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Futuristica is 20!
This independent imprint has been producing and releasing music for friends and family for 20 years, so what better way to celebrate than by releasing a 2xLP limited edition 20 track compilation of rare and never before released on vinyl recordings exclusively selected by label manager Simon Skolfield.
This is a beautifully varied selection of deep soul, jazz and hip-hop music from a group of like-minded independent artists creating their own brand of soulful gems. From the early electro soul of Electric Conversation, the multi layered jazz samples of Kira Neris to the lush vocal harmonies of Deborah Jordan, production and remix class from Marc Rapson and the contemporary spiritual soundtracks of The Peter Franks Group.
Over the years there has been generous support from Gilles Peterson, Tony Minvielle, Marc Mac, Patrick Forge, Kev Beadle and so many more worldwide. Artists like As Valet, Emanative, LaNote and Georgie Sweet have gone on to produce fine work with several different independent labels with our artists garnering fine remixes and production work from the likes of DJ Spinna, Nostalgia 77, Kev Bown, Mr Beatnick, Nicolay, Kaidi Tatham, Atjazz, Simbad, K15, Domu, Mecca:83 and so many others. And all of this organically grown since the release of Low Budget Soul, the label’s debut project back in 2006.

The continued adventures of Gibbons on the wheels of steel...

50+ years in the making, Walter's personal take on a classic New York tribal groove edit finally makes it to 10" wax, with one of his special DJ tools on the flip.
Another authentic vintage edit to rock your body.

Lunatic Music returns with its next transmission — welcoming Remmy of Tokyo's underground into the fold.

A record that captures a sound that feels both loose and locked-in — tripped-out, playful, and quietly powerful. Having already been circulating in the right hands from Shibuya to deeper underground pockets across Asia and beyond, these tracks arrive tested and ready.

When The Dawn Breaks sets the tone with a bumping bassline that will get the room feeling much lighter, Ron Zepplin follows with a tougher edge, drawing inspiration that can only be described as Chicago sounds.Flip it and things get real, Underground is this hypnotic number that will command the dancefloor, vocals accompanied by some mind bending synth lines, time for the lunatics to transcend! Finishing off we got some remix treatment from across Timor sea, Fraktal of Indonesia put there spin on things with a stripped back mix.


Cosmic, Dance, and beyond — Another one for the bag.

For decades, dancers, collectors, and fellow selectors have asked Beppe Loda the same question: "Where do you find these records?” The answer remains classified. What we do know is that few figures in dance music have spent as much time digging, discovering, and championing forgotten sounds as the Italian maestro. Long before algorithms, reissue campaigns, and online marketplaces made obscurity accessible, Beppe was uncovering hidden treasures and introducing them to adventurous dance floors. His influence stretches from the legendary Typhoon club to the present day, inspiring generations of DJs, collectors, and cosmic music devotees along the way. Italian Spaghetti Disco Freak Vol. 5 offers four more clues. Drawn from Beppe's vast archive and lovingly retooled for modern-day disco freaks, these edits are a reminder that the best dance floors are built on surprise. Strange records become anthems, forgotten melodies become obsessions, and once again Beppe proves that nobody keeps dancers guessing quite like he does. By now, the evidence is overwhelming. Beppe's well of Italian disco appears to be bottomless. Every time it seems impossible that another forgotten gem could emerge, the maestro somehow uncovers another one. The mystery continues. In Beppe ci fidiamo.

pressure control’s second release comes from the hands of Shift label-head Phase O’Matic.

Following seismic hits on Libertine, Exarde, EYA, New Fair Tracks and Chandelle, our boy wonder crashes into the pressure control spotlight with a deadly five-tracker primed for the floor.

Touching all corners of what we know and love – you can run, but you can’t hide.

Available for pre-order now via One Eye Witness.

All music by Jules Von Daniken
Pressing and distribution by One Eye Witness
Design by Al Robertson
Mastering by Marco Pellegrino

BOY Records was founded by Michael Zosel back in 1987 but it was after a few releases that he started to work with producer Arno Müller. “Brian” by Absurd was the first techno release on the label and a great success in the German techno scene. The cooperation continued with singles by Hypnopedia and New Scene that worked very well and put the name of BOY Records in the charts and clubs all around Germany and abroad. In 1990 another massive success came with the single “Kennedy” by Deep Thought and since there the label did not stop to release hit after hit by lot of names like Time Modem, “O”, Cybex Factor, Sonic System, Moskwa TV, MCL and lot more.

“Timeless Technology 1988-1991” compiles some of the best singles released on label’s most fruitful years. A selection of 24 classic tekkno traxx. Four records with printed inner sleeves packed on a silk-screened transparent Pet-Gag box. Limited edition of 500 copies.

The ultimate soundtrack of the summer is here: Mixatissimo, a 10-track vinyl-only mixed dance compilation bridging nostalgic ’80s sunshine vibes with modern Italo and indie-dance energy.

In Italy, during the 1980s, there was an absolute ritual that marked the beginning of summer: the release of those mixed dance compilations with glittering, futuristic covers. They weren’t just records; they were the very definition of sun, sea and tan lines. It was precisely holding one of those vinyls in his hands – the first one he ever bought – that sparked the musical passion of Italian DJ and producer Hey Cabrera!

Today, that perfect circle closes with Mixatissimo, a project that takes that nostalgic inspiration and transports it straight into the modern era.

