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'Find a Way' is the new album from Manchester-based pianist, composer, and producer Matt Wilde, released via his own imprint Hello World Records. The album serves as a reminder that creativity should be accessible and the importance of opening yourself to the unexpected as you 'Find a Way' through all endeavours. Digging into improvisation and jazz harmony on the LP, he crafts a sound that bridges jazz, hip hop, and electronic music, adding: "The creative act is not a matter of waiting for the perfect conditions, but of moving gently, insistently, through the imperfect".

Focus and title track "Find a Way" encapsulates this journey of process. Humans are known for adaptation and response when they face challenges, seeking solutions towards a better world. "Find a Way" leans into our instinctive reaction to improvise and reshape, taking the listener on an unexpected journey. The opening loop could as easily feel at home as part of an electronic soundscape, developing into a clock-like effect from the drums. This keeps time, allowing a duet between keys and trumpet to unfold, symbolising the individual, imperfect and non-linear paths we all carve out day to day.

The album was funded by Arts Council England and created in close collaboration with trumpeter and composer Aaron Wood, with the pair recording in Aaron's rural DIY studio in Huddersfield. Through improvising upright piano, Rhodes and trumpet over intricately programmed beats, the duo captured the spontaneity that makes jazz feel alive, but with the forward-facing touch of Ableton live production. "I actually had live drums recorded for this project and then deleted all of them and instead programmed intricate drums on Ableton live myself to create the kinds of drum sounds I could hear in my head," Matt adds, explaining the onerous process that truly made 'Find a Way' a labour of love.

Matt Wilde discovered jazz through an unconventional journey, and 'Find a Way' is an introspective map of this musical development. Starting out as a self-taught beatmaker, growing up Matt made tracks for friends in the grime scene before falling in love with jazz through the sample-heavy works of Madlib, J Dilla, and Pete Rock. Hints of this influence can be found on "Windup", driven by a deeper bass and a glitchy intensity not commonly associated with jazz. There are also nods to the weekly DJ residencies Matt had in his late teens, establishing a love for club music at iconic Manchester venues like Sankeys. "It's Ok, Feel it" incorporates pitched-up kicks and crisp, papery snares that pay tribute to UK dance culture and the foundation of connection in this world.

Guided by values of accessibility and creativity, Matt has become a key voice in the UK's boundary-pushing jazz and beats scene. His debut album 'Hello World' alongside EPs and single releases, have been championed by the likes of BBC Radio 1, Jamie Cullum and Soweto Kinch (BBC Radio 2), 'Round Midnight (BBC Radio 3), and across BBC 6Music, Jazz FM and Worldwide FM. He has performed headline shows at Band on the Wall (Manchester) and The Lower Third (London) and showcased his music at Brick Lane Jazz Festival and London's iconic Jazz Café.

A proud Mancunian with Polish roots, Matt's values-driven approach reflects his passion for community and empowering others through the arts. Matt founded the UK's first youth-led charity and is a trustee of Manchester music charity Brighter Sound. Driven by these values of equality and inclusion, Hello World Records strives to champion grassroots music with a backbone of fairness built into the business model. The imprint is named after Matt's debut album, released via Band on the Wall Recordings; simultaneously championing the music scene and global musical footprint of Manchester and highlighting the importance of artists reminding people: Hello World, I've made it. I'm still here.

- Martha Cleary, Glow Artists

KR3.018 KR3 proudly welcomes Jin Synth & Marco Maldarella to its roster. To mark the conclusion of the label's fifth anniversary cycle, launched in September 2024, KR3 together with these two talented artists, presents "The Neural Abyss" a split EP that embodies both an ending and a new beginning through the theme of "Death/Rebirth".

