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On point, until it hurts. With a decade-spanning discography, several bands and half of SHXCXCHCXSH this restless creator presents himself. SSTROM embodies the calmly bold. Building a version of the modern disco that nobody asked for. SSTROM is the capsule that shocks and comforts, gathers and spark a new thought. The robust shell acts as a camouflage for the wild and wicked bleakness of the music he produces. If the contemporary club urge could be described as a helmet waiting to brake this experience is what you are after; surprising, uplifting and changing. With 'Avvik' SSTROM carves out 6 somatically clear scenes articulating diverse textures, densities and states of aggregation. The constructions evolves as fractious rhythms strives for another order. Trial and errors bungys droughty, moist, stiff and tensile. Sstrom forces us to flicker in twitches between layers and dimensions beyond the given three.

Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis' first full-on fusion effort and part of his "electric" era, the 1969 landmark claims a Who's Who line-up that sends the music into an ethereal stratosphere.

Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the bevelled compositions melt away all preconceived notions of "jazz," ˜rock," and "ambience," following a loose theory Davis dubbed "New Directions."

Few albums are so delicately textured. And on Mobile Fidelity's meticulous reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch – he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight – is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys.

If the record's only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons – not the least of which is the seemingly telepathic communicative methods employed by the group's members. The line-up is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.

Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis' decorative spirals. And as colour is the primary unit of currency on Davis' Sketches of Spain, laid-back episodes, geometric spaces, and quiet sensuality reign here, with the set's maverick reputation attained via musings on solitude rather than explosions of noise.


Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producer's could attempt – and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.

Celebrated producer Tom Sharkett recently took it upon himself to do his own edit of LCD Soundsystem's ‘Home’, reworking the classic cut from 2010’s This Is Happening purely out of love for the track and LCD Soundsystem.

Sitting quietly online, Sharkett’s edit caught the attention of Flo Dill, Breakfast Show DJ on NTS Radio who played the track twice in one show.

This then caught the attention of the band and it wormed its way into their hearts and never left. As a result they felt there was only one thing they could do - make it official.

Lontra is the new project from Brazilian born, Colombian based producer, and musician, Guille Katorzi. The inspiration and influences for this particular project were drawn from diverse sources, including disco, house, Nigerian boogie & afrobeat.

The instrumentals were and produced in Bogotá with Guille laying down the guitar & bass parts which the songs were built upon. After sending the demos to vocalist Sir Jean (Voilaaa/Sir Jean & NMB Afrobeat Experience), with an invitation to collaborate, he was thrilled to receive a warm response to the songs from Sir Jean and so travelled to France in 2023 to record vocals in the singers' home town of Lyon. Returning to Bogotá, a selection of top brass musicians contributed their blazing horns to the project.

Opening up the EP, "Money, Money" serves up a lively disco beat with percussive Afrobeat highlights, funky guitar licks & Afrobeat inspired horn parts, backed by an irresistibly groovy bassline, setting the scene for Sir Jean's lyrical warning "money cannot buy your soul".

Dropping some of the Afrobeat accents and staying closer to the centre line, "Life Is Movement" is a dancefloor focused track where Katorzi's guitar hook pairs with a restless bassline over which Sir Jean's vocal delivery shines. The flipside begins with a sensuous overture on "Mysterious". A loose Afro-beat & guitar syncopation provides an inviting space for the horn section's refrains and solos. The arrangement allows plenty of room for the listener to become intoxicated by the groove, before Sir Jean opens his heart with the emotive ode to someone we learn of only as..."Mysterious".

Closing out proceedings is a more driving club track. The Lyon & The Hunter... where Sir Jean sings a warning wrapped in metaphors while Lontra throws down a club focused punch that deftly dances between funk, house and afro flavours while the scorching horns set the lot aflame.

The culmination of different inspirations and intonations imbues the project with a vivacity and richness in colour that reflects the multi-cultural assembly of players. Canopy is delighted to welcome the talent of Lontra to the family and are happy to say that this is the first in a number of exciting projects that this artist is serving up

Written & Produced by Daniele Serraino (D/n), and Carlos Pineda (Linear Phase) all rights reserved

"Static Rite" is the result of a sonic dialogue between two producers-D/n and Linear Phase-united by a deep, hypnotic, and physical approach to techno. The EP unfolds within the realm of hypnotic/RAW tech- no, where repetition becomes a perceptual language and sound turns into ritual.

