Search:2 mad

Six years down the line we are welcoming back a very close friend of the label Aljaz who goes by the moniker Eliaz. The Slovenian resident of the infamous festival Butik is landing another EP on the label that is filled to the brim with roaring of his machines whom he controls like he controls his body and their sequences all combined + perfectly implemented with a lot of acid in the best possible way. As a society we have a mission in this world to connect to each other, that’s why this world is filled with so many opportunities and extra curriculum activities. This one is made to connect us with the extraterrestrial societies and it’s done so impeccably. Most likely after playing this record you will establish a contact with the other worlds. Do not panic, it is absolutely fine. How you will act after all this will depend on you, but sincere suggestion is to crank up the volume to the highest levels possible for our far away brothers and sisters to feel the rhythms loud & clear.

For its third release, Honey Trap turns toward the instinctual. Ritmo Animal is a record driven by body memory, where rhythm becomes language and movement becomes communion. Vancouver- and Colombian-rooted duo Dosis weave club music with lived histories, drawing from punk ethics, soundsystem culture, and a deep commitment to collaboration.

Formed by Daniel Rincon and Zachary Treble, Dosis operates in the space between structure and looseness, where grooves feel hand-built and edges remain intentionally rough. Across five tracks, Ritmo Animal resists clean categorization. House mutates into dub-soaked psychedelia, vocals surface and dissolve, and percussion swings between discipline and abandon.

The A-side opens with “I Want To Be Your Dog”, a low-slung, hypnotic burner featuring Alien D, setting the tone through repetition and restraint. The title track, “Ritmo Animal,” anchors the record in motion, with saxophone lines from Dave Biddle threading through percussive momentum and grounding the track in something tactile and human.

On the flip, “Malibu” offers a softer pull, with Hannah Acton’s vocals drifting through warm, unhurried rhythm. “Humo,” featuring Hashman Deejay, leans deeper into smoke and sway, while closer “Sancocho” stretches time entirely, favoring communal simmer over destination.

Ritmo Animal is music made for shared space. It is not concerned with polish or purity, but with connection, between scenes, cities, and bodies on a floor. Another chapter in Honey Trap’s ongoing exploration of intimacy, pleasure, and rhythm as refuge.

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

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

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

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

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

Following the first chapter of Connessioni, Danza Tribale unveils Connessioni II, the final movement in Tamburi Neri’s two-part sonic exploration of connection, vibration, and ritual.
If the first EP traced the invisible threads between body, city, and earth, Connessioni II is where those threads tighten and transform. It is no longer the search-it is the meeting point. Nature, metropolis, and digital spirituality no longer call to one another from afar; they converge..

LA underground hubs DISCOS XXX aka DX3 and Elbow Grease join forces to proudly present Point Winona Sound Library Vol 1 — featuring 20 distinct artists from the inspired local dance music scene, working under one unified studio roof in various collaborative
formation at the mighty Los Feliz hilltop palace Point Winona, overseeing the city they collectively represent. These timeless warehouse-wrecking tracks all stand on their own, but the compilation as a whole offers a solid geographic sonic statement with shared rhythmic DNA and bold rooted-futurist production blueprints, guided by the champion efforts of studio executive producers/curators Tavish DJ and Dave Aju.
The BPS stage-setting opener evokes crispy A.M. hours with lush Detroit-meets-Cali feels on “Within Reason” — then studio dream team 5 ATMs bring the dubwise floor vibes up a notch on “A Dub Called Mondo” and Chitown-to-LA legend Scott K lays down an FM bass-laced acid house heater with “Tighter & Tighter”. Nashville-born producer Gryph funks things up on the live space boogie bump of “Winona at Sunset” while SSRI, comprised of Underground Resistance’s DJ Dex/Nomadico, Aju, and Black Lodge’s fearless leader Kosmik, drop fierce robo-Italo bliss on “Omnicallora”. Things take a further psychedelic twist with the PW edit of Scotty Coats’ sublime midtempo tripper “Be Work Zone Alert”, then Omakase’s own Gold Code alongside longtime rave brother Aju drop the nasty J Saul-salute “Yolo Jungle”, and Warehouse Preservation Society aka Tavish DJ & TK fully detonate floors inna raucous Wicked Crew stylee with “Data Bliss”. Undisputed LA scene queen Stacy Christine arrives with her shining debut “Smart Move”, where she and Aju trade sly vox lines of party advice over a bouncing tech banger for the ages, before the “Obsesion Romantica (Free Winona Dub)” sees Sisters Of Sound aka Maddy Maia and Tottie's, OG track getting stripped back and fired up to acidic peak time form. Then Dave Aju and SF homies Moniker aka EO & Kenneth Scott unleash wild uptempo melodic bruk heaven on “Chuy Luis”, and Vastir sends us home with the stratospheric drum n bass closer "Turnpike"

