Tracklist 2026 - De Voorronde

[Oofje]

Tut, tut, tut, jij ging allemaal nieuwe prog rock liedjes inzenden van elk rond de dertig minuten!

Dit is de beste reactie in forumnerds history!!

[Ysidorus Fuchs]

Rond de 160 maart albums om door te nemen. Flaaksiaanse toestanden!

[Ysidorus Fuchs]

We zijn een maandje verder en het is weer tijd om wat te wieden.

[Ysidorus Fuchs]

2D0GS ~ BOUTIT(AI3) [Album: All The Dogs Are Barking]

[Ysidorus Fuchs]

Abstract Tribe Unique ~ Just Like Akira [Album: South Central Thynk Taynk (heruitgave, oorspronkelijk uit 1998)]

Tags: hip-hop/rap neo-soul abstract hip-hop conscious hip hop hip hop soul reggae hip hop soul Los Angeles

Originally released in 1998, South Central Thynk Taynk by Abstract Tribe Unique (Abstract Rude, Fat Jack and DJ Drez) captured a pivotal moment in Los Angeles’ underground scene—when young Black artists were reimagining hip-hop from the ground up. Blending jazz-inflected beats, spiritual insight, and fiercely independent production, the album became an anthem for self-reliance and creative rebellion. Now, remastered and reissued with a bonus track, this long-unavailable classic returns for a new generation.

At the cultural core of the record is Project Blowed, a legendary L.A. crew founded by Abstract Rude and Aceyalone, which birthed a lineage of rap innovators whose fingerprints are still felt in global hip-hop. While mainstream rap embraced the West Coast’s G-funk boom, the Blowed crew forged an alternate path—steeped in jazz, radical politics, and Afrocentric futurism. Thynk Taynk stands as a richly layered time capsule from this revolutionary moment, pairing Ab Rude’s deep lyricism with Fat Jack’s genre-melding approach to production, creating a poetic reflection on family, struggle, and artistic purpose.

This new edition includes the “L.A. Styles Back (Project Blowed Remix)” featuring a cross-generational lineup of heavyweights—Aceyalone, Myka 9, Medusa, Pigeon John, Blu, 2Mex, Ellay Khule, Riddlore, and NGAFSH—underscoring how L.A.’s underground has remained a creative epicenter for decades. South Central Thynk Taynk is more than a cult artifact; it’s a living document of transformation, community, and artistic power.

[Ysidorus Fuchs]

Art School Girlfriend ~ L.Y.A.T.T. [Album: Lean In]

Tags: alternative electronica shoegaze London

[Ysidorus Fuchs]

Atlantis Jazz Ensemble ~ Spirits Unseen [Album: Mystic Suite]

Tags: jazz modal jazz modern jazz soul-jazz spiritual jazz Canada

Let us take you back. Waaay back.

According to early Greek mythology, the three powerful sons of the god Kronos divided up the cosmos after overthrowing their father: Poseidon ruled the sea, Zeus commanded the heavens, and Hades reigned over the underworld. Conversely, this latest offering from the Atlantis Jazz Ensemble completes the group’s corresponding trilogy – "Oceanic Suite" (2016), "Celestial Suite" (2023), and now "Mystic Suite" (2026).

As you might expect, this "Mystic Suite", inspired by Hades’ supernatural realm, is perhaps the most intense, unusual and sublime of the three albums. It channels the energy of the spiritual jazz offered back in the 1970s by labels such as Strata-East, Tribe and Black Jazz, mixed with the urgency presented by the best of today’s jazz underground, fiercely struggling and searching for meaning within this era of global tumult. This is a meaningful record, driven by human connection, the kind that is only possible when like-minded musicians interact face-to-face within the same room.