Italian-born, Berlin-based D/n contributes the A-side with "Resonant Shift" and "Blind Motion," two tracks built on dub textures, dark atmospheres, and broken rhythmic structures. His magnetic, slow-burning sound reflects years of evolution from the underground acid scene to immersive techno sets in venues like Tresor and Zur Klappe. D/n's tracks have garnered support from renowned artists.

On the B-side, Spanish producer Linear Phase offers "Mandatory" and "Silent Widow," showcasing his refined modular synthesis and deep sound design. With over 50 releases on labels like Drumcode LTD, Planet Rhythm, and Edit Select, his style fuses ambient depth with raw, hypnotic intensity.

Leeds-based producer Nathan Alexander kicks off KUJE's debut release with PROFETIA EP, a bold four-tracker that drips personality and club-focused energy.
A rising name turning heads from the likes of Blasha & Allatt and NIX, Nathan brings his signature blend of cheeky rhythms and weighty low-end to the table. KUJE001 proudly marks the first chapter of the label's journey, dedicated to unearthing raw, unfiltered talent.
The A-side delivers serious impact: Bound is a propulsive dancefloor tool built for DJs, while Rabbit Hole hits hard with distorted effects and a Blawan-esque edge. On the flip, Tracer floats into spacey, bounding territory with a touch of psychedelic energy, already picking up early support. Closing the release is Technical Itch, a UK-rooted banger that ties together the artist's heritage with the label's forward-thinking intent.
Each track carries Nathan's unmistakable character-playful, punchy, and irresistibly 2-steppable. This is techno with a wink, made for sweat-soaked floors and heads-down moments alike.

Stützpunkt announces its latest vinyl release, “Voices From The Void” by Swiss producer The Chronics, a powerful exploration of techno atmospheres. The EP is elevated by a remix from Chlär, further cementing the label’s commitment to forward-thinking, floor-focused sound.

Groove Foolosophy, the new Ep of Micky More & Andy Tee. Incl. 4 tracks, on side A we find "Karma Sutra" and "Da Funk". On Side B: "Deep Into Soul" and "It Ain't Easy". We can say that side A is more soul funk disco vibes while Side B is more classic Deep House. All tracks here are produced with a touch of class where musicians play a fundamental role and create an organic groove. The quality you expect from the italian duo.

After a much acclaimed series opener, the creators of The Hidden Beauty Of Dutch House ’94-’98 are back! They’re bringing us this second batch of eight carefully selected masterpieces from The Netherlands’ blossoming scene of the day.

Just like volume I, its sequel is filled with thought-to-be-lost tracks from Dutch producers whose names you rarely come across. It took another deep and long dive into the "Atlantis" of Dutch House to gather this collection. Most of the original master tapes literally had to be dusted off before playing…

Suitable for any true House afficionado, you’ll find a panoramic range of styles and flavours on this second selection, as there was on the first. A truly representative flashback has to show the versatility and broadness of both the music and culture of the nineties. The days of open minds and dancing-like-nobody’s-watching. When we went to the club to discover new sounds and dimensions. The time when this attractively fresh music was the hero of every successful night.

Lovingly compiled for your listening pleasure. So, sit back, open up, and surrender to the beauty of Dutch House!

This is the story of a Telegram audio message suddenly poured and cast into the materiality of a vinyl record. Is it a correspondence archive? Above all, it’s a field recording, a moment bit torn from everydayness, where Androo found some fresh air in a church in Sardinia and started playing the organ. Next we’re in Naples, and Androo is playing a tiny instrument as we can hear sporadically the street hum in the background. This was all recorded on an already too old iPhone during the summer of 2023. As always, oscillating between heterogeneous elements, the album builds bridges between a radical and strangely romantic musique concrète (so slightly reminiscent of particular Luc Ferrari pieces), drawing inspirations from American minimalism, as well as traditional Sardinian music (which Androo listens to every morning), and a special kind of gospel-modal-jazz. Mostly, this is a very personal album (or its script), the fragments of a journey with no makeup. This is what it is.

credits
produced, played, recorded, mixed by androo

Singaporean label Darker Than Wax brings us to Texas with a fresh 12” from Houston-born producer Oye Manny. Following his release on Salon Recordings, Oye Manny has carved out a lane defined by deep rhythms, Latin roots, and pure authenticity, an ethos he continues to distill into sound on his new record Living Water. Drawing on his Colombian roots and keenly focused on what makes dancers move, Manny puts percussion at the forefront on Living Water – from the chord driven house stompers ‘Malta Sip’ and ‘Palmira’ on the A side, to the darker club tones of ‘Visaje’ and the slick musicality of ‘Youthful Expression ‘ on the flip, drums play a starring role. Completing the package is a remix from Singapore-based producer and Darker Than Wax core member Dexter Colt, providing a deeper, Chicago-inspired take on ‘Malta Sip’.