This 4-track project, showcases the distinct yet complementary visions of Jin & Marco, each taking one side of the 12" vinyl. Together, their work invites listeners on a profound exploration of hypnotic, deep brainwave states. Let's celebrate the final chapter with this exciting collaboration! KR3 | 5YRS Down-Road

Das Trio - Pianist/ Keyboarder/ Produzent Moses Yoofee, Bassist Roman Klobe-Baranga und Schlagzeuger Noah Fürbringer - hat sich in den letzten Jahren mit spektakulären Live-Shows in Clubs in Deutschland und darüber hinaus einen Namen gemacht. Sowohl von R&B, Hip-Hop und Soul als auch von traditionellerem Jazz geprägt, spiegeln die Songs von Ocean die Spontanität, Inspiration und instinktive Raffinesse ihrer Live-Auftritte wider. Der herrlich hektische Titeltrack und das zunehmend ekstatische Minor Issues stehen in Kontrast zu der eher zurückhaltenden Komplexität von At Ease - und während der hypnotische Rhythmus von Fragile ihre Liebe zum Hip-Hop verrät, wird das üppige Richmond von einem herrlich ruhigen Groove angetrieben, bevor es auf seinem Höhepunkt einen Gang höher schaltet. "Jeder liebt Fusion", so die Band, "auch wenn es keiner zugibt", aber das ist nur ein Element des ausgefeilten Stils des Trios, bei dem Moses" außergewöhnliche Keyboard-Fähigkeiten auf Romans fließende Basslinien und Noahs tighte Schlagzeug-Patterns treffen.

DJ Balaton continues to carve out his part in the puzzle with a fresh 4-tracker on LQL <3. With a nostalgic nod to Frankfurt, the producer shows that it doesn't take much, just the right touch, to install a badass groove. Spacious arrangements and carefully placed synths turn the EP into an echo of a different time in the club.

The title track "Back To The Mood" orbits around that secret open-air energy - one of those full-circle cuts for the crew. You are missing the water, baby is all there is to say about "Flow Key", rolling away at 127, disguised but with energy. "Reso 02" is the track we all wanted to finish but never did, grooving along with restrained intensity, shaping the EP into something personal and unique. Closing off, "Push Yourself" is Geoff White meets Herbert in a club-ready outfit.

All tracks produced by Julian Mosch, Master by Moomin, manufactured at intakt!, cut by Manmade, distributed by Wordandsound.

Artwork by Hannes & John & Printready by John.

“Daniele Baldelli: A Cosmic Life” is a documentary that tells the life and career of Daniele Baldelli, a pioneer of Italian and international dance music. The film pays homage to the creator of “cosmic sound,” a musical genre that revolutionized club culture in Italy and worldwide. It traces his career through archival footage and testimonies from artists and producers, showcasing how his vision influenced entire musical scenes.

The film, along with its soundtrack, highlights Baldelli’s ability to blend electronic, funk, Afro, rock, ethnic, and experimental music, creating a unique sound that has made four generations of young people dance in iconic venues around the world.

The record primarily includes new tracks specifically created for the film and the dancefloor, alongside his classics such as “Isotropo Funk,” “Funk Me Again,” and “Diffrazione” which are now difficult to find on vinyl. It also features an unreleased track produced for the film by his trusted collaborator Marco Dionigi.
– Lose yourself in the Cosmic Sound –
LP with insert.

By the time of their second album, 1989’s ‘Unfinished Business’, EPMD were firmly cemented in the rap stratosphere. With one certified classic album under their belts, they proved they were no one-hit wonders, with the sequel possibly even better. A concise 12 tracker once again produced by the artists themselves, it saw them adhering to the ‘if it ain’t broke, don’t fix it’ maxim, while going somewhat ‘bigger’.
In other words, guests started to appear – not just on the records, but in the videos – and marketing budgets were higher. None of which watered down their sound. In fact, this is the ultimate EPMD record: a beat that’s simple but perfect, and two top-of-their-game MC’s going back and forth. But the appearance of NWA in the video for ‘The Big Payback’ hints at their reputation at the time – and at the cordial relations between coasts before the deadly beef that was to come.

‘Payback’ takes both its title and core sample from James Brown’s ‘The Payback’ from 1973, and then weaves two more JB elements with it, including the addictive stabs from ‘Baby, Here I Come’. It’s a golden track from the golden age.

The B-side is another gem from the same album, and only released before on 7” in a very rare, limited pressing. ‘So Wat Cha Sayin’ was the album’s lead single, and shows EPMD’s wide sampling palette. There’s bits of BT Express, a whole lot of Funkadelic and, brilliantly, some drums lifted from Soul II Soul’s gem from just the year before, ‘Fairplay’. Lyrically, it’s just all about threats to sucker’s MC’s – what else do you want from EPMD?


