist between workers be longing to different communities, by breaking down various forms of national chauvinism, and more particularly the chauvinism of certain French people toward the cultures of Third World countries… Long live the friendship between the peoples of the whole world!

Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first, before L’Inter Communal, Vol. 4, Le Musichien, and Après la marée noire (four titles already reissued by Souffle Continu). François Tusques and his companions (Michel Marre and Jo Maka on saxophones, Adolf Winkler on trombone, and Guem on percussion) performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded.

“We’re not among the Colonels,” the Intercommunal reassures us right away, performing a stride piano tune carried by African winds that the audience cannot resist for long. The energy is already striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk… The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together.

“We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially,” declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to “Le Temps des cerises.” The struggle was therefore serious—but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le- Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever—and once again, it is François Tusques who makes it heard.

Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantle all borders and all styles of creative music.

On this first volume, the Intercommunal takes its audience from New Orleans to Brittany and on to North Africa. The journey was bold, without a doubt—and its memory remains unforgettable.

“The music that we make is primarily meant to be listened to live,” warned a leaflet from the Intercommunal Free Dance Music Orchestra. This is precisely why the (restored!) reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is such an important event.

In 1971, after recording a series of albums that would leave a lasting mark on French jazz (Free Jazz, of course, with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais, but also Le Nouveau Jazz with Barney Wilen, or the solo Piano Dazibao), François Tusques founded the Intercommunal—a grouping whose very name called for the fraternization of the various communities making up the country: Our music will help, we hope, to resolve the contradictions that exist between workers be longing to different communities, by breaking down various forms of national chauvinism, and more particularly the chauvinism of certain French people toward the cultures of Third World countries… Long live the friendship between the peoples of the whole world!

Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first, before L’Inter Communal, Vol. 4, Le Musichien, and Après la marée noire (four titles already reissued by Souffle Continu). François Tusques and his companions (Michel Marre and Jo Maka on saxophones, Adolf Winkler on trombone, and Guem on percussion) performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded.

“We’re not among the Colonels,” the Intercommunal reassures us right away, performing a stride piano tune carried by African winds that the audience cannot resist for long. The energy is already striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk… The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together.

“We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially,” declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to “Le Temps des cerises.” The struggle was therefore serious—but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le- Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever—and once again, it is François Tusques who makes it heard.

April Records proudly presents the new album from Danish trombonist and composer Lis Wessberg. Her most personal album to date, In The Wake of Blue is a song-driven work exploring transience, love, and transformation. Expanding her writing while remaining rooted in her distinctive instrumental voice, Wessberg creates an intimate musical landscape where lyric, melody, and texture carry equal weight. Wessberg has established herself as a leading voice on the European jazz scene through her band Yellow Map and a series of acclaimed releases on April Records. Her previous album, Twain Walking (2024), marked her first step into English-language songwriting and earned a Danish Music Award nomination in 2025 for the track Behind the Walls. In The Wake of Blue develops this direction further. The album draws on images from nature - sea, tides, clouds, mist, and birds - used as emotional anchors rather than abstractions. These elements frame songs that move from uncertainty and loss toward openness, connection, and renewal. The title reflects this arc: "blue" as melancholy, depth, and memory, and what emerges in its wake. Vocalist Veronika Rud is central to the album"s sound, bringing vulnerability and clarity to the songs. Rather than a traditional singer-led project, the music unfolds as a dialogue between voice and trombone, with Wessberg"s warm, airy tone mirroring and extending each song"s emotional core. At times the two move in close unison; elsewhere, they diverge and reconnect. The core ensemble - Steen Rasmussen (piano and keys), Lennart Ginman (bass), and Jeppe Gram (drums) - provides a responsive, understated foundation, while string quartet Live Strings appear on two tracks, expanding the ensemble"s depth and resonce. In The Wake of Blue offers a quietly assured statement from an artist continuing to refine a voice that speaks as clearly through brass as it does through words.

Metaphon is pleased to present this première edition, which brings together a near-complete collection of the acousmatic works of Liliane Donskoy, recorded in the 1970s and 1980s.

Liliane Donskoy (*1933) is a French, classically trained pianist, music teacher, and composer of both instrumental and acousmatic music. She began her musical training at an early age, undertaking private piano studies with Yves Nat at the age of thirteen, shortly after the Second World War. During the 1960s and 1970s, she pursued advanced studies with prominent figures of twentieth-century music, including Darius Milhaud, Olivier Messiaen, Pierre Schaeffer, and Guy Reibel, and participated in courses led by Karlheinz Stockhausen, Luciano Berio, György Ligeti, and Iannis Xenakis.

