quête:air

After leaving Terumasa Hino’s group and moving to the United States, Mikio Masuda returned to Japan and formed the fusion band Mickey’s Mouth.
The band’s first album, released in 1976, is being reissued on clear yellow colour vinyl.

BIT30-2 THE CROWDPLEASERS "I Want You To Know 30th Anniversary E.P." The first B.I.T Productions 12" was released on single sided white label on 11th December 1995 and became a rather big track across the country with its big synths, catchy vocal hook and a massive break in the middle that lead to a dirty, well-known synth melody that created a huge hands in the air moment, as well as the "Make some f**king noise" vocal. Now 30 years later, we have the “I Want You To Know 30th Anniversary E.P.” that features new remixes by The Crowdpleasers and Pianohead, as well as including the Original 1995 Mix. Also included is the NEW TRACK “I Know” which features the Original Mix with uplifting Piano and catchy vocals and the Stu Chapman Remix with dirty synths, banging breakbeat and a top piano riff. To finish off this 6 Track E.P., the previously unreleased Original Mix from 2000 of “Celestial”, a pumping house track with atmospheric melody.

Created in collaboration with Florida-based production duo The Still Brothers, the album pairs Rollo's songwriting with beautiful analogue production and rich, organic arrangements. The project was further elevated by producer and mixer Mike Hill, before Grammy Award-winning mastering engineer Dan Millice put the finishing touches on the record.

Recorded over the course of several visits to The Still Brothers' studio in Florida, The Jelly Man was shaped by both its surroundings and the creative partnership at its heart.

Together, Rollo and The Still Brothers crafted a beautifully warm, analogue-sounding record, deeply inspired by Florida's natural beauty and the laid-back atmosphere. Recorded with an 8-channel Tascam tape machine, the album radiates warmth, vibrancy and character, while a host of carefully chosen collaborators bring their own distinctive voices to each track.

Rollo Doherty is a multi-instrumentalist, songwriter, producer and composer, as well as an accomplished filmmaker, illustrator and animator. His previous EP earned him support slots on Skinshape's UK tour and Palace's European tour, alongside airplay and support from BBC Radio, KEXP and NPR.

The Jelly Man marks an exciting new chapter for Rollo Doherty—an album that captures a sense of place, collaboration and timeless craftsmanship.

Created in collaboration with Florida-based production duo The Still Brothers, the album pairs Rollo's songwriting with beautiful analogue production and rich, organic arrangements. The project was further elevated by producer and mixer Mike Hill, before Grammy Award-winning mastering engineer Dan Millice put the finishing touches on the record.

Recorded over the course of several visits to The Still Brothers' studio in Florida, The Jelly Man was shaped by both its surroundings and the creative partnership at its heart.

Together, Rollo and The Still Brothers crafted a beautifully warm, analogue-sounding record, deeply inspired by Florida's natural beauty and the laid-back atmosphere. Recorded with an 8-channel Tascam tape machine, the album radiates warmth, vibrancy and character, while a host of carefully chosen collaborators bring their own distinctive voices to each track.

Rollo Doherty is a multi-instrumentalist, songwriter, producer and composer, as well as an accomplished filmmaker, illustrator and animator. His previous EP earned him support slots on Skinshape's UK tour and Palace's European tour, alongside airplay and support from BBC Radio, KEXP and NPR.

The Jelly Man marks an exciting new chapter for Rollo Doherty—an album that captures a sense of place, collaboration and timeless craftsmanship.

Vega Records proudly presents "Mercy Of Time," a breathtaking new collaboration between Grammy Award-winning producer, DJ, and songwriter Louie Vega and acclaimed South African composer, singer, songwriter, and multidisciplinary artist Msaki.

Widely regarded as one of Africa's most powerful and influential musical voices, Msaki has earned international recognition through her award-winning solo work and celebrated collaborations with Black Coffee, Sun-El Musician, and Prince Kaybee, including the multi-platinum anthem "Fetch Your Life." A South African Music Award winner, recipient of the prestigious 2022 Standard Bank Young Artist Award for Music, and Basadi in Music Songwriter of the Year, Msaki's artistry has resonated with audiences around the world. Her songwriting and vocal contributions to Black Coffee's Grammy Award-winning album further cemented her place among the continent's most revered contemporary artists.