• A certified Hip Hop classic.

• Samples James Brown’s ‘The Payback’ from 1973.

The first volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.
Many thanks to Wayne Anthony, Simon Reynolds, Stephen Hebditch & The Pirate Radio Archive.

During this summer’s European tour with Junior Dell & The D-Lites, we were honoured to share the stage at This Is Ska Festival in Germany with none other than The Pioneers.

After the show, fate had me driving Jackie and George back to the hotel. On the way, we got to reminiscing about our last collaboration — Jump Up!, released on Original Gravity Records in December 2023. Mid-conversation, Jackie casually said: “Hey Neil, I’m in England all of July, we could record something.”

I dropped the guys off, said goodnight, but as soon as my head hit the pillow, an idea sparked: wouldn’t it be cool to have them record Jackie Edwards’ northern soul classic I Feel So Bad — but reimagined in an early reggae style?

So in July, we set up a session at Farm Factory Studios in Welwyn Garden City. George and Jackie came down, and it was nothing short of magical to hear these legends harmonising together once again in the booth. The result captures that late-60s moment when soul and reggae collided on dancefloors, raw and full of energy.

To add another dimension, we also created a version as if it had traveled from Kingston to London. The “Boss” version imagines the raw Jamaican master — while the A-side reflects how Trojan Records might have “sweetened it up” with horns and strings for the UK pop market.

Two sides, one timeless tune — a tribute to both the grit and the gloss of reggae’s golden era.

After countless hours in the studio, we are proud to present EZ PC, a sonic journey infused with elements of funk, jazz and abstract soundscapes.
The record features the legendary Samuel Appapoulay, whose versatile musicianship adds depth and character throughout the project. This release also marks one of the first projects to showcase the collaboration between David and the Mauritian-born pianist.

To complete the experience, Tripmastaz delivers a remix that holds its own alongside the original, an absolute masterpiece that lifts the EP to an entirely new level.

Buckle up and enjoy the ride!

Sigma proudly present DAY ONE - their highly anticipated fourth studio album and their first as independent artists. 2025 has seen Sigma embark on a bold new chapter in their career, starting their own label and embracing the freedom to create on their own terms. With the duo now fully independent, they are taking back control and taking it back to DAY ONE, making the music they love.

DAY ONE embodies this ethos and is inspired by their love of the underground. The gritty jungle beats and anthemic soundscapes of early rave culture that form the foundation of their artistry can all be heard in these 12 songs. From hard-hitting tracks like Chargie and Soundboy, to dancefloor weapons like Magnetic and Outtaspace, all the way through to the orchestral Back To Life, Sigma demonstrates an impressive diversity and quality that showcases their exceptional production skills and studio craft.

DAY ONE is more than an album; it’s a celebration of the duo’s journey and the people who have supported them from the start. Featuring collaborations with legends like Dizzee Rascal and rising stars such as Julia Church, the record balances nostalgia with forward-thinking innovation. “Being independent has brought us back to what it’s all about—making music for the love of it,” the duo says.