Despite this extensive and diverse training, Donskoy encountered limited institutional and professional opportunities to fully realize her artistic vision. A decisive turning point occurred in 1977, when she gained access to the facilities of the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. There, she realized and completed the majority of her acousmatic compositions.

Donskoy’s oeuvre is characterized by a high degree of structural complexity, precision, and expressive intensity. Her work reflects a pronounced and distinctive artistic temperament, manifested through a rigorous exploration of sound material and form. Notwithstanding its artistic significance, her music has remained largely unknown, as her compositions were neither widely circulated nor formally released, leading to their relative obscurity until the present publication.

Metaphon is pleased to present this première edition, which brings together a near-complete collection of the acousmatic works of Liliane Donskoy, recorded in the 1970s and 1980s.

Liliane Donskoy (*1933) is a French, classically trained pianist, music teacher, and composer of both instrumental and acousmatic music. She began her musical training at an early age, undertaking private piano studies with Yves Nat at the age of thirteen, shortly after the Second World War. During the 1960s and 1970s, she pursued advanced studies with prominent figures of twentieth-century music, including Darius Milhaud, Olivier Messiaen, Pierre Schaeffer, and Guy Reibel, and participated in courses led by Karlheinz Stockhausen, Luciano Berio, György Ligeti, and Iannis Xenakis.

Despite this extensive and diverse training, Donskoy encountered limited institutional and professional opportunities to fully realize her artistic vision. A decisive turning point occurred in 1977, when she gained access to the facilities of the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. There, she realized and completed the majority of her acousmatic compositions.

Donskoy’s oeuvre is characterized by a high degree of structural complexity, precision, and expressive intensity. Her work reflects a pronounced and distinctive artistic temperament, manifested through a rigorous exploration of sound material and form. Notwithstanding its artistic significance, her music has remained largely unknown, as her compositions were neither widely circulated nor formally released, leading to their relative obscurity until the present publication.

»Vents d’aether« is the first collaborative album by sound artist Jérôme Bouve and composer-performer Delphine Dora. The six pieces are based on live improvisations on organ and harmonium. They were recorded in different churches on the Cotentin peninsula in France’s Normandy region and later enriched with additional field recordings by SA~RA. This adds an extra layer to compositions which were created both in and out of the moment and which quite literally resonate with the histories of the instruments and the buildings that were so integral to their emergence. »Vents d’aether« is to be understood as a dialogue between sound and space that takes place across time and place.

Bouve carried the idea of working with the organs and harmoniums that can be found in the churches and chapels in the Val de Saire in the Northeast of Cotentin around with him for years. When he got to know Dora, he found the perfect musical partner with whom to finally make a record »about the wind, the wood, the stones of the Val de Saire.« In September 2024, the duo embarked on a short but fruitful journey during which they stopped by at several different churches. They recorded hours-long improvised sessions dedicated to »capturing the moment, letting space and time shape gestures and sound, seizing fleeting epiphanies in their greatest simplicity,« as Dora notes in the album’s linernotes.

She took the lead behind the instruments, however Bouve assisted her on drawbars for the last two pieces on »Vents d’aether,« thus adding an even more unusual touch to the recordings. They formed the basis for an album that Dora calls »the testimony of a sensory quest, a collection of memories suspended in time.« Indeed, starting with the epic 20-minute-long titular piece up until the ringing of church bells near the end of the closing piece »Montfarville V,« this overwhelming yet intimate record blurs the boundaries between different times and spaces altogether.

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.

Soulful Motown City deep house, hip hop interludes, swinging techno, and early Chicago-inspired cuts. Donato Basile steps out onto DVS1's Mistress Recordings label with two 12-inches: Mistress 18 and Mistress 18.5. Pressed in tandem, each record draws upon Basile's dual aliases to go head-to-head as Dona vs. DJ Plant Texture. Rhythmic machine grooves and masterful MPC work that pay respect to the diverse sounds of the metropolis Midwest cities.

With Dispersion, Loom & Thread return to the volatile architecture of the expanded piano trio - and quietly fracture it from within.

Daniel Klein (drums), Tobias Fröhlich (double bass) and Tom Schneider (keys, sampler) remain the sole agents on stage and in the final recording. The triangle holds. And yet, the field has expanded. For their second studio album, the trio fed their improvisations with the timbral signatures of guest saxophone and vibraphone players - not just as additional voices to be featured, but also as material to be absorbed, atomized and redistributed. The result is not augmentation but thorough refraction.

Where the debut album explored the recursive labyrinth of Schneider's live sampling of his own piano, Dispersion introduces an external grain into the feedback system. Breath and metal. Reed turbulence and struck resonance. The trio sampled extended improvisations by saxophone and vibes players: Victor Fox, Asger Nissen, Volker Heuken, and L&T's own Daniel Klein; dissected their attacks, overtones and decay curves, and integrated these fragments into the trio's internal circuitry. What emerges is a play of presences without bodies - instrumental ghosts circulating through the dense weave of rhythm and keys.