Released as an exclusive vinyl-only edition by Universo Segundo and powered by Bordello A Parigi, the compilation packs 10 bangers oscillating between modern Italo, indie-dance and electronics, featuring some of the hottest names on the contemporary scene.

Exclusive special edits have been crafted for every single track, locking the groove into a fixed BPM for each side: 122 BPM on Side A and 125 BPM on Side B. Thanks to smooth transitions featuring drums-only sections, the record flows as a continuous stream for the listener, while simultaneously serving as the perfect tool for DJs who want to mix the individual tracks.

A meticulously calibrated selection, designed as much to make the dancefloor explode late at night as to keep the rhythm high in the most sophisticated listening bars.

The soundtrack to your summer is ready.
What are you waiting for?

How time flies when we’re talking truly classic House Music.

Incredibly it is 35 years since the epic BREAK OF DAWN was released. Track creator Geoff Hibbert had released the much loved A PLACE CALLED BLISS by CYCLONE on Network before coming up with the stunning BOD.
It was decided that a change of artist I/D away from Techno/Bleep influenced Cyclone was required and RHYTHM ON THE LOOSE was born.

Network came up with an initial limited edition 12” press on their One After D label to tie in with the Rave zeitgeist of 1991, to help kickstart a buzz on the track. Once this was ignited the “ suitcase at the door “ gem was properly released on the main Network label.

Acclaimed as an instant classic both in the UK and USA - where Network label mate Kevin Saunderson was an enthusiastic early advocate - BREAK OF DAWN is one of the tracks that truly shaped and defined the House Music explosion. Since then it has matured like fine wine.

To celebrate the 35th anniversary Network invited M.A.S.C (Mark Archer and Shadow Child) to come up with a remix that befits the as good as it gets status of the mighty BOD. They duly obliged..it’s a gem.

First copies of the remix are on a unique ADVANCE DJ COPY label with the track on both a and b sides.

An instant do you know the score collectors item …1991 to 2026 35th Anniversary Remix 12.

Ketiov joins Radio Slave’s Rekids with the ‘I’m Okay’ EP The artist, also known as one half of the Catz ‘n Dogz duo, released on the REK’D sublabel last year.

Ketiov, AKA Voitek Taranczuk, drops the ‘I’m Okay’ EP on Rekids 17th July 2026, following his ‘10 Hours Extravaganza’ EP with Edvvin on sublabel REK’D last year. Opening track ‘La Dopamina’ sees Taranczuk, also known as one half of renowned touring duo Catz 'n Dogz, team up with Equatoguinean Spanish DJ, vocalist, producer, and visual artist Megane Mercury. Their mesmerising voice, paired with ‘La Dopamina’s raw, infectious groove, drives this club tool forward, while ‘Shut Up’ follows with playful, crunchy, glitchy dancefloor energy. On the fl ip, the mind-melting ‘My Version Of A Kickdrum’ builds pressure to distorted intensities before dropping into a hypnotic spoken-word ritual, while ‘Guiri 2026’ closes in a whirlwind of Ketiov’s own chopped-up vocals and muscular, jackin’ drums.

“This EP is all about experimentation and just jamming out. I wanted to keep the arrangements super raw and get back to the roots of music—capturing a specific feeling in the moment so people can experience it on the dancefloor later. Overall, I wanted to make an old-school club EP with different tracks for different parts of the night.” – Ketiov

As part of Catz ‘n Dogz, the Madrid-based Ketiov has shaped global dance fl oors and contributed to his own co-founded Pets Recordings and its off shoot, Step Recordings, alongside labels like Radio Slave’s flAgship Rekids imprint, Defected, and plenty more. He also runs the local queer party CARBS alongside his husband and is a resident at Madrid’s Cafe Berlin and fetish party MyPleasure.

‘Perfect We Are Not’ the latest track from Soulwax, emerges directly from the band’s recent Abbey Road After Hours project - a unique collaboration with the iconic London studio that saw Soulwax take over the building for a series of recording sessions and a landmark live event.

Working across Abbey Road’s historic spaces - from Studio Three, to Studio Two, to Studio One - the band used all three rooms as a continuous creative environment, moving fluidly between them in pursuit of new material. It was within these sessions that ‘Perfect We Are Not’ was written and recorded with their full live band (including three drummers).

The track was cut using the studio’s vast array of analogue equipment before being pressed direct to vinyl and played as the opening moment of their 2manydjs set inside Studio One

Now released as a standalone single, ‘Perfect We Are Not’ carries that immediacy forward — a driving, full-bodied track that reflects the band’s instinctive, performance-led approach in the studio, and will also be released as a limited edition 12” via DEEWEE.

A collection of hit songs released at the time of the TV anime "Dragon Ball", including rare insert songs, has been reissued on clear orange vinyl. This is a truly one-star ball (Yishinchu) disc!

A collection of hit songs that also includes the opening theme song "Makafushigi Adventure!" and ending theme song "Romantic Ageruyo" released in 1986. The "Son Goku Song" is sung by Masako Nozawa, the voice actor for Son Goku, the main character of Dragon Ball, and the "Wolf Hurricane" is sung by Toru Furuya, Yamcha's voice actor, Hyuma Hoshi from Star of the Giants, and Amuro Ray from Mobile Suit Gundam. Contains a total of 10 songs, including "Mutenroushi no Oshie" song by Kohei Miyauchi, the voice actor of Master Roshi! A must-have for Dragon Ball fans!