Anfang 2021 standen die Bandmitglieder von Lankum hoch über Dublin, den Winden der irischen Ostküste zugewandt, mit einem wundervollen Blick auf die Stadt, in der sie über 10 Jahre lang gemeinsam Musik gemacht hatten und dennoch spürten sie ein Gefühl der Unverbundenheit. Sie hatten die Stadt noch nie aus diesem Blickwinkel betrachtet, da sie immer fest in ihr verwurzelt waren und die Schönheit von Dublin immer aus dem Blickwinkel ihres Alltags sahen. Der kleine Perspektivwechsel half der Band bei den Aufnahmen in den Hellfire-Studios, wo sie nach der langen Stille der Pandemie begierig mit den Aufnahmen zu ihrem vierten Studioalbum "False Lankum" begannen. Wer jemals bei einem Lankum-Gig war, kennt die Energie, die diese Band erzeugen kann. Der unverwechselbare Drone-Sound, der sich durch ihre Arbeit zieht, wie bei ihren bekanntesten Stücken "The Wild Rover" (von "The Livelong Day", 2019) und "What Will We Do When We Have No Money" ("Between the Earth and Sky", 2017) hat die Kraft, einem den Boden unter den Füssen wegzuziehen und erzeugt dabei einen einmaligen Klang. "The Livelong Day" war das Album, mit dem Lankum aus der Schublade der "irisch traditionellen" oder "Folk"-Musik herausbrachen. Es ebnete ihnen den Weg zu medialem wie kommerziellem Erfolg, der ihnen 2019 den RTE Choice Music Prize einbrachte und dazu führte, dass sich ihre Shows in der traditionsreichen Konzerthalle Vicar Street in Dublin in nur 20 Minuten ausverkauften. Die neue Musik bringt auch neue Stimmen und so ist es das erste Mal, dass Cormac Dermody einen kompletten Song auf einem Lankum-Album singt. In Kombination mit seiner besonderen Tonlage erzeugt er eine poetische Kraft, die den Sound von Lankum bereichert. Mit "False Lankum" bewegt sich die Bands ins Unbekannte, ein Album getrieben von der wilden und oftmals seltsamen Schönheit des Schmerzes und der Freude, von Himmel und Hölle. Es ist gleichermaßen ein Album der Widersprüche und des Einklangs und sicherlich eine der spannendsten Produktionen, die in letzter Zeit aus Irland kamen. Nur wer mutig wagt, wird Herzen gewinnen - "False Lankum" ist der Schlüssel dazu.

Longtime label friends Peter and Lukas Visti return with a stunning long player rich in authentic Balearic sounds. It opens with the percussive nu-disco groove of 'Ocean View' then drifts into flamenco-tinged reflections on 'Invisible Sun' and 'Kathmandu.' Acoustic guitars feature prominently throughout, from the uplifting 'A New World' to the dreamy, sunset-ready title track. 'Eternal Love' brings us back to the dance floor while 'Lazy' leans into late-night Balearic house. The album closes with the serene, acoustic beauty of 'The Last Supper.' Fair Wind indeed.

DJ Feedback

Pete Herbert:
"Outstanding, and featured on radio show"

Faze Action:
"Lovely album full of beautiful melodies and calming atmospheres"

Chris Coco:
"Super-sunny, top quality Balearic gear from start to finish"

Max Essa:
"Absolutely superb!"

Bill Brewster:
"Cool beans!"

Richard Dorfmeister:
"Cool release!"

Sally Rogers/A Man Called Adam:
"Very Sunset set friendly collection, I'll be playing :)"

Nude Disco/Altra Moda Music :
"A really nice selection here"

Justin Robertson:
"Love these"

CODEWISE ...the secret inner knowledge of unlocking pure underground DNA DRIVETRAIN - Rachel A dark and aggressive odyssey morphs into undeniable Detroit abstraction BLAKTONY - Alternative Homework Mind expanding deep-tech, erogenous to audio consciousness BJIKA - House On The Hill An alluring atmosphere with a sizzling mood of insatiable sound JESUS GONSEV - Cosmic Sand Galactic acid showers delicately pad a luxuriant sonic landscape

Celebrated DJ, producer, and sonic explorer Auntie Flo (aka Brian d’Souza) — described by The Guardian as “one of global club culture’s most vital voices” — returns this autumn with ‘Birds of Paradise’: a rhythmically rich, emotionally resonant, and ecologically grounded new album, out 23 October via his A State of Flo imprint. The album will be launched with a special live show at London’s Jazz Caféon the same day.

‘Birds of Paradise’ draws on d’Souza’s global club experience while deepening his connection with the natural world. Built around classic Roland drum machines and iconic vintage synths, the record is a joyful, body-driven celebration of rhythm and movement, but one grounded in ecology and place. The album’s spiritual centre lies in Saligao, Goa, near d’Souza’s maternal homeland where his Auntie Florie (where the name is derived from) is buried. Where he found his ‘paradise’ nearby, staying in a converted fisherman’s hut and recorded dawn choruses from a riverside studio overlooking mangrove-lined waters. Environmental textures from Japan also make their way into the music, creating a sonic map rooted in lived experience.

“Birds of Paradise is about finding beauty and rhythm in a chaotic world. It’s about listening, to nature, to our bodies, to what’s real. It’s a reminder that dance music can be both joyful and grounded.” The album blends Afro-Latin polyrhythms with Western 4/4 patterns, fusing instinctive, dancefloor energy with field recordings that anchor the music in the earth. Described by d’Souza as “tropical with a few deeper edges, a balance of light and dark.”