Born from a creative meeting of musical minds, "Mercy Of Time" brings together the extraordinary talents of Msaki, Louie Vega, and renowned Cuban pianist, composer, and producer Axel Tosca. Written by Msaki, with music composed by Louie Vega and Axel Tosca, the song is elevated by the unmistakable rhythmic touch of internationally respected producer and dj Manoo, whose infectious drums provide the heartbeat of the record.

At its core, "Mercy Of Time" is a deeply moving and uplifting composition that blends deep songwriting, rich musicianship, and powerful rhythms into a timeless musical journey. Msaki's evocative lyrics and captivating vocal performance intertwine seamlessly with Axel Tosca's virtuoso musicianship and Louie Vega's signature production style, creating a sound that transcends borders, cultures, and genres.

Rooted in soul and infused with African Electronic and global influences, "Mercy Of Time" speaks to resilience, hope, healing, and the wisdom that comes with life's journey. The song beautifully captures the spirit of collaboration between artists from different corners of the world, united by a shared commitment to authenticity, artistry, and musical excellence.

With all forces combined, "Mercy Of Time" is poised to resonate with audiences across dance floors, airwaves, and listening spaces worldwide. A powerful fusion of soulful expression, world-class musicianship, and timeless rhythm, the release stands as a testament to the creative magic that happens when visionary artists come together.

4 more reworks from the crates of JUNIOR SANCHEZ. Massive hits from DRIZZY, RIRI, CVRCHES, and BEY get the JUNEBUG floor filling, hands-in-the-air treatment.

The eponymous debut EP by London-based dreampop duo deary. The six-track release is available on 12" vinyl, CD with five additional bonus tracks/remixes and digitally. Their debut single 'Fairground', which came out at the end of January, was an instant classic. A mix of shoegaze beauty and trip-hop beats, it was amazing to see people falling in love with it in real time as it gained airplay around the world, a remix by Saint Etienne and hit number one on the Official Charts' vinyl singles chart. The EP includes the follow-up, the deliciously dark 'Beauty In All Blue Satin', and third single 'Sleepsong', plus three more tracks. The CD format adds a cover of Pretenders' "2000 Miles", the Saint Etienne "Fairground" remix and three more versions of that track (a.o. Live and Extended).

Long overdue reissue of classic Scottish ambient techno banger ‘Mindweeds’, originally released in 1993 on the Pure-affiliated T&B Vinyl label run by Keith McIvor (JD Twitch) and Andy Watson (Brainstorm). With a Discogs demand ratio at about 300 have : 2000 want, and used prices peaking at over £100, now seems to be the right time for a re-release.

State of Flux were Roger Elliott and Dave Clark (aka Sparky, LUMA, Truffle Club and main man behind Kübler-Ross). They first met at Glasgow’s Strathclyde University in 1990, bonding over a shared love of weasel racing, German sausages and “man-duos” like The KLF and The Shamen. Dave was fully pubescent and already had a synth and drum machine, while Roger – a late developer – bought “another cheap synth, a Commodore Amiga for sequencing and a tiny mixer with no EQ”. For two long years they concentrated hard on “churning out unlistenable pish”, admittedly clueless about what they were trying to do.

Then – out of nowhere in the summer of 1992 – a flatmate’s Jello Biafra spoken word CD (‘I Blow Minds For A Living’) provided the inspiration to unlock the spark of dynamite that set the raving world on fire. Sampled using a Walkman* cassette** tape*** on playback (a decision the pair soon came to regret every time the track was subsequently performed live), Jello’s pilfered rant would soon become the crucial glue that held together the burgeoning kaleidoscopic helicopter spliff that is ‘Mindweeds’, loaded as it was – and indeed still is – with a veritably seething morass of cheeky electronic blims, nasal filter cheese and gay Caledonian spunk.