Vakula flips the script with U’re Made Of Sound – cosmic textures meet raw basement energy straight from Konotop. Deep beats, hypnotic layers, every groove tells a story. Elevate your set, ride the soundwave.

2026 Repress Favorite Recordings proudly presents Voiciii, the 3rd and new album by Voilaaa, an immersive dip into its Afro-Disco universe spread across 14 tracks. Needless to say you’ll find in this new LP all the ingredients that made him famous: strong dancefloor-friendly festive bangers, irresistible funky arrangements and an undeniable sense of humor and irony.

Bruno “Patchworks” Hovart, behind Voilaaa, is as often surrounded by amazing vocal featurings from previous LP’s regulars (Pat Kalla, Lass) but also new voices you may already have heard on its recent EPs (David Walters, Rama Traore, Ayuune Suule), as well as the saxophonist Boris Pokora. The LP is also an occasion to pay tributes to major artists of the African sound, such as Fela Kuti (on “Water No Get Enemy”), or Manu Dibango (“Manu Écoute Ça” and “Tenor Jam For Manu”).

Since the release of Voilaaa’s previous LP’s Des Promesses and On Te L’Avait Dit and their massive international support, the Voilaaa Soundsystem did travel through the world to deliver its message of infectious joy and groove, from Equator to Thailand, from Kazakhstan to the infamous French “Fête de l’Huma”. Now you know: Voilaaa is everywhere and Voiciii (“here it is”) their new album.

Tripmode made a superb start to life with its first EP and is now back with more goodness, this time from family member Daniele Temperilli. We're told he is inspired by 'love, freedom and matured childishness' and he brings some big bass and bouncy minimal house to this 12". 'Beatback Haze' is tight and clipped in its tech funk, then 'Peace What?!' Brings more low-swinging drums and a prying bassline topped with big hits and warped pads. 'BeesTreb' taps into a darker vibe with gritty drum textures and more rapping, farting bass that's perfect for a darkened room. Last of all is 'Pachyderm', which bounces and swings, with macho drums but a sense of lithe energy that keeps you on your toes.

Few artists can make chaos sound this fun. Steel Beans, the self-titled album from the genre-bending one-man band, is a wild ride through rock, funk, jazz, and whatever else happens to cross the radar of Everett, WA’s Jeremy DeBardi — the multi-instrumentalist and mad scientist behind it all. Known for his jaw-dropping live performances where he sings, shreds guitar, and drums at the same time, Steel Beans brings that same unfiltered energy to tape, capturing the spirit of a garage jam gone cosmic.

The album moves effortlessly from fuzzed-out psych-rock to greasy funk breakdowns and tongue-in-cheek lyricism, mixing humor and virtuosity in equal measure. It’s unpredictable, unpolished in all the right ways, and full of personality — the kind of record that feels alive because it’s never trying to be perfect. Steel Beans isn’t just an album; it’s a reminder that music can still be weird, raw, fun, and ridiculously entertaining. Whether you’re hearing him for the first time or you’ve already seen the madness live, this album is the perfect introduction to the wild world of Steel Beans.

