Tracklist 2026 - De Voorronde

[Ysidorus Fuchs]

De tijd staat niet stil en de eerste liedjes voor de TL 2026 voorronde zijn binnengehaald.

[(klaz*)]

[deschrijver]

Waar is de boter?
En waar is het kuiltje voor de jus?

[Ysidorus Fuchs]

Waar is de boter?

Geduld, het karnen heeft nog maar net een aanvang genomen!

En waar is het kuiltje voor de jus?

Maak liever een bergje en laat de jus langs de kanten lopen als lava van een vulkaan!

[Ysidorus Fuchs]

Januari 2025 had 26 liedjes in de voorronde, maar januari 2026 heeft er slechts 13 van dezelfde bronnen. Het nieuwe muziekjaar is vrij pover begonnen.

[Oofje]

daarom moet je ook Keith Emerson luisteren!

[Ysidorus Fuchs]

Of Emerson Fittipaldi.

[Oofje]

da's de verkeerde emerson

[Oofje]

Januari 2025

[Ysidorus Fuchs]

De eerste afvallers in de 2026 voorronde zijn bekend!

[Ysidorus Fuchs]

Dialect ~ Full Serpent [EP: Full Serpent]

Tags: experimental Liverpool

Returning to the intrepid wanderings of our bold adventurer and protagonist Green, Dialect’s Full Serpent EP traverses unexplored terrain on the map first unfurled in 2024’s full length Atlas of Green. Spectres of life and technologies loom in the gaps left by time and haunt Green’s imagination; the old is composted and germinates into the new in a never-ending cycle of forgetting and remembrance, bringing us Full Serpent.

Evolving from the album’s vision of a post-collapse world, Full Serpent brings new valences to the sound British composer and producer Andrew PM Hunt has explored under his Dialect moniker. Dialect began as a holding space for an overflow of ideas from DIY recording sessions intended for the underground bands Hunt played in during his past life as a post-punk frontman. From early releases like Advanced Myth and Loose Blooms, to the latest, acclaimed Under~Between and Atlas of Green, Dialect has established a sonic lexicon that proudly bears the hallmark of rudderless drifting; the miracle and freedom of accidental discovery.

Combining new compositions with collages made from repurposed Atlas-era sound, Full Serpent displays a dynamic range of pace and emotion soaring from springy fizz to earnest realization. Sputtering machines produce fragments of music, a residue intricately rearranged and twisted by Green, like filigree, into song. Cogent melodies punctuate meandering textures woven from scavenged samples, imbuing the abstract emissions of malfunctioning devices with unmistakably human longing for an irrevocably lost world.

The music of Full Serpent feels both handcrafted and spliced from a dream, coherent yet held together by threads of uncertainty. Hunt embraces this instability as a generative force and deepens his fascination with the spirals of time and Ursula K Le Guin’s anthropological perspective on storytelling. To embrace this cyclic logic is to celebrate and even venerate the natural processes of decay–to uplift loss and failure, those aspects of life ignored and rejected by the tyrant of industry.

In this way the music engenders a mode of receptivity, a childlike attentiveness without judgement that feels both older than time and futuristic. Inspired by Russell Hoban’s dystopian classic Riddley Walker, the EP’s final track “Eusa” foregrounds this sense of timelessness with its broken naïve melody against a wheezing organ almost monastic in its resolve. Elsewhere gleeful, sugar rush keyboards are smeared with tape damaged chamber music, like some ancient plastic bobbing around in a forgotten lagoon.

We feel Green’s sorrow and joy as they encounter arcane relics, the remnants of our world littering the land of the future. Full Serpent brims with heirlooms of the past – our present – all jostling for space and melting into memory. Half-remembered, half-imagined, Green continues a journey begun in the old world, charting new territory in a search for meaning and taking their place in the never-ending cycle of rebirth and reuse that is history.

[Ysidorus Fuchs]

DJ Superherb / Ten Years Lost ~ Ghost Toon [Album: Serious Coin]

Tags: electronic dub hip hop house Glasgow

Concrete City's two residents re-emerge with 'Serious Coin', the second long-player from label head DJ Superherb and long-time collaborator Ten Years Lost. Where their 2023 debut basked in heat-hazed hedonism, this follow-up sharpens the focus. At times deeper, and consistently drawing from the pair's shared language, Serious Coin is an unmissable entry in the Full Dose catalogue.

Across eight tracks, the duo lean further into their soulful instincts, balancing weighty low-end pressure with a distinctly human emotional warmth. Vocoded vocals, coalescing with dungeon synths, being carried by heavily swung rhythms represent a new strand in the pair's musical DNA.

The album captures the stillness of early morning city streets, yet still manages to push rhythmic elements forward. Barely-present samples and subtly detuned synths give the tracks a lived-in feel, as if they’ve already soundtracked a hundred late nights before reaching your speakers.

Like the first, this album has one foot firmly in dancefloor utility and the other in headphone introspection. Don't miss this dustier and deeper evolution to the Full Dose sound!

‘Serious Coin’, like the duo’s ’23 debut ‘Concrete City Merchandise’, is primed to soundtrack infinite afters in Glasgow and farther afield with a properly groggy suite of low-slung dub & beatdown house slugs. Prevailing strains of Jamaican and Detroit musics perfuse and commingle in the procession from sleepwalker trot and choral motifs of ‘Govanhill 6am’, thru the knackered beatdown steeze of ‘Ghost Toon’, to a superb bit of KDJ or Theo worship on ‘Dreamz’, triggering a tilt into the scuzzier slug of ‘All Choir, All Fire’, the machine funk angularity of ’Stuntz’, a one-leg-shorter-than-other stumbler ‘Number Wan’, and the salty soul of ‘It’s Time You Went Up the Road’.