* a vintage portable listening device roughly the size of 4 iPhones stacked on top of one another and weighing the same as a small tub of yoghurt

** a plastic cartridge enclosing 2 miniature spools of magnetically coated, polyester-type plastic film (magnetic tape), notoriously convenient for pirating copyright material and secreting in one’s underpants for transporting between illicit market trader stalls

*** thin ribbon coated with ferromagnetic particles, usually ferric oxide but also chromium dioxide, "pseudochrome" ferricobalt or iron-cobalt-nickel “metal” formulations – with the latter types sounding marginally less crap

Playing demos of the track to friends, one thing led to another and a copy arrived with Twitch. Meeting the legends behind Pure in late 1992, a release was scheduled for summer 1993… but not before a promotional live gig in February of that year, supporting their heroes The Black Dog. Confessing that they “didn’t have a clue how to play live”, the duo played it safe, “went to a studio near Edinburgh airport to record the ‘live’ show” and then “mimed it off a DAT” at the gig, “standing in front of unplugged synths”. Soon after this, they recorded the full EP at Finitribe’s ‘Finiflex’ studio in Leith, Edinburgh and the record came out as planned that summer – the same week as Underworld’s ‘Rez’.

The record received high praise, appeared in many big-name DJ charts, sold out very quickly and was repressed within a few weeks, selling several thousand copies by the end of 1993 – no mean feat in an era when people had to use landline phones ****, faxes ***** or good old-fashioned carrier pigeons ****** to ascertain literally anything about the outside world, what was cool, where to buy the cool shit, or how to meet people and have fun.

**** a fixed communication device that connects to a telephone network using physical wires, cables, or a stationary base unit tied to a specific geographic address, using a handset incorporating a mouthpiece featuring a small metal disk and carbon grains, converting sound pressure from the human voice into a flow of electrical waves caused by these grains being squeezed together, before the variable signal is transmitted down DC voltage-powered copper wire and rerouted by a central exchange to arrive at the earpiece magnet of the target receiver’s handset, moving a small speaker cone accordingly so the message is intelligible WITHOUT THE PERSON SPEAKING ACTUALLY BEING PRESENT

***** as above, but for the d/Deaf

****** flying vermin riddled with diseases and capable of surviving nuclear armageddon

Soon Roger and Dave became sick of the Walkman being the only instrument played live in their set: with their new found fame and riches, they invested in a case for their Amiga to transport it around Scotland, while also putting in the hours on how to pretend to play live better with a sequencer and synths that were FINALLY plugged in. Following the release of ‘The Mercury EP' in April 1994, they embarked on a full tour of the UK and even managed to part ways and end the band by June that year.

This reissue includes the two original mixes of ‘Mindweeds’ recorded at Finiflex (‘Original’ and engineer ‘Fred's Fancy’), the original cassette demo (mastered directly from the actual recording sent to Twitch & Brainstorm in 1992) and a live version recorded at the Birmingham club night 'Oscillate' in April 1994.

Miles Davis' quintet formed in 1955 is widely regarded as one of the greatest combos in jazz history. Each of its members was an individual creative force and each could easily have been the leader. Cookin' was the first in a series of four albums featuring this classic all-star combo: Miles Davis, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. Like its followers ' Steamin ', ' Workin' and Relaxin' , ' Cookin' is the product of two massively productive recording sessions during May and October of 1956, sessions required to fulfil Davis's contractually obligations to Presage Records before moving to Colombia Records. . A quartet version of the song 'When Lights Are Low' from a previous session has been added to this special edition as a bonus.



[c] When Lights Are Low [Quartet Version]

Trance music fans, get ready to experience Push’s iconic anthem “Universal Nation” like never before with this exclusive 2 x 12" vinyl release repress.

Strictly limited to 500 copies worldwide, this special edition features a unique Inside Out cut pressed on stunning Starlight vinyl — black with striking coloured speckles, giving every copy its own distinctive look.