At first, one might hear the familiar relational tension: Klein's polyrhythmic elasticity interlocking with Fröhlich's tensile double bass figurations, Schneider poised at the hinge between tonal field and percussive impulse. But soon, the surface splinters - again. A vibraphone shimmer appears, yet no mallets are visible. A reed multiphonic surges through the texture, bending space between bass and drums. These events are neither quotations nor overlays; they are redistributed energies, dispersed across the trio's grammar. A digital multidimensional interplay ensues.

If the first album unfolded as a two-tiered game - live phrase and sampled reflection - Dispersion adds a further axis. The sampled materials from other improvisers are stripped of their erstwhile two-way interaction and reconstituted as malleable particles. Signifier detached from origin, resonance detached from gesture. The trio navigates a constantly shifting topology in which acoustic memory and electronic manipulation are indistinguishable.

Crucially, the album never abandons the physical urgency of three musicians reacting in real time. The additional timbral layers do not thicken the texture into opacity; rather, they introduce stark points and arrows of diffraction. Density opens into prismatic clarity. Lines splinter and regroup. What seems like a quartet or quintet collapses back into three bodies negotiating an expanded field.

Dispersion is not about addition but about distribution - of agency, of timbre, of temporal perspective. It is an album in which the trio setting becomes a site of multiplicity without surrendering its immediacy. A dissolution not only of the divide between present experience and memory, but between inside and outside, self and other.

Three musicians. Countless vectors. A music that fractures in order to cohere.

CREDITS:
Tom Schneider: piano & sampler
Tobi Fröhlich: double bass
Daniel Klein: drums & percussion

sample sources:
Victor Fox: tenor saxophone
Asger Nissen: alto saxophone
Volker Heuken: vibes
Daniel Klein: vibes

Recorded by Martin Dressler at Bauer Studios, Ludwigsburg.
Mixed & mastered by Martin Ruch.
Artwork by Viet Hoa Le.

»Music for Shared Rooms« is B. Fleischmann’s eleventh solo album and his first since 2018. It is also not an album, or at least not in the conventional sense of the word. These 16 instrumental pieces provide a kaleidoscopic glimpse of a forward-thinking musician at home in many different musical worlds, including experimental and abstract music, pop and more classically-minded compositional forms. These pieces were culled from an archive of roughly 600 compositions for theatre pieces and films written throughout the past twelve years. The Österreichischer Filmpreis-awarded composer, however, aimed for more than simply documenting his extensive work in and with different media. To do so, he edited and re-mixed the individual recordings for this release, taking them out of their contexts and reworking them for an audience who can experience them in a different setting. »Music for Shared Rooms« makes it possible for its listeners to engage with the sounds and to fill the spaces they open up with their own imagination.

Roughly speaking, music for theatre or film can serve two functions: it either takes the lead, or underscores what is happening on stage or screen. The marvelous thing about these pieces is that they manage to do both. Fleischmann’s work as a prolific producer has always drawn on contrasts, at times combining pop sentiment with rigid experimentation, the seemingly naive with the intricate and complex. This approach also marks the tracks collected here: bringing together acoustic elements and electronic sounds, at times working with conventional structures but always de- and re-contextualising them, Fleischmann constructs a vivid dramaturgy out of discrete singular compositions, letting them interact across the record.

Take, for example, the opener »Träumerei« and the following »Brenne«: after the soothing acoustic sounds of the former, the latter quickly picks up speed with hard-hitting drum machine rhythms. It’s a stark contrast sonically and stylistically, however both tracks are tied together by a certain harmonic sensibility. This sort of dramaturgical interconnectedness of varied musical materials is the thread that runs through »Music for Shared Rooms«. A droney piece for string instruments like »Sehnsucht« is followed by a trip-hop beat, before »Schock« lives up to its title with skittering beats and piercing high frequencies. The differences between the pieces may be striking, but the progression from one to the other is subtle. It goes on like this through different moods and tempos. There’s soothing-yet-eerie piano pieces like the »Für Elise«-inspired »Der Lärmkrieg«, gentle house grooves, joyful synthesizer excursions and, finally, »Die Erde ist mir fremd geworden«, a collage of abstract textures and concrete sounds.

All these pieces create distinct situations through the juxtaposition of diverse musical elements, but are also bound together by a single vision. Writing music for theatre pieces or film requires a composer and his pieces to engage with people and their movements in space, which is exactly what Fleischmann offers on this record. He breaks down the fourth wall and invites his listeners into his world, a wide-ranging musical panorama. »Music for Shared Rooms« is indeed not an album in the conventional sense of the word, but more like a photo album in which each page opens up a new space to get lost in; recreates different scenes in which you can immerse yourself. These are shared rooms indeed.