"Al Festa's musical genius was revealed at the age of 14 when was released ''Starway to Escher'' with the Italian prog rock band Bauhaus (1974). His talent continued with "Miss Manhattan" by Metropole Al Festa, Francesco Puccioni (aka Mike Francis), Claudio Giorgi, Sharon Russell vocalist), his very first disco-music song in 1981. Over his career - a dozen movie soundtracks and hundreds music videos - his involvement in the Italo-Disco scene of the early 1980s is noteworthy. Undoubtedly, his contribution to Kristal (himself Al Festa, with Anne Dattner and Max Liofredi) remains most memorable. "Ete Super" was written with Helene Chauvin, a close friend of the now legendary Jeanne Mas. Helene attempted success as Abilene with "Tout Tout Tout Mais Pas Ca" arranged by another Italo-disco legend, Pierluigi Giombini (1987). Returning to Kristal, what convinced Claudio Casalini - one of Al Festa's best friends - to create this vinyl reissue was not only the memory of this talented artist, who passed away prematurely, but also the track "Fallin'" on the B-side, which embodies all the composer's post-Romanticism, a song rich of emotional and sensitivity, with intimate and often dramatic tones. When you are about to purchase Kristal, keep this excellent B-side in mind. You will not regret the choice."

Deeply rooted in dub techno but reaching far beyond genre routine, weight, atmosphere, restraint and absolute emotional pull. This is dub techno at a truly exceptional level, elegant, deeply absorbing and crafted with the kind of vision that separates strong releases from genuinely unforgettable ones. A massive record with real staying power, and another stunning transmission from Notta Records.

"There are records that move between genres and records that dissolve them into something with no clean name. Tomb is the second kind. Eight tracks from Maltese producer OS 1R 1S, where Detroit electro, dub and braindance are pulled through a sonic elixir, so specific, that the genre tags become a formality. As Digital Empathy's third outing, Tomb, cements the label's 'sinister futurism' ethos in its sharpest form yet. The lore is its own document: a Dantesque collapse, a young Malassian psyche fractured by events on Terra, a landscape where all water has been replaced by coke. An angelic Unipolan risks immortality to pass one message through - 'all axioms are false in this system'. 'RIP' opens with illbient dread of early Actress, 'St. Peter' pulls a Drexciyan chassis under metres of dub, 'False Axioms' time-shifts in a thematic unresolved structure, and 'Misplaced Prayer', a floor-track with enough mid-range distortion that can hallucinate spiral engravings. That OS 1R 1S originates from Malta, home to the oldest standing stone structures on earth, sits exactly right in the record's ritualistic undertones. For heads of the negative space of Stingray, the unnerving melodies of Terrence Dixon, but none of the comfort of knowing exactly where you are."

For the decennial release on Punctuality Warsaw duo W.A.C., aka Private Press step up with their Forever W.A.C EP. Moving away from their more techno-oriented offerings, Forever W.A.C. keeps the tempo and energy of their earlier work but suffuses the mood with warm, glowing trance and prog energy. This is peak-time Punctuality business in its purest form– on time as ever. “No More No Show” comes in hot from the get-go: galloping snare rolls, raved-up breakbeats, uplifting pads, big basslines, acid licks, and the low-end wubs that have become synonymous with the Punctuality sound. One for that point in the night when the dancefloor has melted into sweaty, eyes-closed, hands-up amorphia.

Barely recognisable to its original counterpart, the Rhyw remix strips the A1 down to the bare essentials. Preserving only a few percussive elements, the euphoria of No More No Show is replaced with hazy, cinematic synth washes that drone around a skeletal groove loaded with bassweight, warping the original into a dubbed out psychedelic UK stepper. Shifting to the morning light, “Only Froggerz” is a shimmering roller that ebbs and flows around barreling kick drums, kaleidoscopic synth lines, and vaporous FX, with lustrous chord work driving the emotion dial to 11. Elegant and restrained but relentlessly pummeling, it’s early-morning club gear at its finest.

Rounding out the EP with an essential slice of modern prog, “Close” utilises all the good bits: skippy basslines, filtered squelches, tribal-leaning percussion, and a relentless groove that builds around the subtle interplay between the stabs and the vocals. An epic closer that feels as true to the Punctuality canon as ever.

Some records never really disappear. They wait for the right moment to be rediscovered.

Originally created in 1981 by legendary Italian composer and keyboardist Claudio Simonetti alongside producer Giancarlo Meo, Kasso emerged at a pivotal moment when disco, jazz-funk and electronic music were beginning to collide, and a distinctly Italian dance sound was taking shape.

Built around Simonetti’s unmistakable piano and keyboard work, Kasso developed a significant following across Europe, particularly in France and Italy. The project would produce cult favourites including “Kasso”, “Key West”, “One More Round” and “Walkman”, the latter becoming a major French success, reportedly selling around 500,000 copies.

Kasso’s influence travelled considerably further. Finding its way into the underground clubs of New York and Chicago, with original material receiving the remix and edit treatment from John “Jellybean” Benitez and, later, house music pioneer Frankie Knuckles.

Behind it all is Claudio Simonetti, a musician whose extraordinary career stretches from European disco to some of cinema’s most iconic soundtracks as keyboardist and composer with Goblin, including Deep Red, Suspiria and Dawn of the Dead. Now, more than four decades later, Claudio Simonetti’s Kasso returns.