Featuring an array of incredible remixes, including Airwave’s Vocal Theatrical Version, James Harcourt’s remix, Gai Barone’s remix, and DJ Ghost & Danny C’s remix, this release is a must-have for any Push and trance collector.

Presented in it's original modern remastered artwork and pressed in the exclusive Starlight colour, this highly limited release offers a fresh way to rediscover the magic of “Universal Nation.”

Only 500 copies available — once they’re gone, they’re gone.

Waking Dreams returns with “Fantasies,” a four-track excursion by Aline Umber and AGELESS that explores the hypnotic facets of deep house. Featuring the label’s most sought-after ID, the title track finally receives its official release, unfolding as a meditative yet driving cut built on understated percussion and an airtight groove. Lush chords douse the track’s atmosphere, while dubby synth stabs and a spoken-word vocal cut through the arrangement, deepening its hypnotic pull and transfixing the listener. Dan Ghenacia takes things deeper with his electro-tinged rework, expanding on the original’s addictive groove with angular drumwork, adding further club functionality and sharpening it into a darker, more introspective counterpoint. Two additional originals round out the collaborative EP with brighter, kinetic energy.

In Gianfranco Rosi’s portrait of Naples, Sotto le Nuvole, the ground shakes periodically. Between Mount Vesuvius and the Tyrrhenian Sea, the fumaroles of the Phlegraean Fields hiss volcanic gas and steam. Below the sleeping volcano, modern day Naples emerges in black and white and fills with voices, with lives. From the traces of history and the concerns of the present, Rosi documents a city immersed in its continuous past, with Daniel Blumberg’s minimal soundscape hovering in a sonic space between liquid and air.
Tasked with creating a soundscape that would suspend space within Rosi’s film, Blumberg called upon the extended technique of saxophonists Seymour Wright and John Butcher to create a gossamer fabric of traces and sounds abstracted from their instruments. Having transitioned from theoretical physics to the saxophone, John Butcher has always deeply considered space in the context of his playing. His concerns are with flow, density and how the saxophone is situated in the living world. Zeroing in on the core sonic properties of the mechanical and acoustic components of the saxophone, Seymour Wright has integrated its every breath, reed vibration, keypad clatter and hissed microtone of his alto into his own, unique improvisational language. In his work with these two seminal players, Blumberg makes his most concentrated soundtrack to date - reinforcing the film's sense of overlapping time and space, and pushing at the limits of experimentation.

Initially recorded in Daniel’s flat in London, Butcher and Wright centre themselves around long, consistent tones, so soft that it seems breath is being gently pulled from the saxophone's bell by an invisible hand. Blumberg himself adds haunting bass harmonica, and recordings of Wright’s launeddas - a traditional and ancient triple pipe polyphonic reed instrument from Sardinia, Italy. Blumberg then travelled to the volcanic region of Baia, next to Pompeii. Once a flourishing classical Roman city loved by Nero, Baia slowly sank under hydrothermal pressure, leaving the city in a kind of geological purgatory. Using specialised geophones and hydrophones, Blumberg took those initial recordings and amplified them underwater, sending them calling out across the ruins of Baia’s mosaics, Nymphaeum statues and villas.

“It was important to me that the music was whispered in the same landscape that Gianfranco has worked for the past three years, so that you can hear the volcanic air gulping, the lapping of the waves, the steam and bubbles popping against John and Seymour’s saxophone breaths – an echo from a suspended time.”
What emerges is deeply melancholic, tender, subtle and right at the edges of audio technology. Submerged in an aquarian mausoleum, the mysterious vibrations of the saxophone and its bell become an echo of an echo, wading from the future into the past. ‘Sotto le Nuvole’ is less a soundtrack than a process of aeration - a sonic puncture in the material of the film which allows its central message to breathe, and a remarkable experiment at the limits of the saxophone’s possibility.

