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Styles such as kuduro and gqom have established themselves as a counterpole to the eurocentric dominance of four-to-the-floor. But when Príncipe Discos began its work in 2011, supporting marginal music still amounted to pioneering labour. In its early days, the label was met with a fair degree of scepticism.
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S. Fidelity does not create tracks for a particular purpose, but spaces for particular states. On I Guess I’ll Never Learn, he condenses R’n’B, soul and hip-hop into a hovering intimacy. Fittingly, he has also recorded an exclusive mix for us.
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Mitski captures emotion with a directness that lodges itself immediately in the mind. On Nothing’s About to Happen to Me, too, she turns overwhelm, withdrawal and self-doubt into vivid images. That is probably where her particular appeal to a younger audience lies.
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Record Store Day. More than 700 releases. Which means separating the wheat from the chaff. Fortunately, there is an unbending music editorial team willing to take on exactly that task. Here are the highlights of RSD 2026: otherworldly, chaotic, forceful – and full of rarities.
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Raw post-punk drowned out delicate dream-pop. At Berlin’s Silent Green, Maria Somerville presented a darker version of her musical palette – shaped by the same atmospheric ideas, but rendered here as a palpably physical form of envelopment.
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Elisabeth Klinck unlearns to remember differently. The Brussels electroacoustic scene has found an idiosyncratic voice in her. Her music consists of body, breath and space. Composition as a space in which the mind falls silent. She has selected ten records that currently accompany her.
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