Unlocking key elements from the original production, including Simonetti’s distinctive piano, the music has been placed in the hands of another European dance music pioneer: Ben Liebrand.

A hugely influential DJ, producer and remixer, Liebrand’s groundbreaking In The Mix radio shows and legendary Grandmix series have helped shape European DJ culture, while his extensive remix catalogue stretches across artists including Bill Withers, Phil Collins, Sting, Salt-N-Pepa and countless others.

His new interpretations of Kasso respect the musicianship and unmistakable character of Simonetti’s original while giving it a fresh, contemporary dancefloor life.

And this is only the beginning.

Kasso launches a series of four new singles, culminating in Kassologie, a definitive collection bringing together the essential Claudio Simonetti recordings alongside new remixes and updates. And all vinyl will be released in a colored-vinyl edition also!

Over forty years after it first emerged from Italy’s extraordinary early-’80s dance scene, Kasso is ready for another round.

This is a remixes album of DJ Funny and Bojvck's album, *Horse To Horse*. Two Korean artists remixed two tracks from the album respectively; the track "Different W/M" was handled by deung, an ambiguous and mysterious artist collective, and features excellent experimental electronic sounds. The B-side was handled by L-like, one of Korea's most talented producers and DJs, and is impressive for its witty percussion and effects. It is a remixes album where you can experience a fresh vibe, as the remixes were performed by artists who play music different from the original tracks.

This 2 x 12-inch vinyl release is a reissue of the original soundtrack to the animated feature Ambient Trip Commander. With a running time of 70 minutes, the soundtrack was first performed as a live synthesizer improvisation by Danny Wolfers (Legowelt) at the film's premiere on May 28, 2022, at EYE Filmmuseum. Wolfers continued to perform the soundtrack live at numerous subsequent screenings before releasing it on cassette on August 4, 2023. The 2026 vinyl reissue presents the compositions in four parts, aiming to put weight on the listening experience as a cohesive album.

Ambient Trip Commander is a hand-drawn and painted feature-length animated film by Danny Wolfers (Legowelt), marking his first feature in the medium. The animation brings Wolfers' paintings to life through frame-by-frame watercolor techniques. The production process spanned eighteen months.
The film follows Samantha Tapferstern, a geeky young woman who works a mundane job at a synthesizer store in a medium-sized European city. She spends her nights playing RPGs and browsing dating apps. One day, she receives a train ticket and a cryptic message from a hacker group inviting her to Lonetal, a secluded village deep in the European Alps. As she boards the night train, a sinister adventure begins to unfold.

Very very very pleased to be able to put this release out, as so many of these Phineus II tracks have been mainstays in my sets for a number of years & it feels good to finally have them out for everyone else to be able to hear and enjoy.

To me, these tunes fully represent the unique sound and style that only he can capture in his music. It was hard to narrow the track pool down to a 4 track EP, so it had to be expanded to an 8 track release, featuring some of my favourite tunes of his, some of which have been unreleased for close to a decade!

Big up to Phineus II for his one of a kind production skills & ideas & to Kid Lib for his archiving of these tunes & for allowing me to release some of these tracks, as some of them were marked for release on his label Green Bay Wax.

Kid Katana Records collaborated with the incredible teams at KOEI TECMO GAMES, Team NINJA, PlatinumGames and Xbox Games Studios to bring you the NINJA GAIDEN 4 OST on physical format for the first time.


This release is composed of three premium editions:


4LP Vinyl Slipcase - Limited Edition (No Repress) - no consignment, 25 units minimum order

Limited “blood splatter” vinyls with a unique “splatter” effect: handmade vinyl effect with transparent red base and white splatter. Each vinyl has a unique pattern that evokes Yakumo & Ryu combat style. This edition will not be repressed.

Handpicked curation of the game music, mastered for this specific vinyl edition. Includes “Infinite Gale“ DLC track as bonus.

Matte 4LP slipcase with a glossy effect on the game’s logo.

4 printed sleeves with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.


4LP Vinyl Slipcase - Standard Edition

4 classic black vinyls.

Handpicked curation of the game music, mastered for this specific vinyl edition. Includes “Infinite Gale“ DLC track as bonus.

Matte 4LP slipcase with a glossy effect on the game’s logo.

4 printed sleeves with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.


3CD Boxset

3 printed CDs with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.

Handpicked curation of the game music, mastered for this specific CD edition. Includes 4 DLC tracks and 4 instrumental versions.

Crystal Jewelbox 3CD Boxset vintage packaging.

4-pages booklet featuring tracklist, credits and concept art from PlatinumGames Sound Team.


Kid Katana Record produced this album with supervision from NINJA GAIDEN4 Sound Team, who composed the original game music.

Kid Katana Records collaborated with the incredible teams at KOEI TECMO GAMES, Team NINJA, PlatinumGames and Xbox Games Studios to bring you the NINJA GAIDEN 4 OST on physical format for the first time.


This release is composed of three premium editions:


4LP Vinyl Slipcase - Limited Edition (No Repress) - no consignment, 25 units minimum order

Limited “blood splatter” vinyls with a unique “splatter” effect: handmade vinyl effect with transparent red base and white splatter. Each vinyl has a unique pattern that evokes Yakumo & Ryu combat style. This edition will not be repressed.

Handpicked curation of the game music, mastered for this specific vinyl edition. Includes “Infinite Gale“ DLC track as bonus.