Avril Lavigne - LET GO (20th ANNIVERSARY EDITION) - Let Go celebrates 20 years as one of the most influential pop punk albums of the early 2000's. Originally released in June of 2002, Let Go became an instant sensation with hits such as "Complicated," and "Sk8ter Boi" dominating the charts and airwaves. Certified 7X Platinum, the album has cemented it's lasting legacy in the pop punk world and beyond. To commemorate it's 20th anniversary, an expanded edition of the original album will be released featuring 6 bonus tracks, including a brand-new recording of "Breakaway" by Avril, reimagined 20 years later.

Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity.

It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving.

Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties.

The tone set, the EP moves through ultra-rarefied glass-like percussion in an almost ambient setting, hints of grime’s counterintuitive patterns, and even more hectic patterns influenced by Tanzania’s hyperspeed singeli style of dance music – but always with that perfect balance of chaos and control, unpredictability and protection. It rewards playing and replaying endlessly, it’s a profound and often joyous experience… and it’s only just the beginning. This is the return of a master craftsperson more focused than ever on his vision and vocation and ready to blow your mind all over again.

Mastered and cut on 140g black vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

REVIEWS
"Utterly gorgeous. This magnificent album is the gift that keeps on giving. Downright essential"
Electronic Sound (No. 6 Album Of The Year 2022)
"A cosmic swoon that plays with closeness and distance in the realm of revelation"
Pitchfork - 7.6
"Gloriously introspective"
Sunday Times
2022 Album Of The Year
The Thin Air

You wake up abruptly on cold floorboards, your body aching as if from a great fall. White light floods your vision. Where are you? Last thing you can remember you were hurtling through the Genesis Domain at breakneck speed, but this is definitely somewhere different. As your eyes come into focus you see the hall is grand, intimidatingly opulent. A full house of seated onlookers peers at you expectantly. You’re on a stage, you realize. Flames creep up the walls, engulfing the room and lighting the faces in the audience; the heat is oppressive, but nobody seems to notice. A voice booms out.

“And now, ladies and gentlemen, the moment you’ve all been waiting for! Presenting: a performer of great renown all across the land, yours for one night only… introducing—”

Tiny bells jangle around your head as you shift your weight, obscuring whatever name the announcer just called out. You try to sit up. The jester’s hat tumbles off with a clatter. Not this again, you groan. Your head spins with vertigo. You grimace, trying to remember something. You had just gleaned an urgent and existential truth in the Genesis Domain, but it’s slipping away now… what was it?

Off to your left, a whip cracks. The impresario glares at you from the wings, fist clenched around a diamond-encrusted whip, mouthing at you to get up.

You try to run, but the weight of an incorporeal authority bears down upon you. The impresario cracks his whip again, an impish smirk forming on his lips.

With resignation, you begin to work the room. What else can you do? Tendrils of giggling and gossip creep through your periphery. The heat is suffocating and the smoke stings your eyes, but the show goes on. Remembering your bag of tricks as if from a dream, you raise your hands in the air, invoking the universal call to audience participation. The crowd goes wild. You feel the rush of a familiar thrill. Being the Fool comes naturally to you, you realize, as the palace burns around you.

A new release from the back alleys of Tokyo

"Prior to the vinyl release of the debut work “Vapor Curve”, which suffered a one-year delay due to manufacturing errors, the release of the mini-album “grainy film” has been confirmed."

Following the artist's previous release, this album completely eschews the use of computer-based DAW (Digital Audio Workstation) software. By relying exclusively on a strictly limited setup of hardware—synthesizers, samplers, and delay units—the artist pursues a meticulously woven, highly original take on minimal harmony.

At the core of this record lie exquisite ambient textures and beautifully shimmering synthesizer arpeggios. These are layered with the organic warmth of the sampler, vividly sketching out the contemporary "sound of Tokyo." As the album title suggests, the gritty, Lo-Fi texture of the sampler evokes the imagery of a vintage, low-fidelity film reel in the listener's mind. Pushing further than the predecessor, this approach embraces a more abstract, dubby, and deep soundscape aesthetic, elevating the album's artistry to new depths.