The set flows as smoothly as the mythical River Styx. The Fender Rhodes electric piano starts things off slowly by churning an ominous brew during the intro to “Damocles”, before the full band drops a dark Elvin Jones-style mambo, set in a menacing Phrygian mode. The Coltranian vibes continue on the spiritually-charged “Spirits Unseen”, a fast-paced jazz waltz exploring the possibilities of polymodality, before settling into the softer contemplative sonorities of “Persephone”. Side A closes off with the sinuous bossa-tinged “As the River Flows”, before Side B picks things up again with the otherworldly harmonies of “Elysian Fields”. The 12/8 polyrhythms of “Asphodel Meadows” and the highlife jazz of “Gates of the Sun” bring in percussion-heavy Afro sounds into the mix, before things wind down with the horn-drenched melancholy soul-jazz of “Broken Dreams”.

It’s also worth mentioning that the core quintet of the Atlantis Jazz Ensemble is joined here by brilliant tenor saxophonist Petr Cancura, an alum of bassist Cecil McBee’s group, relocated to Canada after a long stint in New York City, as well as versatile percussionist Marielle Rivard, best known for her work as member of the Souljazz Orchestra. Engineer and co-producer Jason Jaknunas recorded the album live off-the-floor at his Metropolitan Studios location, subsequently mastering it to his beloved 1965 Studer Revox G36 all-tube 2-track tape machine. Cover artwork is based on a late 19th century water-colour sketch by Norwegian artist and explorer Fridtjof Nansen.

"Mystic Suite" is the Atlantis Jazz Ensemble’s 3rd album and is released by Marlow Records in vinyl LP, CD, and digital formats on February 27th 2026. LP format was meticulously cut, plated and pressed in Canada at Precision Record Pressing's state-of-the-art facility.

[Ysidorus Fuchs]

Caterina Barbieri & Bendik Giske ~ Alignment, Orbits [Album: At Source]

Tags: electronic ambient drone experimental minimalism techno Berlin

Caterina Barbieri & Bendik Giske's At Source resounds music as wellspring, that which is essential and unknowable, and yet utterly primary. It finds two acclaimed composer-musicians building a world together in self-contained collaboration between analogue synthesis and an extended approach to the saxophone that conjures its own universe of sound. It is at once intimate and cosmic, drawing on the challenges and possibilities of their artistic exchange, tearing down technique to access all the expansive possibilities of their sonic meeting point.
At Source is a document of the world of sound to be conjured when two artists strive for something together, discovering the expansions and limitations of performance by bodies and machines. It is not an exercise in assimilation, but in productive exchange and creative confrontation. It does not draw on outside energies or influences, but grapples with what there is to find in their respective playing. "It also reflects how natural the collaboration was," says Barbieri, "a meeting at the source which was spontaneous, graceful and natural".
Barbieri and Giske first met and were enthralled by one another's performances at Kunsthaus Glarus in 2019, a meeting that spurred conversations on the power of transitions as a compositional force. Giske later contributed a rework of Fantas for Fantas Variations (Editions Mego, 2021), an ambitious undertaking to rescore Barbieri’s work for his saxophone and voice, a challenge Giske had started undertaking two years prior as an ongoing practice of transcription. “The request came as a proof of aligned ideas”, says Giske.

Their new collaborative project then started during an artistic residency in Milan’s ICA in 2021, by invitation of swiss artist and curator Jan Vorisek, as the world was emerging from lockdown. This meeting, and the preceding closure of sites for cultural exchange, made their work together 'feel like springtime' says Barbieri. Giske, who was on the brink of releasing his sophomore album, Cracks, then joined Barbieri's light-years tour, which functioned as an inaugural incarnation of her newborn label and platform through a series of multi-artist curated shows with appearances of Lyra Pramuk, Nkisi, MFO, among other artists.