Matte 4LP slipcase with a glossy effect on the game’s logo.

4 printed sleeves with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.


4LP Vinyl Slipcase - Standard Edition

4 classic black vinyls.

Handpicked curation of the game music, mastered for this specific vinyl edition. Includes “Infinite Gale“ DLC track as bonus.

Matte 4LP slipcase with a glossy effect on the game’s logo.

4 printed sleeves with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.


3CD Boxset

3 printed CDs with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.

Handpicked curation of the game music, mastered for this specific CD edition. Includes 4 DLC tracks and 4 instrumental versions.

Crystal Jewelbox 3CD Boxset vintage packaging.

4-pages booklet featuring tracklist, credits and concept art from PlatinumGames Sound Team.


Kid Katana Record produced this album with supervision from NINJA GAIDEN4 Sound Team, who composed the original game music.

A counterculture movement united by an expansive, experimental and deeply soulful sensibility, Japan’s rebel protest music challenged the status quo and changed the country’s music industry in the process.
The birth of Japan’s nascent acid folk scene was rooted in the messy and invigorating political climate of the late 1960s. It is a story of Dadaists, communists, pharmacists and cult leaders, led by a young generation of upstart students, artists and dreamers hellbent on turning their world upside down.

Born on the campuses of Tokyo, Kyoto and Osaka, and centred around newly formed independent label and left-wing stronghold URC, this uniquely Japanese form of folk expression provided an outlet for musicians who were tired of aping Western sounds and instead found ways to sing in Japanese and integrate traditional forms in new ways.

At the forefront of this movement was Yellow Magic Orchestra’s Haroumi Hosono, a polymath innovator whose band Happy End released the first Japanese language rock album, and whose influence would go on to be felt across Japanese music for decades. Alongside, and informed by the Kansai scene’s Takashi Nishioka and Happy End collaborator Ken Narita, they experimented with cadences and accents of the Japanese language to open the door for others to experiment with their own forms of psychedelic folk too.

Some, like Nishioka, were more inspired by Dadaism than drugs, while others, like Kazuhisa Okubo, would ultimately find work as a chemist, having founded two further folk groups that flirted with varying levels of success. Obstinately uncommercial, relentlessly creative, the music featured on Time Capsule’s Nippon Acid Folk represents a broad church of influences.

Perhaps the wildest addition to this congregation however was Hiroki Tamaki, a classically-trained violinist and committed iconoclast, whose synth-prog odysseys hinted at his obsession with the divine. Subsumed by the teachings of Bhagwan Shree Rajneesh, he penned an album in praise of the infamous religious leader of which two superbly mind-bending tracks are featured on this compilation.

Charting the decade from 1970 to 1980 as the dreams of political and spiritual liberation seeded in the ‘60s turned to dust, Nippon Acid Folk surveys a little explored corner of Japanese music history, but one which ultimately laid the foundations for an independent music industry, launching the careers of Hosono and others in the process.

Nippon Acid Folk 1970-1980 is pressed on 12” vinyl and represents the start of Time Capsule’s deep dive into Japan’s rich history of folk and psychedelic soul music.

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

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

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

Talking about the album, Jhauk has strong opinions:

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

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

Jay-Jay Johanson's 1998 album Tattoo is a captivating blend of trip-hop, jazz, and electronic music, showcasing the Swedish singer-songwriter's unique melancholic sound.

Tattoo features standout tracks like "Quel Dommage" and "Even In The Darkes Hour," which highlight Johanson's smooth vocals and atmospheric production. The album's moody, cinematic style is characterized by its downtempo beats, lush arrangements, and introspective lyrics, creating an immersive listening experience. Tattoo marks Johanson’s evolution as an artist, blending influences from jazz noir and electronic music to craft a sound that's both haunting and elegant.

Fans of trip-hop and experimental pop will find Tattoo a timeless gem, embodying Johanson’s signature emotional depth and musical sophistication. Listening to it will take you on an evocative journey into one of the most distinctive albums of the late '90s.

Tattoo is a limited edition of 500 numbered copies on translucent red coloured vinyl.

Curió Curió came to flight by chance. Two artists, Rio-born, Austria-based singer and actress Luiza Monteiro and German producer Dustin Braun, had separately reached a fork in their journeys. An opportune encounter soon blossomed into an uplifting, heartfelt Brazilian MPB-groove project shaped by psychedelic disco and studio experimentation. In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”.

A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection. Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural? As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves. Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult. Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour. The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.

FWM Entertainment returns with the second installment of the HYMNS series, bringing together an all-star cast of artists and collaborators united by one thing: groove. Blending house, gospel, soul, jazz, Afro-Latin rhythms, and Chicago-inspired jack, HYMNS Vol. 2 features exclusive remixes, previously unreleased gems, and fresh collaborations from Stefan Ringer, Marquinn Mason, DJ Kemit, Moe BPM, Lavahi, Lionbabe, The Pheels, and more. From dancefloor heaters to soulful slow-burners, every track adds a different shade to the collection.

More than a compilation, HYMNS Vol. 2 is a snapshot of the expanding FWM universe —where rhythm, soul, and thoughtful production exist in equal measure. Built for selectors, dancers, and deep listeners alike, this release moves effortlessly between peak-time energy and introspective moments. This is what FWM sounds like. Own What Moves You.