[Ysidorus Fuchs]

dutchmasters ~ dutchmasters (my journey to the weed pen) [Album: untitled]

Tags: electronic punk ambient emo experimental fifth wave emo lofi post-emo post-hardcore screamo screamotronica skramz trans New York

[Ysidorus Fuchs]

Momoko Gill ~ River [Album: Momoko]

Tags: jazz r&b soul electronic, jazz, soul London

Strut proudly presents the debut album from producer, songwriter and multiinstrumentalist, Momoko Gill. Fresh from her critically acclaimed collaboration Clay recorded with cult electronic artist Matthew Herbert, Momoko steps forward in her own right for the first time with her remarkable debut solo album.

Momoko has long been one of the UK electronic and jazz scene’s best-kept secrets. A self-taught drummer, producer, songwriter, and vocalist, she has brought her unique touch to collaborations with Alabaster DePlume, Matthew Herbert, Coby Sey, Tirzah, and Nadeem Din-Gabisi (her musical foil in An Alien Called Harmony). Extensive touring behind the drum kit, at the keys and in front of the mic have honed her compositional and production instincts.

With Momoko, Gill emerges into the spotlight with an album that is entirely her own. Throughout, you can hear the stylistic flavours of jazz musicians as much as singer-songwriters, experimental artists and electronic producers. Though Gill rejects imitation, sculpting her sound through feel and expression rather than tradition. Based in London and having grown up in Japan and the US, Gill channels her breadth of perspective through her musical ideas and storytelling, with a unique voice developed through instinct, collaboration and solitary study.

The album’s eleven tracks take in a wide spectrum with the jazz-infused groove of ‘No Others’ and harmony-drenched, reflective ‘Heavy’ contrasting with the dark, confrontational sound of 'Shadowboxing' leading into an eerie left-field instrumental beat, ‘Test A Small Area' and the impressive 50-person choir on ‘When Palestine Is Free’ (which includes heavyweights Shabaka Hutchings, Soweto Kinch, Alabaster DePlume, Coby Sey, Marysia Osu and more). It is a deeply personal and poetic recording and showcases the full uncompromising range of Momoko’s vison, presented in her own voice.

[Ysidorus Fuchs]

Hot Face ~ Cavern Killer [Album: Automated Response]

Tags: alternative lo-fi. psych punk punk garage rock noise rock London

The story of how Hot Face’s ‘Automated Response’ came to be, starts at Left Of The Dial festival in Rotterdam. After a chaotic midnight headline show, producer Dan Carey and the band renewed their vows to record an album.

The premise was simple - the album was to be captured over the course of one day in 3 takes straight to tape, with the last unfolding in front of a live audience

A short while later, after yet another show, on a cold London night, Hot Face received a call from Dan in the early hours of the morning.

Cramming themselves into the green room toilet to escape the noise, the band were offered the chance to record the album at Abbey Road Studios, the very next week.

While a daunting and somewhat insane proposal, the band accepted and on 22nd November 2024 Hot Face entered Studio 3 at Abbey Road.

The following 25 minutes is the result of that day. A raucous ode to live music, blemishes and all. Within these songs, Hot Face (alongside Dan Carey manipulating the bands sonic mayhem live alongside them) bring their feverish live performance to you.

Committed to tape and mixed by Dan Carey for your pleasure.

[Ysidorus Fuchs]

The Protomen ~ Buried In The Red [Album: Act III: This City Made Us]

Tags: rock rock opera concept album rock and roll Nashville

Act III: This City Made Us is the fourth album by rock band the Protomen, and the follow-up to Act II: The Father of Death (2009). The album revisits the Mega Man-inspired rock opera concept from the band's first two albums.

How does one end a trilogy? If you look to cinema, the answer often is: badly. Sure, you get a Return of the King or The Good, The Bad and The Ugly once in a while, but there’s also Jurassic Park III, The Godfather Part III, The Matrix Revolutions, Spider-Man 3, Blade: Trinity, and Captain America: Civil War to contend with. Sticking the landing is hard—The Protomen knew that going in. After all, Act II released all the way back in 2009. Over the years, the final act had become something of a myth in the music community as the band reached cult classic status. For gaps between official releases, The Protomen beat Karnivool and Tool; hell, they beat Guns N’ Roses. Sure, singles, some live releases, and cover albums reassured fans the band were still active, at least. But Act III remained elusive. Until now.

Formed in 2003, The Protomen’s opus is their three-act concept trilogy loosely based on the Mega Man video game franchise. Taking many of the names and ideas from the series, The Protomen build their own story within that realm, focusing more on the relationship between the two rival doctors, Thomas Light and Albert Wily, at the heart of the franchise’s lore. From that foundation bubbles up a sturdy frame of rock opera and hard rock influences in conversation with sci-fi fanfiction, and bolstered with every eighties dystopian trope you can think of, from Blade Runner to Akira. After the intentionally noisy and more genrefluid debut, The Protomen entered a noirish relationship with musicals and rock opera on Act II. The finale in the trilogy feels like a logical continuation of that evolution, fully committing to the hard rock and rock opera sound, adding even more synthwave, and jettisoning some of the more musical-coded ideas that came to the fore on Act II in favour of a more cinematic soundtrack approach.

And what a sense of kino they conjure! Opening with Tangerine Dream-esque synth work (which colours many an intro, outro and interlude), “Hold Back the Night” throws open Act III with Gambler Kirkdouglas’ yearning operatic delivery determinedly intoning, ‘I know a hero will come!’ And come he does, in true rock opera fashion: lead vocalist Raul Panther III makes his entrance—the hero returned—seven minutes into the album to duet with Gambler and tell her that, ‘all of your heroes are gone.’ We’re so back.