Urban Skies ist das neue Album des finnischen SynthKünstlers Kebu, das am 20. März über ZYX Music erscheint.

Das Album ist der Nachfolger von Urban Dreams (2021) und enthält Kollaborationen mit Johan Becker, Madis und Gattobus sowie eine Vielzahl an Solo-Tracks. Vollständig mit analogen Synthesizern und Drum-Maschinen produziert, verbindet Urban Skies melodisches Songwriting mit kraftvollen, von den 80er-Jahren inspirierten Pop-Metal- Ästhetiken und gilt als Kebus bislang vielfältigstes und ausgereiftestes Album. Die Veröffentlichung wird von einer europaweiten Tour begleitet, die 12 Länder und 32 Konzerte umfasst.

"PRONTO" is the debut album by ARYA, an Italian-Venezuelan artist who grew up in Milan. ARYA arrives with this first full-length album after the EPs
Peace of Mind (2021) and Punto Zero (2023), collaborations (Mahmood, Venerus, Ghemon, Dardust, Calibro35, and many others), and an intense live
activity, which have made her one of the most interesting voices on the Italian neo-soul/R&B scene.
Born from a personal journey of therapy and awareness, "PRONTO" takes shape as a concept album, transforming the emotional investigation into a
coherent and layered musical narrative. The title captures the meaning of the project: "Pronto" is a word that crosses all the languages present on the
album—Italian, English, and Spanish—taking on different meanings ("subito," "presto"), and is also the first word uttered in the intro. A term that introduces the listener to a space of availability, anticipation, and presence.
The entire album was produced by Claudio La Rocca (Sup Nasa), a key figure in building the project's sonic identity. Giuseppe Seccia, Matteo D'Ignazi,
Martina Tedesco, Tiziano Codoro, Stefano De Vivo, and Giulia Gentile also contributed to the album, recording the instrumental parts and contributing
to the arrangements and production of some tracks.
With "PRONTO," ARYA takes the listener on a journey through different levels of her emotional history, until the elevator starts moving again and leaves room for a new possibility of balance.
ARYA (AryaDelgado) is an Italian-Venezuelan artist born in Milan in 1994. Daughter of salsa singer Orlando Watussi, she grew up surrounded by music
and quickly developed a sensibility that blends Latin roots, nu-soul, and contemporary R&B, with a strong focus on the emotional and narrative dimensions of her writing. In 2021, she released her debut EP, Peace of Mind, followed in 2023 by Punto Zero. These releases attracted press attention
and led to collaborations with artists such as Mahmood, Venerus, Ghemon, Dardust, and Calibro35. Over the years, she has consolidated an increasingly recognizable presence, alternating songwriting, solo production, and an intense live schedule in Italy and abroad. In 2024, she accompanied Mahmood on tour and released the single, "Si Potesse Tornare." In 2025, La Noche En Que Te Fuiste and Onda were released, songs that marked the
beginning of a new artistic chapter and anticipated the release of “PRONTO,” her debut album, released in February 2026. An intimate and layered
work, which focuses on vulnerability as a language and confirms ARYA as one of the most personal and aware voices of the new Italian soul scene.

FOLLOWING THE SUCCESS OF “THE OTHER HELL”, GOBLIN ARE BACK FOR RECORD STORE DAY 2026 WITH AN EXCLUSIVE COMPILATION OF SINGLES RELEASED BETWEEN 1975 AND 1979!

For the very first time on vinyl, this compilation gathers together all the singles released by Goblin during their golden era between 1975 and 1979, a journey that begins with the explosive, legendary debut Profondo Rosso, a true chart phenomenon of its time, and reaches the rare Amo Non Amo, passing through unforgettable milestones of Italian film music and progressive rock.

The collection opens with Profondo Rosso and Death Dies, taken from the soundtrack of Dario Argento’s masterpiece that catapulted Goblin to fame, blending dark atmospheres, virtuosity, and a unique sense of cinematic tension. It continues with Roller and Snip Snap, drawn from the instrumental album Roller (1976), a record not tied to any film, yet considered a cult cornerstone of Italian progressive music for its intricate structures and expressive power.