LP! is the fourth studio album from renowned Baltimore rapper JPEGAMFIA. Released on October 22nd, 2021 (his 32nd birthday), the album features guest appearances from DatPiffMafia, Kimbra and Tkay Maidza. It received a great critical response from Pitchfork, NME, and more. The album thematically speaks to JPEG’s struggles within the music industry and staying true to his art, and is entirely self-produced like much of his work. JPEGMAFIA has established himself as one of today’s premiere contemporary and experimental hip hop artists, with over 1.5M monthly listeners on Spotify, and 500K+ Instagram followers. His fanbase is dedicated, excited and engaged with everything JPEGMAFIA does.

Just before dropping the 3rd chapter in his "Threesome" series, Hus Kingpin surprises us with a brand new EP on which he gets out of his comfort zone, rapping on some chill hop beats provided by Wun Two and Made In M, once again proving the versatile and creative MC he's always been! Hand-Numbered pressing limited to 350 copies.

The highly anticipated physical release of “Japanese Amapiano The Album” by audiot909, one of Japan's foremost Amapiano producers and DJs, which
caused a stir upon its digital-only release in 2023!
Ahead of this, the highly catchy vocal track ‘Himitsu’ featuring singer CHIYORI, alongside 'So Shi It' of Dos Monos, and the collaborative track ‘The Out of
African Hypothesis’ with TOMC, will be released as a lead 7-inch single!

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

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

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

Talking about the album, Jhauk has strong opinions:

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

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

Phantom EP is Mihai Pol's second release on Griffith. The title track is one of his most anticipated in years, something he sat on for a long time and finally decided to put out, already a regular in his sets and at Sunwaves. We Almost is our favourite of the four. Stepback and Solo Locales round out the EP, all of them tested on festival floors well before they reached vinyl.

2026 Repress

RAWAX proudly presents the 5th release by Fresh & Low on their own RAWAX TREASURES series!
This time we have the honor to re-issue one of the most wanted records from their entire catalogue.
It's "Wind On Water" which came out on legendary Guidance Recordings in 1996!!!
The new version on RAWAX is re-mastered and will be out in Jnauary. Don't miss!

Back in stock and highly coveted, The Smiths - Best… I is a compilation of some of The Smiths’ biggest tracks including This Charming Man, How Soon Is Now?, Panic and more.

Night is about to fall, the day slowly fades away, and it is this twilight time that Magda Drozd’s latest album inhabits. Divided by Dusk carries the promise of a crepuscular otherworldliness. Inspired by Drozd’s stays in Japan, its rich tradition in ambient and experimental music and a collaboration with Japanese flutist Rai Tateishi, as well as a renewed engagement with her roots in Poland and its folk and ancient history, her work is a form of sonic excavation. Layers of dark-ambient tones intertwine with field recordings, textured violin, and luminous folk motifs, invoking long-gone, unspecified rituals.

The album freely interprets traditional folklore, unleashing those ghosts of past cultures we inherit through music that has been passed down to us. Paired with experimental ambient sonic textures, the album carries a magnificent, wandering, melancholic air. The compositions take on an incantatory dimension, welcoming us into a liminal world—one filled with buried treasures.

Knowledge The Pirate returns with a powerful new statement with his new album, The Round Table, which is now available. The Round Table is produced in its entirety by longtime collaborator and legend Roc Marciano through his Pimpire International imprint.

With roots in New York’s revered ‘90s hip-hop scene, Knowledge The Pirate has steadily built a reputation as one of the genre’s most consistent and authentic voices. A frequent Roc Marci collaborator and key figure in the modern underground renaissance, Knowledge fuses golden-age grit with new wave innovation—bridging generations while staying firmly rooted in New York’s timeless sound.

Since his 2018 debut Flintlock, Knowledge has carved a lane entirely his own through his label Treasure Chest Entertainment, Inc. With five acclaimed projects under his belt, including the recent 5lbs of Pressure, he continues to deliver unfiltered street wisdom and personal reflection in every bar.

The Round Table stands as a testament to his evolution—an uncompromising body of work laced with Roc Marciano’s signature production and Knowledge’s lived-in lyricism. It’s not just a record—it’s a meeting of the minds, an audio council of kings.

“The Round Table is cinematic storytelling, teaching street knowledge, eating etiquette that will save your life” Knowledge professes. “This album is like an Honorable Elijah Muhammad book; How To Eat To Live. Produced fully by the true creator of the new wave sound, Roc Marciano, you are all invited to a seat at The Round Table; and break bread with the true Godfathers of this new wave rap renaissance.”

French ambient composer Franck Zaragoza continues the evolution of his Ocoeur project, moving beyond intricate sound design and beat-driven constructions into expansive, cinematic, beatless terrain.

On his eleventh album, Greener Grass, Clearer Water, Zaragoza deepens the eco-ambient themes introduced on 2024’s Breath, shap-ing a work that feels both intimate and quietly monumental. From its opening moments, a sense of stillness takes hold.

The album unfolds like a series of vignettes, glimpses of an unspoiled world rendered with clarity and restraint. These are not nostalgic visions but speculative ones, reflecting what the natural world might yet become should humanity alter its course.Rather than delivering overt statements, Zaragoza allows the message to resonate through atmosphere and tone.

The result is a subtle but persistent undercurrent, an awareness of fragility and of beauty at risk. In this way, Greener Grass, Clearer Water becomes less a warning than a quiet invocation, drawing attention to what stands to be lost. It is an arresting and finely balanced work, positioning Ocoeur at the intersection of ambient, neoclassical, and cinematic drone with renewed focus and purpose.