Act III keeps up the energy with banger after banger, sojourning across a range of rock territory: Raul doing his level best to channel the spirit of Freddie Mercury (“This City Made Us”, “Hold On (The Distance Between)”), tracks with retro-modern synthwave inflections (“Calling Out”), and a selection of instant rock opera hits that’d have made Meat Loaf apoplectic3 with envy (“Hold Back the Night”, “No Way Back”). Some slightly more unusual approaches are buried in the largely synthwave/rock opera aesthetic. “Buried in the Red” lays in a bluesy vein akin to early Deep Purple with galloping drumbeat, organ work and profligate soloing, while “The Dream” leans more on a musical aesthetic with orchestra and overlapping voices evoking the cocktail of doubt and fate that beset our hero. “No Way Back” may well be the crown jewel of the album (though there’s a few to choose from) with a charming sense of meta-commentary in its ‘if there’s a way out of this, somebody tell me how’ refrain, as if the pressure of all those years knowing The Protomen had their own dragon to slay is slopping out of the subconscious. But, more than that, Raul’s howling beseechment of ‘maybe we’ll get out of this… a-lii-iiiii-iiiiiii-iiiiive” launching into a cathartic guitar solo is an early lock for Most Epic Music Moment of the Year.

Indeed, while Act III remains breathtakingly strong throughout, there is a penultimate wobble. “The Redline” into “A Show of Force” lays out a martial instrumental, centred around a fairly uncompelling guitar riff. Narratively speaking, it’s a clear evocation of a march to the final showdown, but it’s a somewhat cliched build-up—no doubt the liner notes that always come with The Protomen’s physical albums will fill in the story that accompanies the track. In that same trite vein is “Light’s Last Stand”, which feels like a Jim Steinman (Meat Loaf, Bonnie Tyler) medley, trotting out all the saccharine rock opera tropes—including an utterly incongruous saxophone solo—that The Protomen usually eschew. Perhaps it’s silly to critique a rock opera of all things for such knowing cheesiness, but much of the track nevertheless feels at odds with The Protomen’s general vibe, which is usually rooted in a more moody earnestness.

Still, Act III sticks the landing in style. “The Good Doctor ⋅ Part 2” reprises the requisite Mexican standoff mise-en-scène that always accompanied Wily and Light’s showdowns: epic orchestral swells, a martial tattoo, and that piercingly lamentatory trumpet work. ‘Throw the switch, turn it off, let the world carry on!’ expostulates Raul in the crescendo before a withered shout of ‘just let it all go now!’ brings us into the final moments—the grandiose orchestral finish. Was Albert Wily defeated? Does Thomas Light survive? Is the city saved? No spoilers, but there won’t be a dry eye in the house.

Sure to please superfans and the uninitiated in equal measure, Act III: This City Made Us completes their ambitious rock opera in incredible style, their most musically accomplished work yet, with glistening production and the maturity one would expect the band to have cultivated in these intervening years. The Protomen’s status as a cult act was already assured, but they went above and beyond on this sincere, explosive, and rollickingly fun finale. Not all trilogies end so assuredly, but sometimes they can light up the night.

[Ysidorus Fuchs]

Twaalf tracks gaan door naar de volgende ronde.

[Ysidorus Fuchs]

Negentien lijstjes van februari zijn klaar om aan een nader onderzoek te worden onderworpen! Benieuwd hoeveel er zal beklijven... Oh, en er is ook al een maartlijstje zie ik net.

[Oofje]

Ik heb 20 platen die ik uit moet checken en dit jaar uitgebracht zijn of worden uitgebracht. Verwacht nummers van 35 minuten lang en dergelijke

[Ysidorus Fuchs]

We gaan een ronde verder zonder onderstaande/bovenstaande (afhankelijk van je foruminstellingen) afvallers.

[Ysidorus Fuchs]

Bibi Club ~ Amaro [Album: Amaro]

Tags: alternative montréal electro indie pop Montreal

On their third album, Amaro, Bibi Club invites us to brave the dark beasts that shadow us beneath the surface, and to devote ourselves to the healing power of a fierce will to live. It explores the liminal spectrum between the here and beyond, pointing to love, nature, and community as the unifying purpose. The songs draw a map of a world of its own, following the trajectory traced by the Bibis in recent years. Now out of the living room, we dance in a mental space overloaded with grief and fear in their rawest forms. Following the death of two loved ones in the last year, the mantra “I want to love, I want to live” resonates intensely in each melody; if the heart is a place that never dies, we must reach it as quickly as possible.

Inspired by memorable artistic encounters, tours with Blonde Redhead and Circuit des yeux, and a collaboration with Calvin Johnson, Bibi Club now reveals itself through avant-pop and electronic body music with elements of dark wave and neofolk, simultaneously borrowing from baroque sounds with harpsichords, trumpets, and ritual chants to be learned by heart. Supported by a caring community, including saxophonist and activist Dimitri Milbrun (George Sand) and singer-songwriter Helena Deland (A Different Light), Amaro allows Bibi Club to define itself in both intimate and collective terms.

[Ysidorus Fuchs]

Art Bleek ~ Round Trip [Single: Round Trip]

Tags: deep house downtempo electronic electronica house nu-jazz chill out jazz house nu-jazz Los Angeles

Art Bleek's approach and highly developed sense of sound stems from his classical training, which he received from a young age in both France and the USA. An accomplished saxophonist as well as being a producer and DJ, his affection for multiple styles of music shines through in his productions. His eclectic record collection houses jazz, nu-jazz, broken beats, bossanova, world, soul, rare grooves and electronic music.