Describing this stoically refined electronic music, Maruyama reveals that it is "music for a cigar." It is not an assertive sound that demands to be the center of attention in the room. Instead, the moment the needle drops, it possesses an overwhelming power to transform the very particles of the room's air. The nostalgic and melancholic melodies, much like the shifting and fading trails of cigar smoke, embody the aesthetic of shogyo mujo (the impermanence of all things). Amidst a constantly changing world, it offers a desire to simply drift away in the slumber of sound—a supreme deep-listening experience guaranteed to transport you.

The Lockheed F-117 Nighthawk was an American single-seat, subsonic, twin-engined attack aircraft and is a fitting name for this EP, which is equally low-key, menacing and devastating from RAN. Influences from Loefah, Youngsta and Boddika abound in these stark and dark dub soundscapes, which drip with dank warehouse vibes, ride on booming low ends that melt into an inky night and come with precision-engineered percussion. 'GBU-10 (External Guidance)' is a late-night search across a deserted city, 'JDAM (Signal Without Light)' has a more sub-aquatic feel and rolls more fluidly, while 'GBU-27 (BLU-109 Core)' is ominous, with ghosts of dubstep and broken beat lurking round every corner. Fantastically immersive and meticulously executed, not least because the EP was mastered by the great Transition Studios in South East London (early support from Carrier).

Ismael Pinkler lives in Buenos Aires. Belly Dance Services head Nick Hanzo in Vienna. Turns out the exact midpoint between the two is somewhere in open ocean. So they abandoned the plan to meet on Earth at all, and met on planet 126 in outer space.

It turned out to be a strange, hospitable little world — spinning at its own pulse, 126 beats per minute, changing landscape every few kilometers, as if it couldn't decide what kind of planet it wanted to be either. Ismael and Nick wandered it together, letting each new terrain talk them into a different song, until ten tracks had quietly assembled themselves. What they brought back drifts somewhere between shoegaze, techno, ambient, trippy tribal house and pop — grounded and gravitational, emotional and mental, to put it in terms Earthlings might understand.

Now, speaking seriously: Ismael and Nick built Planet 126 by passing sounds and ideas back and forth across the ocean, night after night, for eight months. The entire process — composition, vocal recording, production and mixing — took just eight months, a dream scenario for any electronic musician. The collaboration stayed positive, proactive and fresh throughout, letting the project move forward effortlessly. All tracks were written and produced by both musicians together; Nick wrote the lyrics and recorded the vocals, Ismael handled the mix. No samples, no references — just two people building a world from scratch.

Planet 126 also marks a milestone for Belly Dance Services: the label's 30th release, and likely its last. BDS began with BDS001, a vinyl EP by label founders Hanzo & Yaman, and has been solely helmed by Nick Hanzo for the past five years. Now it comes full circle — laid to rest with a big bang: a double vinyl gatefold album co-produced by Ismael Pinkler and label head Nick Hanzo.

RAWAX welcomes Tot Goffer to the artist family! We are very happy with TOR's debut for us.
A superb warm, dreamy and groovy release which which will be out in October.
Highly recommended!

American DJ, producer and Lone Romantic / Ellum Audio label boss Maceo Plex joins Radio Slave’s Rekids with the ‘Monster’ EP.

Maceo Plex opens the ‘Monster’ EP with 'Flute Jam', a muscular, progressive cut with broken beats and subtle chords lighting up the airwaves. Drifting vocals and widescreen synths add great scale to this intergalactic journey while textured bass brings the weight. The hyper-real and aptly named 'Baby Monster' then features vocals from Baby Monsta, refracted through a full-bodied Electro-Techno fusion. The chords dance over fizzing bass, all with future-facing sound design and an outer space atmosphere. Closer 'Cold Flow' is a prickly breakbeat cut with dehumanised, trap-style vocals and precision engineering in the groove. It's a cinematic sound that takes breaks, techno and electro into new realms while retaining a soulful, melancholic core.