Through the tour, they continued to develop material live, and this release, laid down in the studio, is true to that ever-evolving process of creation, where live feedback stays essential to the vitality of this collaborative effort. The tracks are each named with two evocative words that contain the two poles of their sound. Theirs is both abstract and cosmic, in the synth as machine undermined by Barbieri's naturalistic playing, and in Giske's continuous exploration of the symbiosis between his instrument, voice, and body. These binaries, of body and machine, posed various challenges, notably in how the stepped patterns Barbieri uses were near-impossible to translate for Giske's body to perform, and other times where mathematical resolutions were needed to sync their playing. Explains Giske: "It forced me to go to the core of what I am and what I have to offer”. Barbieri says that it "explores the liminality between the machine and the human, and the vulnerability in this process".

On 'Intuition, Nimbus', the first track to be written, Giske's playing flutters and rises on Barbieri's synth, like a flock of birds lifted skywards on thermal columns, with clouds of pulsing tones fanning avian wings. 'Alignment, Orbit' settles into a steady torque, Giske's gentle percussions syncing with shifting loops, steadily building energy and conjuring solidity from breath and resistance. The extended 'Impatience, Magma' stretches glowing and languorous, honing in on and picking up a synth melody with whetted edge that cuts through the firmament, populating a broad cosmos of extended tones and replicating patterns in a piece that calls to mind Laurie Spiegel's extended works, and steps into transcendent duet with Giske's saxophone at its most keening and spiritual in tone and movement. 'Persistence, Buds' unfurls gracefully in sensuous sympatico, as saxophone caresses Barbieri's slowly twirling progressions, a tactile and meditative closer.
At Source is testament to two divergent practices finding a whole cosmos in which to convene; music is crystalised and made utterly enveloping through the focused and critical work of two musicians working at their peak. The versions here are, temptingly, "just one of many versions" of this abundant source material Giske explains. Like the best collaborations, At Source is more than the sum of its parts – bringing more to the feast than the simple combination of two musicians, promising versions upon versions of the exquisite material

[Ysidorus Fuchs]

Chunky Strapz ~ Horseplay [EP: Horseplay]

Tags: electronic London

Chunky Strapz is a West Yorkshire-based producer and DJ dedicated to the raw energy of Chicago Juke and Footwork.

Introduced to Juke through the Chicago originators, Chunky Strapz was immediately hooked by the genre's intensity, sampling, and relentless energy. His productions capture that same spirit, with big 808's, vintage drum machines, and syncopated rhythms designed to move crowds and shake systems.

Over the past four years, he's become a solid presence in the UK's 160 scene, making tracks that hit hard and stay true to the genre's DNA. His tracks are built in the DAW with one question in mind: Does it Bang?

With radio plays on the likes of Rinse FM, BBC and more, and support from artists such as SHERELLE, NAINA, Polo Lilli, Samurai Breaks and Cheetah, Chunky Strapz has been building serious momentum and he intends to keep going.

CHUNKY STRAPZ DELIVERS HIGH-OCTANE JUKE EP 'HORSEPLAY' ON HOOVERSOUND.

West Yorkshire producer Chunky Strapz keeps Chicago juke alive with a new dancefloor-primed four-tracker.

The UK juke and footwork producer is set to release Horseplay, a four-track EP that captures the raw, unfiltered energy of Chicago juke. And what better label to do it on than Hooversound?

With hard 808s and bouncing toms, "Horseplay," "Go," "Bounce N Fuck," and "Benjamins" Chunky deliver his own take on the classic juke formula that makes you want to move your feet and shake your booty.

Horseplay shows what he's really about - four tracks, no filler, just JUKE.

[Ysidorus Fuchs]

Daisy Moon ~ Spirit Princess [EP: Spirit Princess]

Tags: electronic experimental house techno techno Bristol

A delve into the murky avenues of sonic territories, exploring off-grid zones & askew worlds - Daisy Moon leans harder into her 4/4 vision in this dancefloor-ready EP - the first release for Off-Kilter.

Each track pulses along to its own singular logic, with Daisy’s distinctive voice and vocal manipulations playfully drizzled throughout, marking an elegant collision of her sonic worlds.