The free folk/jazz sound of modern Los Angeles. Featuring a heavy bunch of musicians and vocalists including Moor Mother.

"Fearlessly Accessing the Divine Spirit From Here on Out" is the vinyl debut from pianist, composer, and producer Diego Gaeta. He has previously released projects as Club Diego and with the trio Human Error Club (whose members Mekala Session and Jesse Justice helped produce this record). He has quickly become a fixture in a number of Los Angeles musical environments, working with Lionmilk, The Pan Afrikan Peoples Arkestra, Carlos Niño, Black Nile among others. This album is a synthesis of these many LA environments, and carries chamber, jazz, ambient, and folk influences, ultimately giving it an uncategorizable feel similar to works by Arthur Verocai or David Axelrod.

Gaeta recorded the initial ideas for the album by himself after experiencing a burst of creativity during the lockdown of 2020, in the aftermath of a season of protests in Los Angeles, on a piano at his home in El Sereno. "I was constantly not in tune with myself, always awaiting outrage and tragedy in a very unstable world. However, hitting the streets in support of various ongoing pandemic community actions felt necessary and it marked a point in time that ushered in large societal changes. The weight of that era made me feel allergic to making art at the time. All of these ideas came after that period, expressing my reflections subconsciously. I remember that the ideas came in a short amount of time, and then they developed."

Once he had created the tracks as Ableton sessions, he realized the gravity and context of how he was processing his ideas so he, as he puts it, "felt like taking them outside the hands of midi and into the hands of friends." Gaeta was able to assemble his dream band, which ended up being a 9-piece ensemble, or a nonet. "I felt that at some point I was channeling the geometrical balance of that nonet...it's almost as if I had a sextet and then the three of the sextet that's not the rhythm section were doubled. It's a really dense sextet, that's how I see it."

The recording process began the following summer in June 2021 as the musicians were all adjusting to the newfound dynamic of getting tested for COVID, waiting a few days, and then meeting up to record. "We were eating Indian food, some of us were smoking, it was a nice memory, but I felt a little stressed, because I was the bandleader, and I felt the emotional weight of my music."

The title track and single, featuring vocals by Jimetta Rose, begins with a speech by Gaeta delivered when playing with Black Nile in 2019 at the Levitt Amphitheatre in MacArthur park. Gaeta provides the following account: "Even though it was in 2019, socio-political tensions and issues were at the forefront for me at that time. I wrote a speech that was intended to be critical of the US but it ended up becoming a collage inspired by different women that had messages of freedom that spoke to me the most. I quoted Nina Simone and Georgia Anne Muldrow, it wasn't something that I read but something that she said "kicking it with consciousness and style" that phrase stuck with me, so I used it in that speech. Although critical, the speech had a positive feeling to it, and it was hopeful. I gave that speech while fireworks were going off."

Moor Mother & Zeroh are found on their respective tracks, Memory Screen & Eccolo - both delivering a distinct, commanding vocal performance. Low Leaf colors the track Soft Spot with harp, a beautiful ballad nestled in the center of the album. Other players include Gregory Uhlmann on guitar, Jon Kaye on violin, Devin Daniels on alto saxophone, Caleb Buchanan on bass, Dante Luna on vibraphone, Patrick Behnke on viola, Bryan Baker on tenor saxophone/flute, and Mekala Session on drums.

"I’d like for us tonight to embody a freedom oriented life. Freedom isn’t just a dream, it’s a place we must all arrive at together, as one by one the people of the Earth help each other to be Free of power, hate, and insecurities. Let’s kick it with consciousness and style. Can y’all dig that? YEAH. I can too. So now we’d like to present to you a spiritual transmission I like to call: 'Fearlessly Accessing the Divine Spirit of Freedom From Here On Out.' YEAH" - Diego Gaeta

Originally composed by Collage in 1985, Herzschlag returns in a newly recorded cover version by Berlin-based synth-wave duo Bionda e Lupo. Describing themselves as a “boy/girl band like no other,” Lupo recreated the NDW-electro tune from the ground up using an impressive array of vintage instruments and studio equipment, including classic synths such as a Pro-One, a Roland Juno-60, and a Farfisa Syntorchestra. Bionda’s distinctive voice adds a new emotional depth to Katrin A. Kunze’s lyrics while still remaining true to the original spirit of the song.

Lupo of Bionda e Lupo has long been a devoted fan of Mit den Puppen tanzen, Collage's only release at the time, originally issued as a 12" single in 1984. Despite never managing to acquire an original copy, he considers the record unique within the German NDW landscape thanks to its unmistakable "Bravo-breakdance-meets-synth-pop" character. Indeed, Markus Kammann, Jürgen Grah, and Katrin A. Kunze drew significant inspiration from the electro-funk pioneers of the era, particularly Afrika Bambaataa's iconic Planet Rock. When we approached Bionda e Lupo about re-editing a track from the Collage's Motel d'amour release, they instead proposed recording an entirely new cover version.

Work on the project began in spring 2025 in coordination with Markus Kammann, who, together with Jürgen Grah, originally composed the music. Sadly, Kammann, born in 1958, passed away unexpectedly on October 17, 2025. This release is dedicated to his memory.
The liner notes reveal additional details about Kammann's remarkable life and achievements. He was the founder of the legendary Beatbox club in Wuppertal, which was once recognized as the "Best Club in Europe," and a co-founder of the Groove Attack record store. Groove Attack would later grow into one of the world's most influential music distributors, especially for Hip-Hop.