Active since the 90s, Maceo Plex haș long been operating in his own musical world, where Electro, Techno and House all fuse into something futuristic and fresh. He's been shaping the underground for three decades as a DJ and producer but also head of the infl ential Ellum Audio and Lone Romantic labels. Already this year he has dropped the dark 2-step sounds of his 'The Plan EP' via the latter, which also features Baby Monsta, and continues his purple patch with a standout debut on Rekids that finds him exploring yet more new ground.

This is Acid – for the deep, driving, uplifting after-hours. It's also a pure Acid remedy, sorely needed to elevate today's Techno dancefloors. With absolutely hands-in-the-air stabs, the Moon Creator EP nods to the best of the '90s Dutch club scene, while always staying true to the Acid game with its continuous double-303 sequencing. Swedish trio The Sysop – aka Pascal Mayet, Jonas Månsson, and Erik Jäähalli (of Börft Records) – present a beautifully melodic EP. In the right hands, this will impress dancers with their eyes closed.

Amsterdam's Stefan Vincent makes his Aquaregia debut with Until Meaning Emerges. With a discography spanning techno, acid and IDM, Vincent's versatility is on full display here. The four-track transmission uses the 303 as its central signal, soldering together halftime polyrhythms, breaks and techno. The EP opens with "Soothing the Beast", an alluring polyrhythmic acid stepper with squelching 303 and crisp halftime breaks, where interference resolves into coherence. "Full Scope" then slows the pulse down with a chilled-out, growling acid line that moves with a gravitational weight. On the flipside, "Degauss" reboots the system with a high-octane acid techno tool; a recursive groove spiraling deeper into the network. "Paranoid Origin" closes the release with a euphoric final ascent, layering breaks, melodic arpeggios and shimmering fragments that dissolve into open air.

Marlon Plein also known as Driven By Attraction, one half of Watching Airplanes is releasing a new solo EP on klakson! Watching Airplanes' 'blue is dope' was already one of the pleasant surprises featured on the klakson 20in20 compilation and the journey continues with 'Last Days Of Innocence'. 4 distinguished contemporary electro funk driven dance floor stompers with an ultra deep twist. Mandatory for serious record bags!!!!!!

2x12" Vinyl

Limited Edition 500 Copies

Remastered

Inside Out Cut - Starlight Coloured Vinyl

Original, Baby Doc & The Dentis, John 00 Fleming, Reinier Zonneveld, Charlotte De Witte, Red Jerry remix

Embark on a nostalgic journey through the pulsating beats of the 90s with the iconic anthem “The First Rebirth” by the visionary duo Franky Jones and Axel Stephenson. Since its inception in 1993, this timeless classic has etched its place in dance music history, and now it returns in a dazzling new avatar.

The much-celebrated track has been meticulously repackaged in a sleek, cool sleeve, accompanied by an electrifying array of both recent and classic mixes. Some of these renditions, previously confined to digital realms, make their long-awaited debut on vinyl, adding an extra layer of allure to this collector’s dream.

This exclusive 2 x 12" vinyl edition is strictly limited to just 500 copies worldwide and features a unique Inside Out cut, pressed on stunning Starlight vinyl — a striking black colour with vibrant coloured speckles, making each copy visually unique.

Don’t miss your chance to own a strictly limited piece of dance music history and immerse yourself in the reawakening of this electronic masterpiece. Only 500 copies available — once they’re gone, they’re gone.

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen!

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen! Dieses frisch grüne Vinyl ist limitiert (100 Stück weltweit)!

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen! Dieses frisch grüne Vinyl ist limitiert (100 Stück weltweit)!

“Sacred Aeolian music capturing and harnessing the divine power of the wind”

Aeolian Harp is somewhere between a string instrument and a receiver. Its strings are agitated by the wind without any human interference, producing tones entirely of its own volition. Archer toured the British Isles setting up his harp in various sacred and loosely mystical locations. Where he let the Devaharp transmit an otherwise unknown sacred music that has ALWAYS existed around us.