It began with a cassette tape entitled 'Pleased To Meet You' gifted to us at Sessa's Fasching, Stockholm show by Yann Dardenne, the multi-tasking tour manager/sound engineer/producer/merch stall worker and co-owner of Seloki Records. On first listen, the selection of underground Brazilian artists from the Seloki's roster was superb, however, one song stopped us in our tracks. The hauntingly captivating ' GOSTO MEIO DOCE' by Nina Maia and Francisca Barreto, gave us a taste of Nina's ethereal, addictive voice and we knew we needed to hear more. Born in Minas Gerais but now based in Sao Paulo, the 22-year-old has already packed a lot into a relatively short space of time. The singer, songwriter, instrumentalist, and producer, has already collaborated on the soundtracks for six Brazilian feature films, including a track with the vocalists Maria Gadu, Iza, and Liniker. But things enter a new exciting era with this, her remarkable debut album entitled 'INTEIRA', which translates to English as 'whole'.

As much inspired by Billie Eilish and Rosalia, as Milton Nascimento and Toninho Horta and not sounding like other records coming out of Brazil, 'INTEIRA' is unique. Though rich in its Brazilian heritage, inspired by samba cancao, MPB, and the Clube da Esquina movement, it also channels influence from bands such as Portishead and Massive Attack, mixed with jazz, contemporary leftfield and electronic pop artists. Musically, it is not easily pigeonholed, with beautiful, well-crafted songs, sophisticated arrangements, eloquent vocals and intimate lyrics. Each track reflects different moments and stories from Nina's youth but with dialogues, feelings, and questions that span generations and resonate with all. This ambitious debut album is Nina's vision and sound, expressing herself without constraints and making music with her friends. Featuring a lineup of Thalin (drums), Valentim Frateschi (bass), Francisca Barreto (cello and vocals), Thales Hashiguti (viola and violin), Yann Dardenne (acoustic guitar and co-producer) and Nina on piano, Rhodes, guitar and production. The album led to a nomination in Paulista Association of Art Critics (APCA) award's 'Breakthrough Artist' category, who also listed 'INTEIRA' as one of the 50 best albums of 2024.

It also received support from Bandcamp Weekly and Jamz Supernova on BBC 6 Music. Released digitally by Seloki Records in Brazil in 2024, Mr Bongo in partnership with Seloki Records now present this new, deluxe worldwide edition that includes four additional songs. These comprise the brand-new exquisite 'MANHA', as well as an original twist on Vinicius de Moraes' classic 'Serenata Do Adeus'. Elsewhere you'll find a live recording showcasing Nina's remarkable energy on stage courtesy of 'DE DENTRO' and 'GOSTO MEIO DOCE' with the amazing musician/vocalist Francisca Barreto, where our whole story began. Here at Mr Bongo, we are honoured to release music by such a remarkable new talent - one whose musical trajectory is most certainly about to soar.

Today, Manchester’s Maruja announce their highly anticipated debut album ‘Pain to Power’, due for release by Music For Nations on 12th September and produced by Samuel W Jones, who the band worked with on their three EPs to date. The extraordinary eight track collection not only confirms the four piece as a creative force of nature but finds a deeply emotional and empathetic band concerned primarily with the power of community, both in the nuclear sense, as a tight knit creative unit, but also as a wider force for social and political change in the age of the individual.

Maruja believe passionately in the ability of art to empower, heal and unite and have created a body of work with ‘Pain to Power’ that they hope will offer both strength and an emotional release to anyone who is struggling with the impact of years of political turmoil and social isolation.

kito jempere, a producer hailing from saint petersburg and now based in dubai, makes his debut on mule musiq with a high-quality four-track ep.
opening with an aptly titled, anthemic dancefloor track—bouncy breakbeat house layered with spoken word and an uplifting, lyrical piano riff—the record moves into “infinite az-ure,” a jazzy deep house cut reminiscent of late-’90s releases on guidance. “mid 0000s” follows with an abstract deep house vibe that recalls the work of isolée, before closing with “teaser,” a beautifully melancholic blend of piano and vocals, perfect for the end of the night.

Fruits Records proudly presents ‘Let Peace Reign’, the brand new instrumental single by Nat Birchall and The 18th Parallel.