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

THE ROAD IS NEVER EASY

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

RECORDING

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

PRODUCTION & ARTWORK

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

Composed by Christina Vantzou between 2023 and 2025 after being commissioned by INA GRM, »The Reintegration of the Ear« defines listening as a radical, embodied act of attention: a slower kind of presence rooted in care, intimacy, and reflection. Performed with John Also Bennett, Oliver Coates, Roman Hiele, and Irene Kurka, the work moves through intuition, breath, and resonance, forming an acoustic ecology between perception and expression.

Paired with »Observations, Edits, a Cure for Restlessness«, a companion suite of domestic fragments and temporal drift featuring harp by Sissi Rada, Ben Bertrand's bass clarinet, and others, time here is embodied, a porous medium where sound floats, reforms, and reveals itself as both instrument and witness.

Artist and multi-instrumentalist Flaer embraces the search for quiet miracles on first full-length LP Translations.

In 2023, Realf Heygate - who makes music as Flaer - released his debut mini-album Preludes, composed on his mother’s piano and his childhood cello.Returning to ODDA for his debut full-length album, Heygate is now looking in another direction. A record that embraces transition and movement, Translations is in many ways more internal, less rooted to a single place and reflective of the process of laying new foundations in Cornwall.

Like Preludes, Translations is coloured with found sounds and field recordings, from the starlings which can be heard singing through the open window of his studio, to the brittle recordings of his mother, who was a linguist, learning Spanish on a set of language tapes. In both cases, Heygate embraced the translations and memories inherent to the sounds.

“When I digitised my mother’s tapes, they warped and stuttered in a very similar way to the starling’s song,” he explains. “They had this uncanny rhythm and pulse that I couldn’t quite decode, but was saying something." These decayed transmissions hint at loss, resisting clarity in favour of the ineffable.

Translations is also a record of ambiguities and in-betweens, suggested by the double meaning of the album’s opening track ‘Entre’. At once intricate and expansive, threaded with birdsong and acoustic guitar motifs, this and ‘Starling Descends’ (a reference to Vaughan Williams’ ‘The Lark Ascending’) act as a bridge away from the pastoral themes of Preludes towards a more assertive sound. At times intimate in its textured instrumentation and at others more overtly grand in orchestration, reflecting awider palette of influences.

“Flaer began in many ways when I picked up my mother’s instruments, seeking a form of reconnection. Where words evaded me, they became the tools through which I found a language for grief – and above all, for love.”

Recorded between 2023 and 2025 – what Heygate calls “A gradual process of sowing and harvesting ideas rather than a single intense creative period” - each track follows a rhythm similar to the small maquettes and sculptures he has been working on in his visual practice, whereby structures and melodies form intuitively in moments that are as rare as they are fleeting.

“It's that feeling of searching that I really enjoy,” Heygate continues. “I never know what the destination of the composition is going to be, and I never really find what it is."

Translations is released on limited edition off-white vinyl LP (500 copies worldwide) with one of five signed and numbered handmade risograph prints. It's also available as standard black vinyl LP and digitally.

Cititrax release Sand Clock, the new full-length album by Men With Secrets, the Italian trio of Donato Dozzy, Lino Monaco, and Nicola Buono (Retina.it). Originally emerging from a shared background in experimental techno under the name Le Officine Di Efesto, the three musicians turned toward classic post-punk, minimal wave, and synth-driven pop with the formation of Men With Secrets. Their debut album Psycho Romance (2020), released on Bunker Records, introduced a meticulously produced body of work that felt like a rediscovered European darkwave recording from the early 1980s—yet was entirely contemporary in its construction.

With Sand Clock, the trio deepen this language. The album leans more directly into the melodic clarity and romantic tension of late-80s and early-90s darkwave and synthpop while maintaining the stark restraint that defines the project. Icy synthesizers, shuddering basslines, and precise drum machine programming frame baritone vocals that are intimate, emotionally exposed, and quietly apocalyptic.

Balancing pop structure with gothic atmosphere, Sand Clock moves between shadowed dance floor momentum and solitary headphone introspection. It is not an exercise in revivalism, but a continuation—an acknowledgment that the emotional architecture of that era remains unresolved and still relevant. Written and produced by Donato Dozzy, Lino Monaco, and Nicola Buono and recorded in Rome and Pompeii.

The vinyl edition is pressed on clear 160-gram vinyl, limited to 500 copies worldwide. Each record is housed in a heavy printed jacket with a printed inner sleeve.