[Ysidorus Fuchs]

Will Epstein ~ Window Window Window [Album: Yeah, mostly]

Tags: experimental Woodstock

Yeah, mostly is a new collection of 11 songs resembling a collection of short stories traversing a person’s relationship with their dishwasher, a grandparent’s funeral, an ungodly cold night in Los Angeles and other scenes that float in and around the rhythms of daily life. It is the most personal and self-assured album yet from Epstein–also known for his work under the moniker High Water, in addition to collaborations with Nicolás Jaar and Dave Harrington (Darkside)–as well as the most seemingly effortless application of his songwriting talents. His work composing for movies, like his recent IDA Documentary Award-nominated score for Nam June Paik: Moon Is The Oldest TV, bleeds into his recent, more accessible work. “A drop of music on an image can totally change the feeling and texture,” he maintains, and his fluid and uninhibited way of creating a different type of architecture for each scene imbues his songs with whimsy and character.

Yeah, mostly was recorded between July 2024 and January 2025 at Epstein's home studio on an eight track tape machine, with vocals sung live and unedited, and minimal overdubs. The album's warm, homespun quality owes much to the intimate setting of its creation. With Yeah, mostly, Epstein wanted to pay special attention to developing his songwriting craft and finding a voice for his lyric writing that felt more naturally his own. In the months preceding this new material, he found himself listening repeatedly to Lou Reed’s The Blue Mask, drawn to the confidence with which Reed delivered and elevated even the most pedestrian phrase or idea with no signs of self-censorship. Applying a similar abandon to compact and concise songforms, the songs on Yeah, mostly rarely stretch beyond two or three minutes, and Epstein refers to them as “little things that you can put in your pocket.”

These vignettes resemble love notes or tiny capsules of memory, where the romance often comes from the simplicity and absurdity of merely being alive. Every day hangs in a fragile balance, and the only thing grounding is both the certainty of routine and the simple pleasures of building a life with someone. The songs zoom in and out of “different facets of myself that emerge throughout the course of a day,” Epstein says, and he handles them with a playful sense of humor even when the thoughts that come can be complex. There’s a deft touch with this material and a lightness that pervades–they’re about the little things and that’s what allows them to go deep. Epstein muses on how the landscape around him feels self-determined, defined by both the passage of years and the spectre of those who are as much a part of his past as his present.

Despite the record’s insular feel, creativity through collaboration remains at the forefront as the presence of others continues to color Epstein’s life. His vocals may remain front and center throughout Yeah, mostly, but it’s “having community and working with community and that being a really important part of building the music” that has always remained an integral part of Epstein’s artistic career. Co-produced by Michael Coleman (Cassandra Jenkins, Billie Marten)–who also provided additional guitar, synths, bass, and backing vocals–the album also features contributions from Austin Vaughn (Cass McCombs, Luke Temple, Sam Evian) and Kenny Wollesen (Linda Thompson, Laurie Anderson, Tomberlin) on drums/percussion; Kurt Kotheimer (Cassandra Jenkins) and Eli Crews (Tune-Yards) on bass; and Zosha Warpeha (L’Rain, Big Thief) on hardanger d’amore.

[Ysidorus Fuchs]

Harikuyamaku ~ yambaru rain [Album: AMBIENTAL -Music For Oriental Hotel Okinawa Resort & Spa-]

Tags: experimental ambient avant garde drone environmental music modular music-conrete new age okinawa Japan

Excerpt from the notes by harikuyamaku:
This album is based on two sound pieces originally commissioned by Oriental Hotel Okinawa Resort & Spa.
In a lounge area near the hotel entrance, there was an installation by YouRuMaru featuring mirrors and light. The music—composed to accompany the artwork—was designed to play gently in the background for about twenty minutes each during the bright hours of the day and the darker hours of the night. Unlike most hotels in Okinawa that boast ocean views, this one is situated deep in the mountains, so I incorporated many environmental sounds recorded in the forests of Mt. Yonaha on Okinawa Island and Mt. Ōtake on Ishigaki Island.

Profile:
harikuyamaku (Also known as HARIKUYAMAKU DUB) is a dub engineer/producer/DJ based in Tower of Dub in Koza, Okinawa, Japan, who started his musical career as a bassist and released an album "Shima DUB" in 2012 as a return to his roots in Okinawa, after having played rock, hardcore, and wandering abroad many times. In 2018, Harikuyamaku released "Kanasu Remixes" as a split 7-inch vinyl with Makoto Kubota. In 2019, he started production and live performance with singer Yukino Inamine, and released "Oshima Yango Bushi" as a 7-inch vinyl record/distribution. 2020, he released EP "Genshikyo" from chill mountain rec and his first ambient work "Subtropica" from his distribution site Bandcamp. In 2021, he released his 2nd 7inch "SulukillKuichar" and "CHOUJI feat Naneze - No Woman No Cry" on 7-inh vinyl/distribution. ODODO AFROBEAT's DUB-MIX and his DUB collection "Island DUBPLATE for Tokyo 2021" was released. In 2023, he was in charge of music for the TV drama "Fence" produced by WOWOW. Recently, he has been asked to perform live and DJ all over Japan, and has been featured in international media.

[Ysidorus Fuchs]

Heavenly ~ Press Return [Album: Highway To Heavenly]

Tags: alternative indie pop twee pop Oxford

Heavenly formed in 1989 from the ashes of legendary Oxford band Talulah Gosh, in which all four original members – Amelia Fletcher (vocals/guitar), Peter Momtchiloff (guitar), Rob Pursey (bass) and Mathew Fletcher (drums) – had played. Cathy Rogers joined later on keyboards/vocals. They released five singles and three albums on Sarah Records and then, after Sarah ended, a final album on Wiiija/K.