The 12" release is limited to 200 copies. Pressed on transparent red vinyl with black "smoke" effects, it comes housed in a picture-disc sleeve with an accompanying sticker. As an additional highlight, the record includes a previously unreleased NDW bonus track recorded around 1983 by Collage. It features Katrin A. Kunze as well as Thomas Kohl, the vocalist of Schwarze Bewegung.

- Red transparend vinyl with black smoke
- Housed in a picture-disc sleeve with large sticker
- Released in memory of Markus Kammann (1958-2025)
- Contains A4-sheet with liner notes
- 5 tracks, including the vinyl only bonus track "Hallo E.T.",
- Quality lacquer cut by Manmade Mastering

2026 Repress

Maltese talent Human Safari debuts on Mutual Rytm with jazz-influenced techno EP, 'Culture Shock'.

Human Safari is a key player in his native scene in Malta. He's a resident at Glitch Festival, has played cult spots, and has a dynamic sound that brings jazz improvisation to techno, often featuring live instrumental elements. His music has found its place on top labels like R&S Records, and most of this new EP for SHDW's Mutual Rytm imprint was produced during his Colombian summer tour last year - written and recorded amongst inspiring and unusual settings with just a laptop and headphones.

"This EP represents embracing new beginnings that, though might bring uncertainty and fear, the
light always guides you to where you were always meant to be." - Human Safari.

Opener 'Mouse on Keys' has been a key cut for the label boss across the past year, a unique track that peaks curiosity from dancers to DJs whenever it's played. Its cantering techno rhythm is overlaid with delicate, heartfelt piano keys straight from a smoky jazz bar, making for a great counter to the physical drums. 'Fragments' is a deeply personal track dedicated to the artist's late grandfather. It's a funky, soulful techno roller with blissed-out and sunny chords full of hope.

Next, 'Classique' gets more gritty with loopy drums and bass and glitchy percussion that fizzes with energy, while 'The Labyrinth' features piano motifs recorded in just one take. It brings a dark paranoia in the uneasy, off-grid keys which dart about with nervous energy over the booming low ends. There is just as much intensity and edge to the unresolved keys that loop over the raw drums on 'A Rainy Day in Bogota', before digital bonus cuts 'Dorian' and 'Phantom' bring more jazzed out techno madness with warped keys and expressive elements bringing great invention.

Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world.

Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work.

“I came from nothing”–Berle doesn’t take his rise to global prominence for granted.

Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege.

Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album No Reino Dos Afetos 2 everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco.

Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar.

Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage.

With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.

Tracklist:

A1 “Você Já Sabe Que Eu Te Amo”
(Nyron Higor / Bruno Berle)
Nyron Higor – drums, bass, acoustic guitar, electric piano, synthesizers, vocals
Bruno Berle – piano, vocals
Batata Boy – piano
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A2 “Não Posso Viver Sem Você”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Bruno Berle – drums, bass, synthesizer, vocals
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A3 “A Noite de Estrelas”
(Nyron Higor / Bruno Berle)
Nyron Higor – synthesizers
Bruno Berle – bass, drums, vocals

A4 “Outra Noite”
(Bruno Berle)
Nyron Higor – drums
Bruno Berle – acoustic guitar, bass
Felipe Berle – congas
Lucca Francisco – guitar, vocals

B1 “Amor Inteiro”
(Bruno Berle)
Pedro Lacerda – drums, choir
Nyron Higor – bass, choir
Batata Boy – guitars, organ, electric piano, choir
Nina Maia – choir
Bruno Berle – guitars, acoustic guitar, congas, vocals

B2 “Ideias Mágicas”
(Batata Boy / Bruno Berle)
Heloisa Alvino – trombone
Batata Boy – synthesizers, beats, electric piano, organ, bass
Bruno Berle – synthesizer, vocals

B3 “Vim Dizer”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Thomas Stankiewicz – synthesizer
Nyron Higor – synthesizer
Bruno Berle – acoustic guitar, bass, vocals

B4 “Tô Assim”
(Bruno Berle)
Bruno Berle – acoustic guitars
Batata Boy – synthesizer
Nyron Higor – bass, synthesizer

B5 “Manhã”
(João Menezes / Marvin Silva)
Bruno Berle – acoustic guitar, vocals, congas, shaker
Batata Boy – piano, shaker, electric piano, vibraphone, synthesizers
Nyron Higor – drums, bass

B6 “Sem Fronteiras”
(Bruno Berle)
Filipe Mariz – guitar
Bruno Berle – acoustic guitar, vocals, bass
Jennifer Souza – vocals, acoustic guitar
Rudson França – drums

Credits:

Produced by Bruno Berle and Batata Boy
Mixed and mastered by Bruno Berle, Batata Boy and Felipe Berle

Audio engineering:
Nyron Higor (track 1 – production; track 4 with Felipe Berle)
Joe Osborne (tracks 7 and 9)
Victor Gelling (strings on tracks 1 and 2)
Filipe Mariz (track 10)

Photography: Claudio Virgínio
Design: Minchai

Recorded in:
Maceió, Alagoas, Brazil
Tamandaré, Pernambuco, Brazil
Belo Horizonte, Minas Gerais, Brazil
São Paulo, São Paulo, Brazil
London, England
Cologne, Germany