The new record follows the acclaimed ‘In My Dreams, I’m A Bird and I’m Free’, which earned 4 stars and Global Album of the Month from The Guardian, featured in Disco Pogo’s Albums of the Year, and received support from Luke Una, Resident Advisor, Juno, Bandcamp, Mixmag, DJ Mag, Electronic Sound, The Skinny, Beatport, Ban Ban Ton Ton, and more. The album’s launch show at Omeara London sold out. Other recent projects include the ‘Outernational Dance’ EP on cult label Multi Culti, event series ‘Plants Can Dance (and Mushroom’s Sing)’ which explore plant and fungi bioelectricity as a means of live composition, and ‘Black Beacon’, a haunting cassette release and soundwalk series recorded on the abandoned military island of Orford Ness. There, d’Souza explored the eerie intersection of nature, decay, and deep time, gaining special access to restricted buildings to capture long-form soundscape compositions.

Alongside his production work, d’Souza has emerged as a leading voice at the intersection of sound and science. He curated music for Imperial College’s groundbreaking psychedelic therapy trials, developing six-phase playlists to guide participants through psilocybin-assisted sessions treating conditions such as fibromyalgia and gambling addiction. His five-hour ambient set at Watching Trees Festival, selected as Resident Advisor’s Mix of the Day, continued this exploration into the therapeutic potential of sound in altered states. He also spent six months collaborating with BBC producer Tom Raine on a documentary for BBC World Service, centred on a two-week journey through Kenya and Goa. There, he performed live, led plant music workshops, and joined a deep listening retreat rooted in field recording. “I realised my studio isn’t just four soundproofed walls filled with instruments — it’s the journey itself. It’s the people I meet, the natural world I listen to, and the connections I feel.”

This same commitment to deep listening fuels his live concept Plants Can Dance, a project that combines the biosonification of plants and fungi with modular synthesis. The next event, on 14 September at Hideout Hackney Wick, will feature performances by Stella Z and Lapalace, with d’Souza and resident Lamine playing live alongside responsive plants in collaboration with Repot Hackney Wick and the label Music To Watch Seeds Grow By. “I’ve spent years exploring how electronic music can connect us, not just to each other, but to the natural world. Whether it’s translating mushroom data into melody or capturing birdsong at dawn, it’s about finding resonance across bodies, ecosystems, and machines.”

Rooted in his Goan and Kenyan heritage and shaped by years of travel and collaboration, d’Souza’s creative mission is simple: to reconnect the electronic world with the natural one. Through A State of Flo, he continues to blur the boundaries between club culture, sound art, and ecological awareness.

"Pretty Close", Ethel Lindsey's debut LP, marks the beginning of a new musical journey, showcasing the talent and heartfelt nostalgia of this gifted singer-songwriter. Deeply rooted in the sound and spirit of the 1970s, her work draws from the golden age of Soul, Funk, Disco, and AOR, blending these genres with elegance and authenticity. Her songwriting and vocal delivery are so true to the era that one could easily imagine this album emerging straight from a California studio in 1976.

Entirely composed, written, and performed by Ethel Lindsey, Pretty Close is a deeply personal and cohesive body of work. From lush harmonies to groove-driven arrangements, the album captures the warmth and depth of vintage recordings while offering a fresh and intimate take on these timeless sounds.

Once again, Favorite Recordings brings its signature dedication to the project, ensuring every step of the process—from production to final mix—remains faithful to the sonic and aesthetic codes of the era. The album was produced using a maximum of vintage analog equipment, staying true to the texture and character of original 70s productions.

This is not merely a nostalgic tribute—it’s a sincere continuation of a musical tradition. With a deep respect for the past and a forward-thinking spirit, Ethel Lindsey breathes new life into classic genres, reaffirming their relevance in today’s musical landscape.