“Black Jacket” is a love letter between two bands separated by continents but united by mutual admiration. Contriva, of Berlin, and Chessie of Washington, DC, first came together in 2001 when sharing a stage, sparking a deep connection over their respective takes on textural, emotive, and mostly instrumental music that merges post-rock, ambient, and experimental elements into unique visions. Fast forward two decades and many trips to their respective studios and we now have “Black Jacket”, a double LP of musical alchemy that builds upon the expressionistic, idiosyncratic sounds of these two groups. A new classic that proves far greater than the sum of its parts.

Begun in the mid 1990's, Washington DC's Chessie is Stephen Gardner (also of noisy shoegaze pioneers, Lorelei) and Ben Bailes, whose various LP's for Slumberland's Dropbeat imprint and Plug Research pair abstract electronics and melancholy post-rock in search of the sounds and feelings of railways and train travel.

Berlin's Contriva, (Monika Enterprises, Lok Musik, and Morr Music) features Masha Qrella (known for her solo works for Morr Music), Max Punktezahl (also of Munich indie legends the Notwist and Berlin's Jersey and Saroos), Hannes Lehmann and Rike Schuberty. For over a decade beginning in the mid-1990's, Contriva crafted compelling instrumentals, grafting experimental textures onto beautiful and complex indie songs.

Together, the six of them have created “Black Jacket.”

First time reissue of JP free jazz rarity, pre-Seikatsu Kōjyō Iinkai group.

The single album self-released by the quartet Shūdan Sokai in 1977 is one of the most vital documents of mid-seventies Japanese free jazz, documenting Tokyo’s free scene at the precise moment when it began to shift to a handful of tiny venues on the western fringes of the city. In Free Jazz in Japan, Teruto Soejima identifies the extant venue Aketa no Mise in Nishi-Ogikubo as the pioneer of this decamping from the centre: a cramped basement beneath a rice shop, seating just 20 people. Musician-run, operated on a shoestring, these spaces offered a vital site for community, creativity, and a small measure of financial independence — “even though it was in a basement, in spirit it was a loft.”

Among the most active of the new venues was Alone in Hachiōji, nearly an hour from Shinjuku, in a district shaped by universities, lower rents, and a thriving counterculture. Originally opened in 1973 as a jazu kissa, Alone was unusually spacious and equipped with a stage, grand piano, and drum kit. Around 1974, Junji Mori and Yasuhiro Sakakibara began working there, booking free jazz players on weekends and establishing the venue as a crucial hub. Mori recalls early appearances by figures including Kazutoki Umezu, Toshinori Kondo, and others who would define the scene.

In early 1976, Umezu and pianist Yoriyuki Harada — recently returned from New York’s loft jazz environment, where they had played with musicians such as David Murray and William Parker — formed Shūdan Sokai with Mori and drummer Takashi Kikuchi. The name, meaning “mass evacuation,” pointed to their self-chosen exile in Hachiōji. With Alone as their home base, the quartet developed a music characterized by an infectious sense of enjoyment and a willingness to integrate free jazz with elements of song structure. Harada switched between piano and bass; the group experimented with rap-like vocal pieces, jabbering nursery rhymes over bass rhythms.

They returned to Alone on December 24 to record Sono zen’ya (Eve), releasing it on their own Des Chonboo Records, partially funded by advertisements from local businesses printed on the rear cover. The closing “Ballad for Seshiru,” dedicated to Harada’s newborn son, unfolds over a delicate piano melody that moves into emphatic chords as intertwining alto lines rise and spiral.

Alone closed in September 1977, and Shūdan Sokai soon dissolved, later morphing into the expanded Seikatsu Kōjyō Iinkai Orchestra. What remains is a recording rooted in a specific place and moment: a fiercely independent scene sustained by small rooms, close listening, and collective commitment.

Barrington Levy's 3rd LP for Jah Life, another killer selection from the fruitful works of the Wright/Lawes/Levy axis. From the golden era of the Radics at Channel 1, mixed by Scientist at Tubby's, 10 tracks, great all the way thru. Finally available again, this was only repressed once before in the late 1990's, other than its original release in the early '80s. Featuring iconic cover art by the late NYC legend Jamaal Pete and pressed from the original mothers, identical to the original press.

Tozzi´s new work on non series, with a singular, hypnotic, flawless and effective four tracker ep.

The Fuga compilation returns to Token with its seventh installment by a fresh batch of artists emphasizing the cryptic sound of the Belgian record label. The V/A displays urgency as its focal point, expanding and contracting its acoustic space throughout to channel instability. With eight contributions, Fuga VII sifts through nail biting arpeggios, frenzied percussion, and obscure ambiance to recalibrate techno's current soundscape.