Chi? and Chi? - Parte Seconda follow; two tracks originally composed as the theme for a 1976 RAI television show, which saw Goblin bring their unmistakable sound to a different medium, experimenting within a shorter, punchier format.

Next comes Suspiria with its haunting counterpart Blind Concert, from the soundtrack of Argento’s 1977 horror classic. This remains one of Goblin’s most iconic and unsettling works, where music becomes an active narrative force: hypnotic, percussive, and filled with eerie vocal layers that made it a cornerstone of horror soundtracks worldwide.

From Il Fantastico Viaggio del Bagarozzo Mark (1978) come Un Ragazzo d’Argento and Opera Magnifica, two tracks that highlight the band’s more conceptual and visionary side, a move away from cinema toward a self-contained narrative and progressive experimentation.

The single Yell stands as another late-decade gem. Originally composed as the opening theme for the RAI television series “Sette storie per non dormire” (1978), it captures Goblin’s ability to merge rock energy with electronic pulse, proving their versatility far beyond the horror realm.

The compilation closes with Amo Non Amo and Funky Top, taken from the soundtrack of the 1979 film Amo Non Amo, one of the group’s lesser-known but fascinating cinematic works.

Far more than a simple anthology, The Singles Collection 1975–1979 maps the evolution of Goblin’s sound, from the worldwide success of Profondo Rosso to their most mature and experimental phase. It finally restores to vinyl a body of work that had long been scattered across rare 45 rpm releases, offering fans and collectors a complete, vivid portrait of one of Italy’s most inventive and influential musical ensembles.

Faitiche welcomes a new artist: Christina Kubisch belongs to the first generation of sound artists. Her practice ranges from performances, concerts, to works with video and visual art, but she is best known for her sound installations and electro-acoustic compositions.

TUNING brings together three pieces by Christina Kubisch from different periods of her oeuvre. What they have in common is the way they transform sound phenomena originally considered “non-music” into compositions.

Jan Jelinek: Gaming in Silence (2024) is the most recent work on this compilation. It’s a collage of electromagnetic waves, voice, and abstract sound textures. How did this combination come about?

Christina Kubisch: Gaming was commissioned as a fixed-media composition for the Sound Dome at ZKM Karlsruhe. Since Resonances: The Electromagnetic Bodies Project (2005), I’ve been making recordings in the old and new server rooms at the ZKM and in their permanent collection of historical computer games. Computer games like Asteroids (Atari, 1979) and Poly-Play (VEB Polytechnik, 1986) have specially generated analogue electromagnetic waves that interest me in particular on account of their density, rhythms and textures. I originally studied painting and to me the work of composition often feels like painting an abstract picture. I alter my source material as little as possible, layering and overlapping until a distinctive sound space emerges. In recent pieces, I sometimes combine magnetic waves with field recordings or live instruments. In Gaming it’s my recording of a Chinese song about silence.

JJ: Two persons walking through a street in Madrid (2004) is a recording from your Electrical Walks series. Here we should give a brief explanation of one of your best known works: participants in an Electrical Walk move through public spaces wearing prepared headphones that allow them to receive electromagnetic waves from their surroundings – for example from security gates, ATMs or neon signs. They discover a situation that normally is inaudible to the human ear and they can actively shape it by choreographing their movements. I really admire this piece, not least because there’s no clear dividing line between participants and artist. What exactly do we hear in Two persons walking through a street in Madrid (2004)?

CK: With this early work, I wanted to understand what is heard by people participating in an Electrical Walk in the same place but moving in different ways. The Spanish composer Miguel Alvarez-Fernàndez and I set off from opposite ends of a major shopping street in Madrid, met briefly in the middle, and then continued to the end. We both recorded our walks and I then layered them over one another. You might call it a work of electromagnetic conceptualism.