As Ethel herself puts it:
"The songs on this album offer but a fleeting glimpse into the whimsical, melodic reveries that may have danced through the mind of a young girl growing up in the northeastern suburbs of Paris, France during the early to mid-1980s. They are, perhaps, the earliest echoes of a fraternal musical upbringing—an inheritance both consciously absorbed and unconsciously imprinted—shaped by shared moments, half-remembered sounds, and the mysterious alchemy of childhood imagination. This collection is, in essence, a first distillation of that early inner world: playful, imperfect, sincere."

Lilya Mandre makes her Crosstown Rebels debut with her emotive three-tracker, ‘Exi(s)t’. Out on 10th October 2025, the Casablancan artist unveils two originals, including a collaboration with Zac Martel and Jono McCleery, backed by a remix from Haitian star Francis Mercier. Marking her first appearance on Damian Lazarus’ iconic Crosstown Rebels imprint, Moroccan-born artist Lilya Mandre steps into the spotlight with ‘Exi(s)t’. Landing on 10th October, the EP pairs her expressive, melodic style with a striking vocal feature from UK-based singer-songwriter Jono McCleery and a collaboration with Montreal’s Zac Martel, completed by a stellar remix from Haitian heavyweight Francis Mercier.An ascending name in the global electronic sphere, Lilya Mandre channels her Casablanca roots into a sound that balances deep, minimal-leaning grooves with raw emotional weight. Her magnetic presence has already taken her to stages such as Hï Ibiza, where she joined Crosstown head honcho Lazarus for his summer residency, plus the likes of Moga Festival, La Clairière Paris, and Picnik Electronik, while recent releases on Mind of A Genius, IN/ROTATION and Madorasindahouse continue to position her as one of the scene’s most exciting breakthrough candidates. With ‘Exi(s)t’, she brings this same captivating energy into the studio, weaving powerful collaborations and evocative solo work into a release that captures her artistry in full.

Opening track ‘A Part Of Your Soul’, crafted alongside. Canadian producer Zac Martel (Madorasindahouse), sees Lilya also link up with acclaimed English singer-songwriter Jono McCleery (Ninja Tune), whose delicate and soulful vocals glide over rich synth work and fluid percussion to deliver a stirring and cinematic cut. Deep Roots founder Francis Mercier then steps in on remix duties, injecting his signature blend of worldly percussion and driving energy to transform the original into a hypnotic, club-ready anthem. Closing the package, ‘Malou’ takes things deeper as Lilya steps out solo, layering subtle melodies and textural flourishes for a track that’s both restrained and emotionally resonant. With its balance of expressive collaborations and immersive solo work, ‘Exi(s)t’ sets a compelling tone and brings an impressive debut to Crosstown Rebels, showcasing her ability to craft moments that resonate both on the dance floor and beyond.

The Danish/Norwegian duo of Ida Urd and Ingri Høyland believe that music is an extension of one’s immediate sensory environment. Duvet, their collaborative full-length debut, explores the way that creating sounds together is intertwined with various quotidian actions: establishing surroundings, rearranging furniture, moving towards the light, collecting flowers or other objects for aesthetic and sensuous impulses. Through a quiet and attentive process, music becomes a way of nurturing space: a soft architecture for play, writing, care, or simply rest.

Sonically, Duvet feels like an extension of Høyland’s last album, 2023’s Ode to Stone, which also featured Urd along with ambient musician Sofie Birch and visual artist Lea Guldditte Hestelund. But where that album, created in response to an open call for work themed around Denmark’s national parks, suggested rolling landscapes and endless horizons, Duvet turns inward, countering chill winds with glowing warmth. Its eight tracks seek a balance between abstraction and melody, intention and happenstance.

“We had a truly inspiring and rewarding process working with Birk Gjerlufsen Nielsen from Vanessa Amara, who co-produced and mixed the album with us,” Ingri adds. “He approached the material with great care and sensitivity, while also bringing his own distinct presence and creativity into the sound.”

Høyland and Urd both studied at the Rhythmic Music Conservatory in Copenhagen, which has turned out many acclaimed artists over the past few years, including Erica de Casier, Astrid Sonne, and Smerz. Over many years, the two composers have developed a collaborative method based on connection and trust. A practice, they write, “where composing, or rather suggesting, sounds and melodies for one another is a way of carefully talking, mending emotions and obstacles. Saying yes to one another. The compositional space becomes a nest for entangling whatever emotions, thoughts, or barriers one of the composers brings to the given day or moment.”