Highway to Heavenly is the 2026 comeback album by the British indie-pop band Heavenly. Released on February 27, 2026, it is the group's first studio project in 30 years, following their 1996 release, Operation Heavenly. The album features original members Amelia Fletcher, Cathy Rogers, Peter Momtchiloff, and Rob Pursey, with new drummer Ian Button replacing the late Mathew Fletcher.

[Ysidorus Fuchs]

Jazz Emu ~ Improving Myself [Single: Improving Myself]

Tags: alternative electronic funk pop r&b London

Jazz Emu is a multi award-winning Sex Therapist with a proven track record. His therapy sessions have been featured on infamous music establishments such as Comic Relief, Sky, and BBC Radio 4. He also produces ground-breakingly sincere musical video content on Youtube.

Jazz Emu is joining the manosphere's self-improvement obsession. For his latest track – Improving Myself – the musical comic embraces the world of protein shakes, microsleeps and fitness tracker apps. But then it takes a turn for the weird when he visits a cyber truck dealership.

[Ysidorus Fuchs]

PVA ~ Send [Album: No More Like This]

Tags: alternative dance electronic electronica indie trip hop electro London

Enigmatic London-based three-piece PVA announce their highly anticipated second album, No More Like This. Set for release on 23rd January, the band enter an ambitious new era. Where their debut Blush was marked by frenetic electro-chaos, the follow-up is intimate, experimental, sensory and emotionally charged. It’s PVA at their most uncompromising – turning raw sensation into sonic alchemy.

[Ysidorus Fuchs]

Ras Kass ~ SET THIS OFF (feat. ONYX) [Album: LEOPARD EATS FACE]

Tags: carson hip hop hip-hop rap west coast hip-hop Brooklyn

Leopard Eats Face is a scathing manifesto that reasserts Ras Kass as one of Hip-Hop’s sharpest pens and most uncompromising voices. Across 16 tracks, he confronts industry hypocrisy, cultural cannibalism, Black radicalism, and the consequences of modern political and internet discourse. The title underscores a “you get what you ask for” reality, layered and intentionally accusatory. Featuring Ab-Soul, Inspectah Deck, Coast Contra, Smif-N-Wesson, ONYX, and more, Ras stands as a fearless truth-teller amid the wreckage.

[Ysidorus Fuchs]

Elori Saxl & Henry Solomon ~ Raindrops [Album: Seeing Is Forgetting]

Tags: electronic experimental ambient avant-garde classical experimental jazz improvisation neoclassical New York

Producer/composer Elori Saxl & prolific saxophonist Henry Solomon present their new debut project as a duo: Seeing Is Forgetting, a torch of minimalism fused with an electronic sensibility informed by soundsystem culture and modern pop production. Across its nine tracks, Solomon’s baritone sax and bass clarinet weave tendrils around Saxl’s heartwrenching Juno 106 harmonies. Recorded over just a few nights in Los Angeles, the album is a testament to their near-telepathic intuition. The performances on the LP embody an ethos of physicality and presence, displaying a honed focus on the minutiae of their interplay, the acoustics of the room, and the gradients of harmonic color between Solomon’s woodwinds and Saxl’s synth.

[Ysidorus Fuchs]

UFO95 ~ Meditation 1 [Album: A Brutalist Dystopian Society - part 2]

Tags: electronic techno Rotterdam

Few things are better in these dark, cold months than to relish in that darkness. That’s why UFO95’s latest release, A Brutalist Dystopian Society Part 2, feels like it’s come at the perfect time. Inspired by concrete and a somewhat asphyxiating feeling that this type of architecture conveys, the producer delivers a brilliant record with an atmosphere “where control and constraint are constantly felt”

I am a techno producer and Live only performer from France. Based in Brussels, and holding a residency at Tresor in Berlin I have release music on labels such as Tresor, Mord, WSNWG and TSSRCT the new label we launched with Hadone.

[Ysidorus Fuchs]

Nieuwe lijstjes zijn doorgenomen en dertig liedjes zitten nu in de voorronde.

[Ysidorus Fuchs]

Er zijn weer enkele best wel leuke liedjes uit de voorronde gedonderd, maar we moeten helaas onverbiddelijk zijn in deze strijd op het scherpst van de snede.

[Ysidorus Fuchs]

Dylan Golden Aycock ~ Light Peeking Through [Album: No New Summers]

Tags: experimental ambient american primitive folk Tulsa

“I made the title track a couple years ago at the beginning of summer. I was thinking about how as you get older you have fewer new experiences. That feeling of excitement for summer fades, after it used to be such a big deal as a kid. Those experiences can only be new and vibrant once. The rest of your life can be spent in nostalgia for them. It’s a sad thought and maybe not true for everyone, but I suspect it is for most. The album is a sort of ode to that Stand by Me vibe of childhood. Which’s a big part of why Cody M Lane’s photograph of the kid skateboarding in cowboy boots hit me so hard. That’s a thing I’ve seen multiple times here in Oklahoma over the years and it cracks me up, but is also just a perfect photo in my opinion. All of his photography really captures my latchkey childhood — wandering around the streets all day with friends, not a care in the world.

“The recording process was spaced out over 12 years. I compiled these songs around a theme although they weren’t recorded with a theme in mind. My songs are usually extracted from longer recorded improvisations, then expanded. Some tunes like ‘Good Directions’ and ‘No New Summers’ were just made in one shot without overdubs. The track ‘Buoyant’ is me playing bowed upright bass and layering some found sounds and field recordings I’ve made over the years. ‘Light Peeking Through’ and ‘Unanchored’ are pedal steel songs. For ‘Unanchored’ I found a way to process my steel to sound like cello and oboe so, after lots of layers of classical instruments, the pedal steel sounds like an orchestra. ‘Light Peeking Through’ is another pedal steel song I recorded several years ago. When I met Gary Peters I asked if he might want to add to it. He gave the tune more low end and put in some very cool chords, adding more dissonance at times. I think it took some of the twee out of the song. A result I liked a lot.”