Spirit Princess is a breakneck peak-time explosion - club-ready and bouncy with a pulsing bassline fit to burst from the subs of any system underpinning waves of textured ambience, nagging synths and granular gusts of found sound.

Fuelled with late night techno energy, Grain Pip offers a heads down counterpoint to the title track, while the B side serves up different energies again. Perhaps the most playful track on the record - The Stuff - demonstrates Daisy’s cheekier side as a producer and person, as inspired by a summer of fun with friends on festival dancefloors: a house banger stuffed with melodic stabs, pitched vocals and swung hats, made for the joys and follies of the 3am dancefloor. Drop Cycle rounds things off with a trippy, rolling excursion of delays and warped synths.

Dizzying sonics and relentless dancefloor energy with razor-sharp precision and uncompromising force.

[Ysidorus Fuchs]

Egregore ~ Corsairs of the Daath Gulf [Album: It Echoes In The Wild]

Tags: metal black metal death metal doom metal heavy metal Pittsburgh

Here we find ourselves, among the Canadian miscreants Egregore whereupon they return from whence the wind howls like a damned choir and the Earth knows no master, to chart a broader sonic wilderness via ‘It Echoes In The Wild’. And much as sea-rogues and freebooters sought fortune upon blackened waters, so too does Egregore venture musically into diabolic and ungoverned lands.

Presenting something more expansive, elemental and untamed on ‘It Echoes In The Wild’, the early occult Black Death Metal lunacy embraces atmospheric breadth equally alongside primitive force to delve deep into not only geographic wilds, but the psychological, esoteric and spiritual hinterlands at the edges of complete madness. Dark invocations and secret tongues draw forth echoes from forest and fen, cave and cliff, tempting the temporally tethered to receive the curse, all the while driven by a primal, unknowable sardonic menace.

Though the voyage be perilous, to succumb to ‘It Echoes In The Wild’ is to become ensconced in a lawless dominion of the soul in service of a higher call. Mirroring nature’s unbridled forces and the hidden echoes that dwell within, Egregore’s second album takes the band’s mystical insanity and magickal perversion to the edge of the abyss and plunges forward.

[Ysidorus Fuchs]

Fcukers ~ if you wanna party come to my house [Album: Ö]

Tags: electronic house club music indie dance indie house New York

New York-based duo Fcukers officially release their highly anticipated debut album, Ö. Made up of heart-pounding, instantly addictive tracks, the record dives further into the electric sound they’ve been shaping in real time. The new album cements Shanny Wise and Jackson Walker Lewis as key voices in this new wave music, as they continue to carve a lane of their own.

Picking up where they left off, Ö is not just their debut album, it’s the moment the band has been building towards since the start of their careers. Songs like “Bon Bon” and “Homie Don’t Shake” carry over their early momentum, sitting alongside new tracks like “if you wanna party, come over to my house” and “L.U.C.K.Y,” all that encapsulate the hypnotising sound the band has crafted throughout the years.

[Ysidorus Fuchs]

Mammal Hands ~ Fallow Tide [Album: Circadia]

Tags: jazz Berlin

With Circadia, their ACT debut, Mammal Hands open a bold new chapter: deepening their rhythmic language, expanding their sonic palette and reaffirming their place among the UK’s most boundary-defying instrumental artists. Drawing on jazz, contemporary classical, electronica, folk and minimalism, the trio pushes their immersive, atmospheric sound further than ever before. The arrival of drummer Rob Turner (founding member of GoGo Penguin) brings heightened rhythmic focus, expanded electronic textures and a fresh kinetic energy. The result is music that feels both unmistakably their own and thrillingly renewed. Circadia is an album about transformation: about cycles, endings, and beginnings. Its title gestures toward rhythms that exist beyond the purely musical: the patterns of life, breath, light and darkness. Across the record, the trio balances intricate, hypnotic grooves with cinematic expansiveness, emotional depth and an openness that invites listeners into a vivid, evolving landscape.