JJ: Diapason (2009 version) is an installation that plays a composition based on sounds from fifteen tuning forks. This setting is audible in the recording: there’s no dramatic arc, no beginning or end – instead, it recalls a piece of aleatoric music focussing on the decay phase. How did you come to make this work and could you tell us something about your compositional method?

CK: Diapason is part of a series of three pieces that deal with “non-instruments” or instruments that no longer exist: electrical mine bells used to send signals to the workers underground; a historical glass harmonica originally used for medicinal purposes; and tuning forks that were used by doctors to test people’s hearing. All of these methods are no longer in use. The sound of the tuning forks, audible only if held close to the ear, was recorded at the electronic studio at Berlin’s Technical University in such a way that even their decay remained audible. The frequencies range between 64 and 2048 Hertz and they can be adjusted at micro-intervals using small movable weights. The sequence and the duration of the pauses are dictated by chance and were not defined in advance. The 2009 version was created for an installation in the historic Holy Cross Church (Korskirken) in Bergen. Visitors could enter and leave the space at any time, deciding for themselves where and for how long they wished to listen to the sounds played back over an array of small loudspeakers placed on the floor of the apse.

Credits:

Gaming in Silence: commission of the ZKM/Hertzlab, Karlsruhe 2023
elektronic sound processing: Tom Thiel
sound engineering and mixing: Eckehard Güther

Diapason: produced at Elektronisches Studio of TU Berlin
rearrangement: Eckehard Güther

Christina Kubisch, published by Edition Christina Kubisch / Random Musick Publishing

image front: Transitionen 2021 by C. Kubisch, sonagrams of electronic waves (courtesy: Galerie Mazzoli Berlin)
image back: Diapason Tuning Fork, property of Folkmar Hein, Photo: Archiv Christina Kubisch

design by Tim Tetzner
mastered by Giuseppe Ielasi
Thanks to Miguel Álvarez-Fernández, Folkmar Hein, Dominik Kautz and Mario Mazzoli

A new duo and record label based in Madrid lands on the underground techno scene, led by Mike Gómez and José Castillo, the latter known for his aliases Milford and UHF, and also the owner of the electro label Gladio Operations.

Diorama is born with the intention of recovering the soul and essence lost in electronic music, which for some time has become practically homogeneous and predictable. With a timeless, fresh, and warm sound, Diorama produce rhythms close to dub and Detroit techno, mainly influenced by Juan Atkins, UR, and Basic Channel, among others.

This EP, titled Pacific Trak, begins with a nod to the old Scottish school, where they revive a forgotten track by British producer Anthony Scott, adding its imposing main chord to a true sea of melodic textures, bathed in exquisite acid. Spanish techno master Tadeo gives us his vision of Pacific Trak, exploring dub territories that remind us of past pieces released under the incomparable Maurizio label.

The B-side opens with Soul Memories, a manifesto of resistance that vibrates with detuned harmonies and raw bass lines, recalling the origins of Detroit’s primitive sound. The package closes with Polymorphic, a progression of relentless aquatic chords, set among careful and precise minimalist rhythms that oscillate between high-dynamics tech and dub.

Allison and Katie Crutchfield have formed a new band called Snocaps. Their 13-track debut album, released digitally as a surprise, will be made available on April 17, 2026 in vinyl & CD formats. An indie-rock record that recalls Allison"s band Swearin" and Katie"s early records as Waxahatchee, Snocaps was born out of the twin sisters" desire to work on music together as they had in their teens and twenties. Allison and Katie are backed by friends and close collaborators Brad Cook and MJ Lenderman. The album was produced and almost entirely engineered by Cook, and all four musicians play multiple instruments across the record. After a handful of shows at the end of 2025, Snocaps will be put on ice for the foreseeable future, although, as Katie says, "Allison and I have been, in some way, shape or form, doing this together for over 20 years," so it is practically a given that they will work together on music at some point again in the future.