Hailed by Gilles Peterson as ‘one of the best musicians in the UK’, jazz and reggae saxophonist Nat Birchall has grabbed listeners attention with his soulful sound and inspirational spiritual music. He has produced some of the finest vintage roots reggae instrumentals including majestic works with Vin Gordon and Al Breadwinners. His ethereal tone reminiscent of reggae giant Cedric ‘Im’ Brooks (Light of Saba) is the perfect match to The 18th Parallel raw and heavy sound.

Recorded fully live on 2-inch tape by the Swiss rhythm section, the session captures the raw, authentic energy of roots reggae at its purest. With warm, organic tones and a timeless feel, ‘Let Peace Reign’ not only pays homage to the greatest days of instrumental music and to the golden era of reggae recording, but also send a much needed message to a troubled world: Let Peace Reign. Pressed with care on 7-inch vinyl, with a super heavy dub mix on B side by French duet Dub Shepherds, this release is more than just a record – it’s a tribute to the culture of collecting records, preserving sound, and sharing vibes across generations.

Eclectic and genre-fluid, Whoosh is a masterful showcase of the expansive musical sensibilities of Vik Srinivasan—known as Vikmatic—and the finely tuned ear of co-producer and TSoNYC label head Danilo Braca. Drawing from a rich tapestry of sonic influences, the EP unfolds with effortless depth and elegance. Its title track opens with wistful spaciousness, unhurried in its approach, as layers of ambient texture float into view. Around the three-minute mark, a freeform trumpet—played by multi- instrumentalist, producer, and songwriter COULOU—enters like a gentle breeze, pairing seamlessly with a humblingly gorgeous vocal from indie pop artist Rén with the Mane. Her voice, set cool and weightless amid the atmospheric array, anchors the track in emotional resonance

In contrast, “Dream” quickens the pulse. It opens with a crisp hand drum before giving way to a forceful Italo rhythm and driving synths. The return of the meandering trumpet offers a warm counterbalance—a humanizing thread weaving through the escalating sonic tension. 


“Jungle” follows with a playful sense of experimentation, placing the trumpet at center stage. It’s accompanied by a whimsically off-kilter selection of textures: crisp, deliberate percussion; a brooding electric guitar line courtesy of the ever-versatile Alvise Marino (aka Al-Veez); lush retro synth glides; and

The EP closes with “We Should Go,” where Rén with the Mane returns in more earthly form. Her vocals drift in and out between acid burbles and Italo arpeggiations, both intoxicating and charged with quiet urgency. It’s a fitting finale—elevated yet grounded, dreamy yet directive. 


Across four free-flowing yet meticulously crafted tracks, Whoosh captures the essence of collaboration and creative freedom. It’s a transportive listen that resists genre boundaries, inviting the listener to drift, dance, and discover within its lush and unpredictable terrain.

Words by Mira Fahrenheit

Linval Thompson is one of the great roots vocalists that ruled the dancehalls of Jamaica in the mid 1970’s. His distinctive vocal style and roots lyrics, that spoke of the struggles that faced the Rastas, hit a chord with the people of Jamaica, and provided a string of hits for him in the dancehalls. This in turn, would set a tone that he carried on through his musical career and future production work. Linval Thompson (b.1959, Kingston, Jamaica) was actually raised in Queens, New York. He cut his first record there at the age of 16 ‘No Other Woman’ with future Third World singer Bunny Ruggs. He also cut a couple of tracks for a US producer E Martin ‘’Jah Jah Deh’and ‘Weeping and Wailing’. In 1974 he returned to Jamaica and cut ‘Mama Say’ and a version of D Brown’s ‘Westbound Train’ for producer K Hobson which got Thompson noticed by producer Phil Pratt. Pratt took him to Lee Perry’s Black Ark studio’s where he cut ‘Kung Fu Man’. Thompson’s friendship with fellow singer Johnny Clarke led to a meeting with producer Bunny Lee. His first track cut for Lee was ‘Don’t Cut Off Your Dreadlocks’ and it became a big hit in Jamaica. Bunny Lee was the producer of the moment and Linval added to his long list of hit singles with ‘A Big Big Girl’, ‘Cool Down Your Temper’, ‘Ride On Dreadlocks’ and the title of this compilation ‘Jah Jah Is The Conqueror’. He seemed to hit a musical height working for Bunny Lee (who as he has done with many of his singers) encouraged Linval into production work himself. Which has led to another chapter in Linval’s story. Working with an array of artists including, Freddie McGregor, Johnny Osbourne, Barry Brown, Rod Taylor and many more. But it is his singing career that we focus on here and that great period in reggaes history the mid 1970’s where Linval delivered a string of classic hits that we have compiled for you here. Hope you enjoy the set.