Opening the compilation is contemporary techno mainstay Rene Wise with his debut contribution to the record label 'Rough Rider'. In this A1, Wise plays to his strengths by blending deep techno influences with hyper-focused rhythmic work. With a hint of tribalism, he conjures up synthwork from far off to whip motion into heavy drum patterns. Following this first track, STIPP and Sandrien take control in presenting 'Corrie', a sequence-forward groover that slides through drum programing to streamline rhythm. A shrill pad comes in at the halfway mark, completely lifting the energy of 'Corrie' to strain the track's obscurity with an ethereal counterweight. The brief passage of these kinds of elements provides a lot of dynamic to what would otherwise be a powerfully straightforward piece. Diving deeper, Red Rooms unveils 'Limited Sensory' as the next chapter of the compilation. Always swift and exact, the German artist continues to push into the ultra immersive with a web of elements that whiz by for a peaktime lock in. Cold in attitude, Red Rooms tunnels through 'Limited Sensory' with quick drumsand far-off percussive hits that rumble through the track. Stepping up afterwards is Lindsey Herbert with 'Oscillations in Space' - an appropriately named recording that experiments with mania as a tool for the dancefloor. Fast and spiraling, Herbert keeps her hands on the arpeggio's filter to contain tension through thunderous reverb transitions, balancing panic with pace. AgainstMe then stretches out the followup with the commanding 'Phase Shift' to double down on weight. Textural intimidation and stomping percussion is given the space it needs to perform on heavy weight sound systems, making it an austere middle point for Fuga. MAL HOMBRE then guides the listener to more elastic sound design in 'Critical Velocity', in a most appropriate Token fashion. Snowballing in intensity halfway through, MAL HOMBRE pushes the cutoff of his melody and programs snare rolls for vintage craze through the second section. Bells clash with ringing hats to fly the track along its course without looking back or letting go. Conor Wall takes control with 'The Strategy' that focuses on pace rather than melody, weaponizing metallic texture for a deep dancefloor experience. The ambiance does a lot of story telling here, marking breaks and riding through drops to provide grit to an already substantial record. This leads us to the final contribution in Fuga VII - 'Ad Libitum'. Here, Porteix emphasizes the conclusion of the compilation with mystery. The synths slither around pulsating rhythm, creating uninterrupted motion throughout the track's entirety. Porteix draws the curtains on an inquisitive note, keeping the suspense high until the next Fuga compilation comes around.

Dj T-Kut Team Leader of Skratcher Madrid, Skratch Elementz & Tablist Lounge Spain, publishes a new volume of Skratch Practice. After the success of the previous volumes, this time it will be called Skratch Fu-Finger Practice. Side A consists of 12 seamless loops at 100 BPM and Side B consists of 12 seamless loops at 133 BPM. This vinyl is a perfect tool for battle routines, freestyle scratching, in which you will find classic original sounds, phrases, Fx sounds and much more. This Battle Breaks & Scratch Tools vinyl promises hours of practice and is focused both for DJs who are beginning and advanced DJs. This work is published on 12" and 7" vinyl in black plus a limited edition in colour oxide blood for 12" and gold for 7". The 7" vinyl sides A and B consist of 6 loops per side at 100 BPM. Artwork: Adolfo Gerrero Mastered: Le Jad Producer: Dj T-Kut I hope you enjoy it and Happy Skratching!

British electronic music pioneers Graham Massey (founding member of Manchester legends 808 State) and Brian Dougans (the mind behind acid house milestone Humanoid and one half of The Future Sound Of London) join forces for their debut collaboration In Place Of Language, released on Belgian label De:tuned.

Both 808 State and Humanoid helped shape the UK's early rave and acid house movement. Here, Massey and Dougans channel that legacy into a beautifully balanced four-track EP that radiates warmth and energy, drawing on more than three decades of experience in electronic music. Inspired by key elements of the '89-91 era while embracing a contemporary edge, the duo merge their distinct sonic identities into a sound that feels both timeless and forward-looking.

In Place Of Language is not a nostalgia trip, but a natural evolution: a meeting point between foundation and future, and a blueprint for a new wave of electronic experimentation!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Longtime friend of the label Eraserhead returns after over a decade away from producing music due to his surreal MS Paint work as 'Jim'll Paint It' becoming an unexpected cultural phenomenon. With his debut full-length, 'Violence', Eraserhead presents a truly eclectic electronic LP featuring collaborations with established producers such as Om Unit, Enduser, and Brain Rays, as well as the vocal talents of Nadia Rose, Beans (of Antipop Consortium), and Cadence Weapon. An album held together by theme and tone rather than style or tempo, 'Violence' is the culmination of a bitter wave of inspiration, initially conceived in the wake of a personal tragedy that quickly grew into a broader polemic about the state of the world.