Allison and Katie Crutchfield have formed a new band called Snocaps. Their 13-track debut album, released digitally as a surprise, will be made available on April 17, 2026 in vinyl & CD formats. An indie-rock record that recalls Allison"s band Swearin" and Katie"s early records as Waxahatchee, Snocaps was born out of the twin sisters" desire to work on music together as they had in their teens and twenties. Allison and Katie are backed by friends and close collaborators Brad Cook and MJ Lenderman. The album was produced and almost entirely engineered by Cook, and all four musicians play multiple instruments across the record. After a handful of shows at the end of 2025, Snocaps will be put on ice for the foreseeable future, although, as Katie says, "Allison and I have been, in some way, shape or form, doing this together for over 20 years," so it is practically a given that they will work together on music at some point again in the future.

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

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

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

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

White vinyl. Unmusique is a 17-track project from experimental rapper and producer Lucy Bedroque, released on DeadAir Records.

Out Loud is the debut solo album from Gary Klebe, guitarist/vocalist of the power-pop band Shoes. Formed in Zion, Illinois in 1974, Shoes was influenced by British Invasion groups of the 1960s and artists like Big Star, Bowie, the Move, Todd Rundgren, Nils Lofgren. The band first gained attention by self-releasing records on their own Black Vinyl Records label before signing to Elektra Records. Albums like Black Vinyl Shoes, Present Tense, and Tongue Twister earned them critical acclaim and cult-favorite status, with songs such as “Too Late,” “Tomorrow Night,” and “Your Imagination” becoming genre touchstones. Shoes’ melodic craftsmanship and independent spirit have made them hugely influential, inspiring generations of power-pop and indie rock bands.

Analog Tara’s Life of the Mother is a sonic meditation on the depth, expansiveness, complexity, and power that this phrase holds. This album is made from layers of generative processes and interactions with them. Analog Tara uses a Zillion sequencer and Xone mixer as system guides, and sounds of the ARP 2500, Jealous Heart, Access Virus, Oberheim OB-6, Jomox XBase, Moog DFAM, and more to create a compelling electronic narrative.

Composed, recorded + mixed by Tara Rodgers. Mastered by Piper Payne, assisted by Colby Gustafson, at Neato Mastering in Nashville, TN. Art by Jackie Milad, She Goes Ancient, mixed media, 2019.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Wired was an ephemeral improvisational music project formed by Michael Ranta, Karl-Heinz Böttner, and Mike Lewis. On 28 April 1970, the trio recorded an extended studio session of approximately 140 minutes, in collaboration with Conny Plank, who engineered and mixed the recording in real time, incorporating elements of live electronics. This session was subsequently edited to album length and released in 1974 as part of the Free Improvisation 3LP box set issued by Deutsche Grammophon, alongside recordings by Iskra and New Phonic Art.

Owing to its exploratory electric sound world and Plank’s distinctive spatial production techniques, the Wired recording acquired a degree of underground cult status, particularly among listeners associated with krautrock and psychedelic improvisation.

Shortly after the studio session, Ranta and Böttner travelled to Japan, where they spent approximately six months performing with Karlheinz Stockhausen at Expo ’70 in Osaka. In addition to these activities, they engaged in various independent musical projects and performances.

The present release, sourced from the personal archive of Michael Ranta, documents a live duo performance by Ranta and Böttner, recorded on 27 July 1970 in an outdoor setting in Kyoto (the exact location remains unknown), before an audience of approximately 200 music teachers. The recording exhibits sonic and aesthetic characteristics closely aligned with the previously recorded studio material, retaining the distinctive “Wired” sound while situating it within a live, site-specific context.

Michael Ranta: percussion, voice, home-made instruments, tapes, tape delay, effects Karl-Heinz Böttner: guitar, organ, ocarina, voice, effects

Bunker Intimations II by London-based anti-formalists Index For Working Musik is a sister record to their second album Which Direction Goes The Beam, originally issued as a limited edition cassette with early copies of the vinyl pressing of that record. The 50-minute long collection of recordings was made across an intense three day period in March ‘25 under the duress of a very strict deadline. All tracks were improvised and mixed-down on the spot, a genuine document of a moment in time. Some of us think that it’s better than the record that it was trying to sell. And so here it now stands for wider judgment. Bunker Intimations II is released digitally and on vinyl via Tough Love.