[Ysidorus Fuchs]

Bruce ~ The Price (fka boursin's boomkat mix) [Album: four more then four]

Tags: electronic Bristol

As Poorly Knit completes it's first arc of the Sun, it's children become four, as a new mini LP is born.

Tending to his crop with dreams of rotation, Bruce sows and scythes four new grains in the porky mill. Of this strange fruit, that further explores his increasingly familiar, hyper-real and sonically surreal work within this current “movement,” he finds his foothold once more in a wild world intensity: fear and fury grappled in equal measure.

What's more, in celebration of the plentiful harvest thus far, (let alone in the interest of seed diversity), Bruce invites four fellow reapers to the farm, offering their recipe from the spoils of the label's yield:

Vancouver based Brit-abroad, dj_2button pulls apart 'The Hand,' with his 'Accidental Mood Mix,' to be reborn as an Odyssian 13 minute stomper: "a fight of emotions, of light and dark; in quiet protest to the incessant fear mongering that slowly numbs us on a global scale." Balearic shores can be seen glimmering in the distance, whilst you are dragged by part man part (very horny) bull into the depths of dancefloor madness.

re:ni proves she is the captain of her own ship as sweet SSRI numbness billows in the sheets and fraying, dubwise halyards tether and tear through her devilishly elegant 'sertraline queen mix'. polyrhythms plotted and percussion plundered; the vocal from 'Golden Water Queen' sounds oh so sweet in the claws of its new Regina.

Hotly titted deep house reviver, fka boursin empties clips with their bubblegum 'boomkat mix,' of 'The Price,' swivelling the original's brash and bawdy bonce, to face a 120 reality we all need to wake up and start sniffing. Sprinkled with trauma on an icing of a bassline more than a little rood, boursin is packing enough cake for the whole function to take home in (dreadful) goody bags (and even allowed compression in the mastering - mental).

Last and indubitably not least, from lying somewhat dormant in the depths of UK dance music legend, none other than flippin' Untold (!?) rises to seal the release with typically megalithic prowess. Proving he was just resting his eyes for a bit, his 'A1 Mirabelle Mix,' weaves and whips an otherworldly beauty, technically tantalising 'Dham's Jam' in adornments both sour and sweet. It's nothing short of a cloaks and daggers banger, primed for the darkest of dancefloor cosmic moments, and serving as a little less-than-warm-reminder that Untold’s presence in the world of dance music is crucial as ever.

Frankly, if you couldn't tell from all the verbose waffle, they have all absolutely smashed and finessed it: they were all approached after expressing a real resonance from the previous releases and it's such an honour to have them and their fantastic visions on the label.

Available digitally or on high quality cassette, the final chapter of the Poorly Knit's first act has been woven whimsically into the fraying folds.

[Ysidorus Fuchs]

Carré ~ Hibiscus (feat. Bbyafricka) [EP: Hibiscus]

Tags: electronic bass dubstep techno ukg London

Carré is firmly woven into the new generation of dubstep artists bringing vitality to 140. Alongside such artists as Beatrice M and EMA, the California native represents a refreshing shift in a genre that has long been heavily male-dominated, opening up a more inclusive space while also pushing a sound whose deep and meditative qualities speak to the dub part of dubstep. In the past two years alone, she’s graced imprints like SPE:C, Bait and Woozy, and has also co-founded Fast at Work, a label extension of the LA-based party of the same name.

Now based in London, Carré makes her second appearance on foundational label Tempa with Hibiscus, an EP of sure-footed, techy dubstep with a title track that’s primed to be a landmark in her burgeoning career. Linking up with bbyafricka is an inspired move, and Carré smooths out a subdued, heads-down bed to complement the LA rapper’s sultry flow. There are pronounced hooks to the track — “you’re the only one I’d break a nail for” — that draw out artful shifts in the production, pointing the way for Carré to build towards more pop-minded production in the future.

There’s a polished sheen to the music across the Hibiscus EP that would lend itself to broader exposure, but that never comes at the expense of the music’s underlying weight. “Ride It Out” is icy and punchy, evoking a little of SpaceGhostPurrp’s steely Southern trap, while “Warm Light” flourishes upwards with luminescent dub techno chords. “X Effect” throws up a different proposition, as Carré guides an initially lean stepper towards a trance-coded arpeggio, making clear that she’s thoroughly comfortable weaving her own stew of influences into the modern dubstep recipe.

[Ysidorus Fuchs]

Jeff Goldsmith ~ Visitor [Album: The Other Tenant (Original Score)]

Tags: electronic darkambient electronica modular post-industrial synth Minneapolis

[Ysidorus Fuchs]

Robert Hood ~ Warfare [EP: Soul Sonic Force]

Tags: detroit techno electronic house techno minimal Detroit

M-Plant's 2026 schedule starts as it means to go on with a blistering, adrenaline-charged Techno EP from the minimal master, Robert Hood.

Robert Hood's minimalist approach helped define Techno's evolution in the early 1990s, as he's continued to push a stripped-down, hypnotic sound. His solo work, marked by precise drum programming and deep grooves, has become hugely influential across modern Techno. While he continues to innovate through projects like Floorplan (with daughter, Lyric) here he returns to his roots on the "Soul Sonic Force EP".

From A-side opener "Insurrection" that blends a tough peak-time Techno sound with sweeping strings, to the reverberating tonal "Black Ops". Then flip to the AA-side for the relentless pared down groove of "Soul Protector", before "Warfare" with its layered precision. This is classic Hood in action; unparalleled.