Originally linking up with Love Love in its breakcore netlabel infancy with his refined, breaks-heavy breakcore/gabba, Eraserhead's flair for tight, intricate productions was evident in his finely tuned tracks of controlled chaos. This time around, his work is a darker, more expansive evolution of his sound, with the scale upsized and the stylistic scope massively broadened, remaining unfaithful to any single genre, but with firm nods to Breakcore, Grime, Drum & Bass, Techno, Rave, Dubstep, and Footwork, all chewed up with a hard industrial edge and cinematically framed by a backdrop of apocalyptic synths.

Opening with the cold tech-noir of 'Shining Brainless Beacon' to set the tone, the album quickly locks in with the blistering spoken-word headrush of 'Hurricane With Teeth' alongside rapper Beans, before Om Unit lends his expertise on the sharp groove and clinical bass blasts of 'Operation Hardtack'. The album shifts and morphs constantly throughout the runtime, moving from the raw and urgent acid techno of 'Crowd Control' to the crunching military march of the Gore Tech collaboration 'No More Worlds' and the tribal sci-fi footwork of the Brain Rays collaboration 'Night Visions'. 'Monolith' provides a final burst of catharsis, channelling Underworld by way of Nine Inch Nails, complete with writhing screams from Amée Chanter of sludge-punk-noise-rock duo Human Leather, before the heart of the album is laid bare with the painfully bleak closing dirge of 'Animal'. In its final moments, 'Violence' leaves the listener suspended between devastation and awe - an unflinching portrait of an uncaring world.

Leeds-born folk-rocker John Trevor Midgely, alias Beau, was known for his deft twelve-string guitar work, his poignant voice and distinctive song-writing, which brought him onto the roster of John Peel’s Dandelion label in 1969. His self-titled debut album is arguably his best and includes the outstanding single ‘1917 Revolution,’ said to have inspired America’s smash, ‘Horse With No Name,’ the LP ably demonstrating that all the artist needed was his voice, his guitar, and his individual approach to song writing, the work bearing his haunting hallmarks throughout. In short, an unjustly obscure release that is ripe for current reappraisal. Including 2 Bonus Tracks

When we were thinking about making an EP for Rupture, the first few tracks happened to already be finished, and fit together really nicely - but getting that final track done ended up being a bit more of a challenge!

The vision was to convey our individual styles in collaboration as best as we could - with dance ready tracks that also carry emotion. Rum Runna, as the A1 of the EP, all started from a break we found that had one of the loudest subs cutting through. Instead of looking for something else, we decided to lean into this and maximise the energy, before finally breaking through with the 808s. Drifting Through The Mist is more of a rolling vibe, focussed on vocals and funk to lift spirits in the dance, all the while teasing an amen drop that leans into a ragga fusion.

Northwest Passage is one of the earliest tunes we got finished - being made quite soon into our first meeting I believe. The result is a darker tip that focusses on dissonance and sub pressure that really thrives in the bassbins. Our final tune on the EP, Original Secret, is the most emotionally charged on the EP, again utilising our love for unique percussion and bongo hits along with rolling breaks, carefully chopped snares, atmospheric pads and emotional vox samples.

We are more than proud to release this body of work on one of our all time favourite labels, and have had the utmost pleasure to work with the team every step of the way.

On 6th October, multi BRIT-nominated DJ/producer Joel Corry releases his debut album, ‘Another Friday Night’ via Asylum / Atlantic Records, with the pre-order going live on the 18th August.

To be released on both vinyl & CD, as well as via streaming/download, ‘Another Friday Night’ is a collection of Joel’s most iconic records of the last five years, including breakthrough hit ‘Sorry’, ‘Lonely’, multi-platinum UK #1 single ‘Head & Heart’ ft. MNEK, ‘BED’ w/ RAYE & David Guetta, ‘OUT OUT’ w/ Jax Jones, Charli XCX & Saweetie, plus fresh 2023 cuts like ‘Dance Around It’ with Caity Baser and the anthemic ‘0800 HEAVEN’ with Nathan Dawe & Ella Henderson, ‘Another Friday Night’ toasts a remarkable run of releases that’s seen Joel become one of the UK’s biggest and most impactful dance acts.

“My debut album ‘Another Friday Night’ is the biggest moment of my life”, says Joel Corry. “Everything I have dreamed about and worked so hard for has come together with the release of this record. It has been an incredible journey and I am so proud to have reached this moment in my career. I want the songs to make people feel good and bring happiness to their days, and the album includes everyone’s favourite bangers from over the years, as well as some really exciting new material. This is the ultimate Joel Corry playlist, perfect for Another Friday Night.”