Toronto/Berlin producer and Big Trouble Records founder Andre Zimmer has emerged as one of house and techno’s hottest commodities, fresh off his scorching fabric Records release with Carlita. Now he joins DJ Tennis’s Life and Death label with the announcement of his 4-track Kwon Anthem EP, out September 19.

Arriving alongside the announcement is the lead single “Hypnotizing” — a piano-driven, ethereal cut that highlights Zimmer’s ability to channel rave nostalgia into shimmering, emotive house designed for peak dance floor moments.

The EP also features the standout track “That’s Right”, which has already been making waves across clubs worldwide. With early support from Peggy Gou, Jennifer Loveless, Massimilliano Pagliara, Alinka, Jorkes, Luigi Di Venere, and more — including rotations at Panorama Bar and viral fan videos from Bella and beyond — it’s quickly becoming one of Zimmer’s most in-demand productions.

Across Kwon Anthem EP, Zimmer balances hypnotic, orchestral breakdowns, progressive trance textures built from Roland SRX patches (“Kwon’s Anthem”), and a cosmic, downtempo detour structured around a 707 jam (“Hours”). It’s his most ambitious and wide-ranging statement yet — and a fitting debut on Life and Death.

With support from underground tastemakers and appearances at clubs and parties worldwide, Zimmer’s DJ sets reaffirm a classic but forward-thinking approach to house music.

Ketapasando presents “Mesetarian Breaks” (KTPV004): a high-speed journey through breakbeat terrains Madrid-based label Ketapasando returns with its fourth vinyl release: “Mesetarian Breaks” (KTPV004) — a 12” compilation that celebrates the raw energy and diversity of breakbeat in all its forms.

Four artists, four unique visions, one common goal: break the dancefloor. Pressed on 180g vinyl with full-color artwork and a protective silicone sleeve, this EP delivers an explosive blend of jungle, technoid, ragga-core, and futuristic breaks.

Each track showcases a distinct approach to rhythm, crafted by key figures from both the Spanish underground and the broader European scene.

THE ARTISTS:

FFF, a cornerstone of the European jungle scene, brings a ragga-core blast soaked in rave heritage and hardcore attitude.

Berman, co-founder of Madrid’s Bellota Dubs, delivers a rolling cut built on tight vocal samples and chopped-up 160 bpm energy.

Jailed Jamie, known for his audiovisual storytelling, blends jazzy melodies with sharp breaks for a cinematic yet floor-ready experience.

Tarek, core Ketapasando producer, makes his vinyl debut with a deep, heavyhitting technoid track forged in the fires of the 174 bpm realm.

“Mesetarian Breaks” is more than a record — it's a love letter to broken rhythms, a sonic dive into the Iberian underground, and a statement of intent from a label fully committed to the breakbeat spectrum. Snippets available in this email.

2025 Repress

For the second installment of its renewed imprint, Fuse's own in-house resident and one of Belgium's proudest exports Phara takes the reins for a deep dive into thick percussion and vibrant club landscapes. 'The Wall' puts current dance music under a microscope with a brush of truly vintage spontaneity, merging techno's confrontational nature with house's harmonic genuineness. This duality is reflected through Phara's own relationship with his home base Fuse and the complementary contrast between its two rooms.

The EP's title track serves as a hypnotic introduction for the A1, imposing a bass-heavy rhythm and a persistently oscillating synthline. A dense production full of energy, 'The Wall' inspires intrigue throughout its duration, revealing its true intentions through a capable sound system. Sharing the first side of the press is 'Blaes 208', a name that Fuse club goers will likely recognise, that guides the listener from effect into embrace. With lush keys echoing past a comforting drum sequence fit for a close-eyed dancefloor experience, Phara's impactful tendencies meet his affinity for the melodic through a blissful six minutes of crowd to selector connection. Switching sides, a return to a cold cold aesthetic is quickly apparent through 'Hush Now 206'. A pummeling, saturated bass competes with a kick of equal effect, rolling through a storm of metallic stabs. Mastering the message of urgency, Phara presents a lightshow of resonating percussive work, defining his space just to cut right through it. To close out with a lasting impression, the producer mutes the acoustics of his work through razor-sharp sound design dotting along playful snares, a duality reminiscent of the dynamism of Detroit electro. 'Motion Steps', referring to the stairs that ascend from Fuse's main room to its more left-field counterpart, captures the atmosphere of the almost shimmering music that can be expected to be played there; a place where Phara and many others have been known to explore the extremities of their music. He swiftly throws in melodic elements to recontextualize an otherwise pressing composition, and after three chapters of considerable weight, he concludes his record with infectious groove that flaunts technical ability.