[Ysidorus Fuchs]

Los Indios ~ Ovni [Album: Los Indios]

Tags: alternative garage beat Madrid

This compilation brings together some of the best recordings by Los Indios from Bolivia, recorded during their brief time as a band, pioneers in blending beat sounds with garage rawness through a repertoire packed with covers of artists such as Deep Purple, Wilson Pickett, Eduardo Araujo (via Los Iracundos)…

It is a joint release with the Peruvian label Rey Record and includes an insert with notes on the band’s history.

[Ysidorus Fuchs]

Invictus ~ Abyssal Earth Eradicates [Album: Nocturnal Visions]

Tags: death metal metal underground death metal underground metal United Kingdom

On January 26th internationally, MEMENTO MORI and ME SACO UN OJO RECORDS will release the highly anticipated second album of Japan's INVICTUS, Nocturnal Visions. MEMENTO MORI will handle the CD version while ME SACO UN OJO will handle the vinyl version.

Conceived in Nagano City back in 2015, INVICTUS' original goal was to play death metal with hints of technicality and a strong thrash metal edge, combining the morbid grooves and abhorrent atmospherics of all archaic death metal gods (Death, Malevolent Creation, Monstrosity, Brutality, Mercyless, Morbid Angel, Gorguts, Obituary, early Decapitated, Sadistic Intent, early Cannibal Corpse) and prioritizing the creation of songs crammed with commanding riffs over any other aspect of their putrescent music. While the target remains the same, the band is now exploring a broader spectrum of riff-oriented death metal in order to aggravate the carnage, exuding a more pernicious aural decay and bludgeoning the listener into submission by some of the meatiest and most vitriolic death metal conceivable.

Witness the Japanese band's second album, Nocturnal Visions. While 2020's The Catacombs of Fear debut album was no slouch, here do INVICTUS exude a unique feel to their music that is enshrouded in the mystique of the past. Guttural guitars throw forth bolts of arcane malignancy while the drumming pulverizes the corporeal body with percussive blows. Vocally, the band sit in their macabre low-register and ensure everything is tied together gloriously for your listening displeasure with a truly crushing production that's as organically lethal as it can get.

Notwithstanding their prodigious execution - leaden yet quick, moving anywhere and everywhere with preternatural ease but never sacrificing an ounce of heaviness - INVICTUS display masterful songwriting across these Nocturnal Visions; trace elements of the aforementioned influences might crop up, but they're minced and mangled to such a degree that the album proudly slots itself among those legends rather than picking at their collective carcass. Authentic as it comes, then, and completed by compelling, era-authentic artwork courtesy of Juanjo Castellano: if you love death metal, true and morbid, then don't miss out on these Japanese masters of putridity!

[Ysidorus Fuchs]

Brian Jackson ~ Racetrack in France (12" Version) (Ft. Josh Milan, J Ivy, Moodymann) [EP Two]

Tags: jazz fusion soul France

The second digital and vinyl EP from Brian Jackson and Masters At Work’s highly anticipated ‘Now More Than Ever’ project is a masterclass in soulful innovation, musical legacy, and collaborative excellence. Carefully curated and expertly packaged for true fans, this release brings together extended versions and rare cuts that were simply too expansive, deep, and powerful to fit on the forthcoming triple LP, but far too important not to be heard.

This Double Pack also includes the title track off the forthcoming album “Now More Than Ever”, a brand-new, never-before-heard track birthed organically during the energy and creative momentum of the recording of the album. It stands as a testament to the spontaneous brilliance of Jackson, MAW and their collaborators, capturing a moment of pure musical inspiration.

The EP features seven tracks, including reimagined and extended versions of classics such as Moonshine, Lady Day and John Coltrane, and Home Is Where the Hatred Is, plus a deep focus on Racetrack in France — first recorded by Brian Jackson and Gil Scott-Heron in 1977 for their landmark Bridges album.

Highlights include:

The MAW (Masters at Work) Live Mix of Moonshine, featuring former Midnight Band/Amnesia Express multi-instrumentalist Carl Cornwell on saxophone.

A sprawling 12" version of Home Is Where the Hatred Is — a jazz-fuelled dancefloor reinterpretation blending political fire with sonic elegance.

The 12” version of Lady Day and John Coltrane, featuring Rahsaan Patterson’s soulful vocal performance set against a lush, cinematic arrangement.

A masterful reworking of Racetrack in France featuring legends Josh Milan, J. Ivy, and Moodymann, each bringing their distinct voice and flavour to this seminal piece. The Instrumental version is also included in this 2 x 12” EP.

Whether you're a long-time devotee of Brian Jackson and Gil Scott-Heron’s influential catalogue, a DJ or collector chasing rare wax, or a new listener drawn to future-leaning soul and jazz, Now More Than Ever EP 2 is an essential release — a bridge between the past, present, and the music still to come.

[Ysidorus Fuchs]

Knats ~ Wor Jackie [Album: A Great Day In Newcastle]

Tags: gearbox records geordie greep jazz jazz fusion knats fusion modern jazz Newcastle Upon Tyne

‘A Great Day in Newcastle’ is musical documentation of the North East working class experience.

Through a storytelling approach with the aid of new member, genius poet, Cooper Robson, the record details dark topics like substance abuse, crime and toxic masculinity through this Geordie Jazz Noir soundscape, whilst still feeling light hearted and playful, fully embodying the classic Northern optimism.

With the introduction of Cooper’s poetry combined with Stan’s developing composition skills, King’s genius orchestration and groove composition and Ferg’s classic melodic sound, the record shows the growth of the bands sound wholeheartedly, returning to their roots of rock, supported by producer and friend Geordie Greep.