Quiet and contemplative, Duvet is simple on the surface but rich in timbral, textural, and emotional complexity. Høyland and Urd sourced their sounds from an array of instruments and techniques—electronic devices, modules, pedals, and also electroacoustic treatments of various wind instruments.

Mixing primarily through analog tape units added further mystery and depth, weaving together wordless voices and unknown sounds—breathing, rustling, perhaps the coppery gleam of Urd’s electric bass—into a dynamic matrix. Like a nest, pull one twig and the whole thing unravels.

In the winter of 2023, Ingri Høyland and Ida Urd retreated to a summer house along the coast to create the album. Picture the scene: an abiding quiet all around. Gardens carpeted by snow; beach grass silvery against the silvery sky; a tendril of smoke rising from the chimney. Not another soul in earshot. This sanctuary was the perfect setting to yield this meditation on shelter, trust, and communication. The two composers hope the album can be a similar space for others—a temporary space of residence, it can represent a summerhouse, a cabin in the woods, your favorite bench or wherever you need to go. “The album also works really well when picking out apples in the supermarket” Urd laughs.

Meet Dr. Brown, a world-renowned astrophysicist who arrives with a ten-pound bag of gummy bears and a DVD box set of a reality show about competitive dog grooming. Before she loses herself in the flamboyant world of puffed poodles and outrageous hairdos, she organizes the gummies by color...

Judge White, on the other hand, unboxes a newly released LEGO set. But he isn't building a replica of the Supreme Court; he is constructing a bright pink, glitter-covered unicorn palace.

Opera singer Miss Black... growls along at the top of her lungs to Chesney Hawkes' "The One and Only", standing on a chair in a red-and-white striped bikini, using nunchucks as a microphone.

And finally, Mister Red, the MIT professor, known for his ironclad logic and severe demeanor, brings a collection of classic comic books. He isn't interested in modern, gritty superhero stories. His joy comes from the simplistic, colorful tales of superheroes with outlandish names like bqdp and ridiculous powers like the ability to selectively negate gravity for objects weighing exactly 13.37 kilograms (but only when standing in moonlight).

They are all members of a club where the rules are simple: no judgment, no professionalism, and no apologies. They understand that the most infamous guilty pleasures aren't those that are truly bad, but those that remind us that we are all, at our core, just human - finding joy in the simplest, most wonderful things, no matter how silly they may seem.

pdqb and DMX Krew gift you with six minutes of pure, unadulterated pleasure. You'll feel like you're locked inside an 80s mall with your best friend, free to do whatever you want. And you'll never want to leave.

‘When The 2000s Clashed: Machine Music For A New Millenium’ is the story of how, 25 years ago, a new form of electronic music – known as electroclash - reignited a tired clubland and gave the indie scene and mainstream pop a shot in the arm in the process. Over this 3LP highlights set, carefully curated from the 5CD box of the same name (also released, 3rd October) the collection showcases the back-to-basics electronic beats that heralded in a new generation of exciting and innovative new artists - Hot Chip, Peaches, LCD Soundystem, and Ladytron, to name a handful. It also shows how the sound and attitude of electroclash plugged into the decade’s cutting-edge indie bands, (Franz Ferdinand, Bloc Party), and became intrinsic to the way chart pop would sound in the first decade of the 2000s (Kylie, Goldfrapp).

The collection also shows how the scene’s underground DIY ethos evolved and inspired the next generation of electronic buccaneers (Simian Mobile Disco, Justice Vs. Simian). ‘When The 2000s Clashed’ brings together a dazzling, diverse selection of artists, producers and remixers from right across the 2000s zeitgeist – from The Chemical Brothers and Daft Punk, from M.I.A. to Soulwax and many points in-between. For good measure, there’s also one side of LP3 given over to the original post punk and electronic sounds (including Kraftwerk, The Human League and Cabaret Voltaire) who’d played such a big influence on the electroclash sound. ‘

When The 2000s Clashed’ was compiled and sequenced for Demon / Edsel by Jonny Slut, founder of London’s electroclash citadel Nag Nag Nag. Established in 2002, in a small Soho venue called Ghetto, ‘Nag’ quickly became THE hottest club, first in London and then in the whole world. A glorious mess and hedonists’ hotspot, a night at ‘Nag Nag Nag’ (if you could get in!) saw the capital’s club kids, students and creatives rub up alongside names from the fashion and music worlds - Björk, Pet Shop Boys, Kate Moss, Boy George, Alexander McQueen, and Pam Hogg were among the regulars. Madonna visited, so did John Peel, Yoko Ono asked to perform and did, Throbbing Gristle’s Chris and Cosey DJ’d, so did Marc Almond, and Too Many DJ’s.