In a most original impetus this album traverses forty years of Italian new wave and singer-songwriter tradition. As in the desert where Infesta’s urge is to walk, we are ambushed by the most intense thermal and sonic difference.

It is from here that this important journey we mustn’t miss begins. It leads us eight thousand meters deep in the blue abyss. Not quite enough to come out the other side and, as a kite, bestow all the heights that I will reach. These depths are nevertheless necessary to adjust our eyes to the darkness that lives within us, as a machine to burst our hearts to which we can’t and won't be accomplices.

Machine against machine. The increasing pressure of the lashes of an incessant current, at times sweet and at times sour, on which all the courage is sung and yet is everywhere dispersed like thoughts on water and melodies to be lost at sea. Darkness persists: you said the world can be lived where all was taken. And it’s a crazy and estranging babbling that, stripped by a current, answers: never never never never, in no direction.

My companions, come back, the breaking point has been found, we sing together. Leaf after leaf the time has come: it is possible to destroy the Machine in a mad blinding light.

Recorded in 1960, The Genius Hits the Road was a conceptual album by the great Ray Charles with all its songs referring to a geographical location. Arranged and conducted by Ralph Burns and featuring key members of Ray's band - including saxophonist David "Fathead" Newman and trumpeter Marcus Belgrave - plus strings, the album includes the perennial hit "Georgia On My Mind" - the Hoagy Carmichael song that Ray Charles made his own.

2xLP Magenta Vinyl. Sororitie, released in 2024, is a 15-track project that showcases Lucy’s signature maximalist production and genre-bending style.

Ya Dig? Records steps forward with the debut of their first wax release.

Labelheads, Serosai, drops two originals packed with rolling grooves, punchy low-end, and that signature Ya Dig? flavor built firmly for the diggaz.

On remix duties, we are so thankful to have two artists that we have mad respect for, Gojnea76 and Cristi Klebleev (ck).

This record balances punch and personality: driving grooves with distinct flavors across each track. It’s tough when it needs to be, deep where it counts, and showcases the sound we’ve been shaping since day one. Dance-floor focused and rooted in love for the culture.

Ya Dig?

mixed by aloisius

mastered by Amir Shoat

tracklist poem written by Isaiah Hull

releasing on digital + physical (Vinyl, CD & Cassette) 9th April 2026. Physical editions will feature a secret unlisted bonus track.

aloisius is a prolific, artist and producer, who recently produced a full length album for Pretty V, which released via life is beautiful records (and sold out at Big Love & Rough Trade). aloisius has also collaborated with artists such as: James Massiah, CTM, Nova Varnrable, DJ Spanish Fly, Cities Aviv, zukovstheworld, Kenichi Iwasa & many others.

‘vernacular’ is the debut studio album by improvisation-based artist, and founder of life beautiful, aloisius.

Built entirely from layers of improvised instrumentation recorded via laptop microphone, using various instruments such as guitar, piano, cello, trumpet, saxophone, drums & voice. vernacular is inspired by the spirit of collective improvisation, and embodies aloisius' instinctual & organic approach to musical composition.

Crafted solely by aloisius (except for track 6, which features a layer of piano by life is beautiful member, friend & collaborator Bianca Scout).

To celebrate the release of the album, a semi-improvised interpretation of the project will be performed live by ‘orchestra379’ (a collective improvisation project curated by aloisius, consisting of a fluctuating lineup that differs on each occasion of performance). Initially in London, then at a select few cities across Europe.

An album you say ?
Oh yes... A bloody overview of the Scuderia scene over the years !!!!