[Ysidorus Fuchs]

Nondi_ ~ Broken Future 175 [Album: Nondi...]

Tags: ambient dream juke dreampop electronic electronica footwork idm Johnstown

Following her acclaimed 2023 release Flood City Trax, a dreamy, lo-fi take on footwork inspired by the crumbling rust-belt city she calls home, Nondi returns to Planet Mu with her second self-titled album, Nondi…

While Nondi… retains some of the hazy, nostalgic atmosphere of Flood City Trax, it pushes her sound in bold new directions.

“I made this album to capture the sense of freedom I used to get from music when I was first discovering it all,” Nondi says. “It’s meant to be cute, fun, kinda weird and emotional — but most of all, it’s a presentation of some of the prettiest tracks I’ve made.”

Though she hasn’t really experienced club culture where she lives, her impressionistic productions evoke the surreal, lingering sounds of a night out — the melodic haze that hums in your ears as you drift off to sleep. Lo-fi and melodic, yet fluid and free, her music carries a sense of flight and intuitive logic.

Nondi’s influences range widely — Actress, Aphex Twin, footwork, and the stranger edges of dub techno are all felt, yet she hallucinates them through her own weathered, dreamlike lens. Her tracks often build from clashing loops that evolve and transform organically, or from familiar genre elements reshaped by her instinct for misty, heart-wrenching melody.

Some moments stay closer to genre, like Broken Future 175, a drum-and-bass tear-out that dissolves into lush, blurred chords, or Just Hanging Out, a bruised and beautiful take on 2-step. Lead single Tree Festival feels like a blown-out fusion of rave energy and sped-up new-age bliss, while Death Juke drifts through off-beat vocal samples, pulsing drums and 8-bit FX, reminiscent of early Steve Reich reimagined through a Game Boy.

Nondi… is a uniquely moving and exploratory album that expands her sonic world even further. Lo-fi yet luminous, playful yet profound.

[Ysidorus Fuchs]

Legacy ~ Menace Of The Deep [Album: Part Time Archivists | Part Time Forgers (V/A)]

Tags: idm acid acid house ambient breakbeat dnb dub electro jungle techno Thessaloniki

Part Time Archivists | Part Time Forgers is the first release by Necessary Unfold, a newly formed label and collective based in Thessaloniki, Greece. Bringing together the artists featured on the compilation, it marks the launch of a shared platform emerging from the city’s steadily growing leftfield electronic scene.

Spanning 12 tracks, the release maintains a unified tone, nodding to the electronic scene of the 1990s. IDM, breaks, electro and acid/deep house form its backbone, not as revival exercises but as active references filtered through a contemporary production lens.

Based in Thessaloniki — where leftfield electronica has gained steady momentum in recent years — Necessary Unfold’s debut reads as a clear, collective statement of intent.

[Ysidorus Fuchs]

22 liedjes gaan door naar de volgende ronde.

[Ysidorus Fuchs]

Bon, tijd om de plaatjes van april, en een aantal nog niet gehoorde van januari, februari en maart (inclusief een nieuwe Fervid!), door te nemen. Een tweehonderdveertigtal in totaal. Fijn hoor!

[Siegfried Stahl]

Als er liedjes van fervid te beluistern zijn is dat zeker fijn.

En om alvast even in de stemming te komen hier nog even een oudje waar ik weer zo een prachtig AI filmpje bij heb gemaakt:





Trouwens toch wel even 9 views in 10 dagen. Dat is niet mis!

[Snif]

Als er liedjes van fervid te beluistern zijn is dat zeker fijn.

En om alvast even in de stemming te komen hier nog even een oudje waar ik weer zo een prachtig AI filmpje bij heb gemaakt:





Trouwens toch wel even 9 views in 10 dagen. Dat is niet mis!

Leuk. Kort maar krachtig. Had nog wel een minuutje korter gekund.

[Siegfried Stahl]

Korter zegt u? Dat kan hoor;