Ahead of the release of ‘Another Friday Night’ on October 6th, Joel has also announced a special headline show at London’s Ministry Of Sound on Friday 29th September – his first London headline date since playing at former 5000-cap venue, Printworks, in autumn 2021.

Fans who pre-order ‘Another Friday Night’ will be granted early pre-sale access to tickets on August 24th, before general sale opens on August 25th

Always a dancefloor friendly act, The Remixes (originally issued 25 years ago) is the sound of the Roses biggest tunes revisited by many of the foremost names in UK dance music at that time – including legends such as Paul Oakenfold and Steve Osborne and fellow Mancunians 808 State and A Guy Called Gerald. With fully restored artwork, including notes from the remixers, this 2LP set features some tracks that have really stood the test of time. “808 State turns ‘Made of Stone’ into an aggressive, high-pitched piece of electro-pop. Rabbit in the Moon earns points simply for…. making over ‘I Wanna Be Adored’ into a slow acid house excursion. Elephant dares to twist ‘She Bangs the Drums’ into an echoing, spooky vocoder workout.”

Laputa, a title taken from the fantastical floating island of Gulliver's Travels is aptly named as 'The album that never landed' for, apart from a limited touchdown in Japan, Laputa was never released. This mystical world is a summation of Yokota's journey so far, a complex and at times challenging work but immeasurably rewarding. Beguiling and bewitching in equal measure.

Over fifteen undulating sonic fugue states, he guides listeners round a liminal world, made up of familiar materials but formed in a way defying all laws of perspective and physics. Background murmurings give way to almost uncomfortably foregrounded chattering, and one perceived soundstage segues into another impossible tableau of sonic apparitions, some recognisable in form, but all boldly decontextualised and arranged in expertly cluttered amalgams.

Laputa's obscurity was a prime reason Lo Recordings decided on the Skintone retrospective. Falling as it did between The Boy and the Tree on The Leaf Label and our own debut of Symbol. It was something of an audio crime that the album had never been properly explored and discovered. Lo Recordings hope Laputa can now ascend to its rightful place... hovering above us.

The Four Owls debut album ’Nature’s Greatest Mystery’ returns on 2x12” Black and Yellow Galaxy Repress across 500 copies (never to be repressed in this colourway).

Celebrating FIFTEEN YEARS since the original release (and with rumours of a new album in the works) ’Nature’s Greatest Mystery’ Black and Yellow Galaxy Repress is a critically acclaimed UKHH classic!

The Four Owls are Big Owl (Fliptrix), Rusty Take-Off (BVA), Bird T (Verb T) and Deformed Wing (Leaf Dog) who also handles all of the production.

’Nature’s Greatest Mystery' features guest appearances from Q-Unique (Arsonists), Dirty Dike and Jam Baxter. A critically acclaimed modern day UKHH classic!

Limited edition pressing of 500 copies.

Black and yellow galaxy vinyl, full colour 350gsm reverse board gatefold sleeve. 14-track album. Shrink wrapped.

Bob Stanley’s latest compilation “Wednesday Morning 6AM” literally turns back the clocks.

In the late 70s and early 80s, there was a parallel world of hits that people only heard when their clock radio went off. BBC Radio 2 had little time for the Top 40 music played by Radio 1 and beamed into living rooms by Top Of The Pops. Radio 2 effectively created a chart of its own playing singles or album tracks that their DJs enjoyed and wanted to share with their listeners. These tracks were given multiple plays on rotation and became earworms for millions of listeners.

“Wednesday Morning 6AM” is the warming soundtrack of eating breakfast or driving to school or to work in the cold and dark early hours to the sound of Art Garfunkel’s ‘99 Miles From LA’, Dolly Parton’s ‘The Bargain Store’, Hoyt Axton’s ‘Evangelina’, Paul Simon’s ‘Train In The Distance’ and Air Supply’s ‘Lost In Love’.
Other featured artists include Gilbert O’Sullivan, Crystal Gayle, Carly Simon, John Denver, Lou Rawls, Lindisfarne, Bob James, Stella Parton and Dionne Warwick.
The 2-LP version includes the bonus track ‘Danny’s Song’ by Anne Murray.

Marking the second 12” on new Bristol label Northfield is the enigmatic Dalibor Cruz of Chicago. Pathos Peristaltica is a carefully calculated collection of 7 twisted & scuzzed out beats & interludes, expertly mastered by Beau Thomas @ Ten Eight Seven Mastering.

Echoes of Muslimgauze, Beau Wanzer, Laszlo Hortobagyi, 5 Gate Temple & Pablo’s Eye run throughout Dalibor Cruz’s work. However it seriously sounds unlike anything else out there, a true original in electronic music.

Previous releases of Dalibor Cruz have been on Natural Sciences & Chicago Research.

Artwork designed by Guillaume De Ubeda.