Justin Timberlake was refused entry (too many bodyguards)… even Cilla Black was spotted getting down! Jonny shares these reminisces – and many more - in the collection’s sleevenotes. Named after the 1979 Cabaret Voltaire classic, ‘Nag, Nag, Nag’ became the first place to hear the seemingly endless flow of thrilling new tunes coming from every direction during that decade of dance. Many of them are included on this collection.

The latest boy band in town, POP VAMPIRES COLOGNE, opens the party with the enigmatic ‘Karianne’. SUPERPITCHER knows how to make a grand appearance, accompanied by high-calibre guests. His electro-pop treat ‘Pandora’s Box’ features Hot Chip’s ALEXIS TAYLOR​ on vocals.​ JÜRGEN PAAPE isn’t coming alone either, but with newcomer HELLA in tow. ‘Grace (A Tale)‘ once again shows our resident hit maker at his best. JÖRG BURGER also has a table companion, the extremely talented Irene Kalisvaart, and remixes himself on top of that. REINHARD VOIGT points out that money never sleeps and proceeds according to the motto: ’​Zahl an einem anderen Tag (Pay another day​)’. Our Brazilian whirlwind GUI BORATTO returns after a long absence with the banger ‘Panorama X-Press’. After careful consideration, ROBAG WRUHME has named his new track ‘Total’ and sings in the chorus with his family for the first time. WASSERMANN contributes an ultra-fat remix of Mayer’s ‘Brainwave Technology’, while MICHAEL MAYER himself marvels at the rare ‘Erdbeermond’. HARDT ANTOINE’s ‘Let Me Go’ really gets the party going again before WASSERMANN orders a large taxi and skips out on the bill.

See you again next year!

TOTAL 25… Schon wieder ein Jubiläum in einem an Jubiläen ohnehin nicht armen Jahr. Zum 25. mal versammelt sich die Kompakt Familie zum alljährlichen Stelldichein. Ohren angelegt, los geht’s!
Die neueste Boygroup in town, POP VAMPIRES COLOGNE eröffnet die Party mit dem enigmatischen ‘Karianne’. SUPERPITCHER weiss, wie man einen großen Auftritt hinlegt, und zwar in hochkarätiger Begleitung. Sein Elektropop-Leckerbissen ’Pandora’s Box’ featured Hot Chip’s ALEXIS TAYLOR an den Vocals. Auch JÜRGEN PAAPE kommt nicht allein, sondern mit der Neukommerin HELLA im Schlepptau. ‘Grace (A Tale)’ zeigt unseren Haus- und Hitlieferanten mal wieder in Bestform. JÖRG BURGER hat ebenfalls eine Tischdame im Gepäck, die überaus talentierte Irene Kalisvaart, und remixed sich obendrein selbst. REINHARD VOIGT gibt zu Bedenken, dass Geld niemals schläft und verfährt nach dem Motto: ‘Zahl an einem anderen Tag’. Unser brasilianischer Wirbelwind GUI BORATTO meldet sich nach längerer Abstinenz mit dem Banger ‘Panorama X-Press’ zurück. ROBAG WRUHME hat seinen neuen Track nach reiflicher Überlegung ‘Total’ genannt und singt darauf erstmals selbst im Chor mit seiner Familie. Der WASSERMANN steuert einen ultrafetten Remix von Mayers ‘Brainwave Technology’ bei, während MICHAEL MAYER selbst den seltenen ‘Erdbeermond’ bestaunt. HARDT ANTOINE’s ‘Let Me Go’ bringt die Party nochmal so richtig in Schwung, bevor der WASSERMANN ein Großraumtaxi bestellt und die Zeche prellt.

Wir sehen uns wieder im nächsten Jahr!