Alongside longstanding members Sandro Shar (keys) and George Johnson (tenor sax), the band reaches new highs of intensity throughout the 45 minute epic.

[Oofje]

Ik jat gewoon al deze bands voor mijn top 5 om in te zenden in december

[Ysidorus Fuchs]

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

[Ysidorus Fuchs]

Er zijn nog wat liedjes afgevallen tijdens de afwas!

[Ysidorus Fuchs]

Ko T. C. ~ Your Name [Album: World of Shadow]

Tags: experimental art pop avant-garde experimental pop hyperpop midi nü-fi progressive tandy Los Angeles

Pech voor iKer, liedje is maar 46 seconden lang.

[Ysidorus Fuchs]

Luc Le Luc & e.THC ~ Phone Call [Album: CozyJazz (V/A)]

Tags: hip-hop/rap chill beats jazz hop lofi lofi jazz the jazz hop cafe United Kingdom

[Ysidorus Fuchs]

Fabiano Do Nascimento & Vittor Santos Orchestra ~ Uirapurú [Album: Vila]

Tags: acoustic brazilian music latin acoustic folk guitar jazz latin jazz latine jazz orchestral Los Angeles

Hidden away amidst the bustle of Rio de Janeiro’s Catete neighbourhood is a small alleyway behind a cast iron gate. At its end is Bairro Saavedra, the courtyard surrounded by Neo-colonial houses where Brazilian guitar virtuoso Fabiano do Nascimento spent much of his childhood. Built in 1928, this secluded neighbourhood with its wooden shutters, tiled floors and tranquil benches, provides the inspiration for the title of Do Nascimento’s new album Vila, a collaborative project with a sixteen piece orchestra led by trombonist and arranger Vittor Santos.

Recorded between Rio de Janeiro and Los Angeles, Vila is grand, tender, warm, playful and nostalgic. On this stunningly ambitious work, the delicate compositions led by Nascimento's guitar, which sits central in the mix, are surrounded by Santos’ breathtaking orchestral arrangements which swirl in all directions: complimenting, questioning, responding; in constant conversation.

Like the eclecticism of the architecture Do Nascimento grew up surrounded by, his music straddles many worlds at once. He is known as a Brazilian acoustic guitar master and as such has collaborated with Arthur Verocai, Airto Moreira and Itibere Zwarg. But equally at home in Los Angeles's jazz and experimental music scenes, Do Nascimento is also known for his work with artists like Sam Gendel and Carlos Nino.

Vittor Santos is an arranger and Trombonist who has worked extensively with many of the greats of Brazilian music, including João Donato, Marcos Valle, Toninho Horta, and Elza Soares.

[Ysidorus Fuchs]

La Petite Mort / Little Death ~ L'envie De Plonger (feat. Zooey Agro) [Album: Disco II – Monomyth]

Tags: alternative cologne emo math rock sasscore screamo screamo pop Frankfurt Am Main

La Petite Mort / Little Death move intuitively in the in-between.

With DISCO II, they present their most accessible album to date. One that doesn’t consolidate the coordinates between sasscore, screamopop and math rock, but deliberately fans them out even further.

The second album by the Frankfurt- and Cologne-based band reflects on growing up and out of DIY scenes that now exist mostly as echoes: screamo and hardcore socialisation of the 2000s, sad-boy aesthetics, performative sensitivity, and the friction that arises when queerness meets spaces that present themselves as progressive but often remain narrowly defined.

DISCO II consciously refuses cynicism. Rather than settling scores, the focus is on closeness, community and the fragile connections that live shows can create. Music is not dissected here, but shared: as a moment, a movement, an experience. LPM laugh, stumble, embrace, and carry their fractures openly.

Recorded over ten days with Magnus Wichmann (Blond, Leoniden, Neonschwarz) at Echolux Studios in Leipzig, the production merges no-wave and hyperpop textures with the physical immediacy of post-hardcore and dance-punk. Abstract and tactile elements intertwine; spaces open up only to suddenly collapse again. Drums shift between samples, metal and skins, guitars oscillate between hyper-nervous math rock in the vein of The Blood Brothers, bittersweet The Van Pelt-style slowcore, and crushing skramz walls à la Birds in Row.

The bass alternates between melodic propulsion and counter-movement, providing traction throughout the entire rollercoaster ride. Tracks like “Die Welle war mein Leben” morph freely through breaks and scene changes before resolving into a bittersweet, tinkling coda. Here, singer and guitarist Steffen catapults himself convincingly into the league of At the Drive-In’s Cedric Bixler-Zavala.

“L’Envie de Plonger” opens with a growling bass and a hypnotic single-note flow; a driving beat sets the stage for guest vocalist Zooey Agros (13 Year Cicada), whose casually delivered vocals glide across the track.
Bass, beats, staccato attacks and synths form a dense mesh. Loop and texture magic that even Juana Molina might nod at in approval.“Sirenhead” initially appears as the cutest song alive, built on stumbling lo-fi drums, before drummer Jan steers it into manic territory with the help of rototoms. It’s driving, chaotic, free and tight all at once. Fun!

DISCO II leaves us dizzy with euphoria, inspired by pure joy in playing. DISCO II is not an invitation to analysis, but an invitation to the party. How do we get there? “I will try to say out loud ‘we’ll figure that out.’ With you.”
- text by Sebastian Lessel

[Ysidorus Fuchs]

Twisted Teens ~ I operate [Album: blame the clown]

Tags: punk country folk garage punk punk rock rock and roll rock-n-roll New Orleans

[Ysidorus Fuchs]

Zestien liedjes gaan naar de volgende ronde.