The album Lo-Fi Ghibli, featuring covers of Studio Ghibli songs in a lo-fi hip-hop style, became a worldwide hit and made Grey October Sound known not only in Japan, but overseas too. The series was even discussed on Japanese television, and it has become commonplace to see tourists visiting Japan carrying the 'Lo-Fi Ghibli' LP from record stores to the till. P-VINE is thrilled to announce the release of the highly anticipated sequel, Lo-Fi Ghibli 3. For this new release, Grey October Sound's producers have arranged Ghibli songs that are completely new, even if songs included in the previous volume. The visual imagery, including the album cover, continues to be created by illustrator Rika Nagatani. Playing this record will instantly provide you with a relaxing time of nostalgia for the Ghibli films.

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

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

Dave Wallace is one third of Aquasky, as well as a founding member of Mad Dog and Fugitive. He also released his own EP’s on Moving Shadow and R&S in the 90’s and more recently an EP on TeeBee’s Subtitles label as well as a return to the rave with various Fugitive tracks and remixes on Vinyl Fanatiks over the past few years.

But one track has always alluded a release, there was always something that prevented it from being released. Originally written in 1995, it wasn’t until 1996 that he sent it to LTJ Bukem who went nuts for it, advising Dave to speed it up from its original 156bpm so he could play it. Upon doing so, it was also sent to Fabio and the pair of them played it on Kiss, Radio 1 and various gigs and festivals across the world. Dave was just in discussions to release it when Dillinja made a Bladerunner track using the same samples. In light of that and how the hierarchy worked in the 90’s drum and bass scene, Dave decided to pull the release and the track went back into the DAT draw… for 26 years!

This track has been requested by many to be pressed since Vinyl Fanatiks started as it had such a huge fanbase, so many people loved the track after hearing it either back in the day or on copies of mixes uploaded in recent years to the internet. An extremely desired track! But there was never a B-side to it… until Dave stepped into his Fugitive guise and brought the track up to date with one of the baddest basslines we have released on the label.

Join us as we take you on a ride from the smooth to the ruff!


Its all an expression!

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

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

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

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

The history of house and disco music is full of gospel soul singers creating anthemic bangers for the dance floor. Annie and the Caldwells, a family band from West Point, Mississippi, are the latest to join their ranks.

============================

This collection — featuring remixes from musclecars, Kornél Kovács, Alexis Taylor (of Hot Chip), and disco icons Nicky Siano and Justin Strauss — follows the release of the Caldwells’ wildly acclaimed debut Can’t Lose My (Soul) Luaka Bop, Spring 2025. Hailed as “a masterpiece” by The Guardian (★★★★★), and one of the best albums of the year by The Times, MOJO, UNCUT, and The Economist, Can’t Lose My (Soul) found fans all over the world — like Sir Elton John, who called their album “A great, great record that I insist you go out and buy.”

“I was blown away when I first heard the original version of ‘Wrong’,” says Kornel Kovács, whose remix of “Wrong” appears on this white label. “Deborah’s voice floored me, as well as the background singers. One of the greatest vocal performances I’ve heard, let alone worked with. The result is a club-ready take that’s become a highlight in my recent DJ sets.”

Producers Brandon Weems and Craig Handfield (of musclecars) had a similar experience when they heard the family for the first time: “We quickly fell in love with the groovy bassline and the choir vocals,” said Craig. “We thought it’d be fitting to put our own spin on it, while paying homage to those jive brothers from Tulsa. The uplifting keys paired with the punch of the drums, rounded out with that organ…this one is sure to bring a joyful noise!”

Annie Caldwell and her family have since performed in more than twenty countries on four continents, and recently made a star turn on the UK's preeminent music program Later... with Jools Holland. They’re hitting the road again in 2026. Watch this space.





c Wrong You Dropped a Bomb - Extended Wooden Dance Floor Mix (A Nicky Siano Production) 6:48

Analogue electronics of crispy drum-driven madness on the A-side and an organic dark ambient drone on the B, live-jammed & recorded directly to cassette tape. Cover is DIY-printed with purple flock. Caution is advised!