Listening to the natural swells of the strings and their unusual tonalities, the billowing wind and bird song overhead, it feels divinely calm and comforting. Something like tapping into the natural resonance of Mother Gaia or being back inside the womb.

DELUXE 2LP REISSUE
Housed in it’s original gatefold sleeve with original inserts, 2 new special colour inner sleeves, a new 2026 insert and a BONUS UNRELEASED album recorded in 1983 on Robert’s previously UNHEARD pyramid-shaped Aeolian harp the DEVAHARP 2.

Norman Blake und Raymond McGinley machen seit 37 Jahren gemeinsam Musik bei Teenage Fanclub, und auch wenn manche Aspekte des Bandlebens mit der Zeit einfacher geworden sind, können ihnen die einfachsten Dinge immer noch einen Strich durch die Rechnung machen. Blake sagt dazu: "Es ist schwierig, wenn es darum geht, sich einen Namen für ein Album auszudenken. Vor allem, wenn man schon 12 davon gemacht hat." Der Titel ,Do Not Dare To Dream" leitet sich ab von Blakes ,I Do Not Dare To Dream", einem mitreißenden, hymnischen Song, der von klangvollen Akustikgitarren getragen und am Ende von einem Duell elektrischer Gitarren begleitet wird, die sich wie eine beruhigende Umarmung umeinander schlingen. Blake erklärt, dass der Titel jene Memes verspotten soll, die die Menschen dazu auffordern, zu träumen, was für ihn irgendwie lächerlich ist. "Ich glaube nicht, dass die Welt so funktioniert." Das 13. Album von Teenage Fanclub ist voller Songs, die ruhig und entschlossen sind und eine Bestandsaufnahme des angespannten Zustands der Welt vornehmen, ohne der Verzweiflung zu verfallen. Blakes warme, von Orgelklängen untermalte Midtempo-Ballade ,Day In The Sun" und Raymond McGinleys ,Over And Over" sprechen beide davon, wie jeder einen neuen Sinn im Leben finden kann, indem er sein Herz öffnet. "Wir können immer noch fröhlich und optimistisch sein, auch wenn die Lage nicht gerade rosig ist", sagt McGinley. Blake und McGinley werden auf ,Do Not Dare To Dream" von ihren Bandkollegen Euros Childs (Keyboards und Gesang), Francis Macdonald (Schlagzeug) und David McGowan (Bass) begleitet. Dieses Quintett spielt nun schon so lange zusammen, dass keiner der beiden Hauptsongwriter und Gitarristen von Teenage Fanclub das Bedürfnis verspürt, sich vor dem Gang ins Studio über ihre Songs den Kopf zu zerbrechen oder Arrangements auszuarbeiten. Sie warten lieber auf die Beiträge der übrigen Bandmitglieder. Die Aufnahmen fanden im Black Bay Studio in der Ortschaft Kirkibost auf der schottischen Insel Great Bernera in den Äußeren Hebriden statt. Wie langjährige Fans wahrscheinlich wissen, nimmt Teenage Fanclub jedes Album an einem neuen Ort auf, damit die einzigartige Atmosphäre dieses Ortes die Musik beeinflussen kann. Great Bernera war ihr bislang abgelegenster Aufnahmeort, was der Band half, sich auf die Arbeit zu konzentrieren, sie aber auch in einen Zustand der Ehrfurcht versetzte, da sie von der tosenden See und antiken Ruinen umgeben waren. Das Ergebnis ist eine Sammlung von Liedern, die von der richtigen Perspektive von Musikern durchdrungen ist, die schon eine Weile im Geschäft sind, aufgenommen an einem Ort, der schon noch länger existiert. Wie Blake es ausdrückt: ,Ich glaube, es läuft einfach so ab, dass man von einer Sache zur nächsten übergeht, und ehe man sich versieht, sind 30 Jahre vergangen." McGinley fügt hinzu: ,Ja, es ist schon eine ganze Weile her, seit wir mit dem angefangen haben, was wir tun, aber für uns kommt es uns vor, als wäre überhaupt keine Zeit vergangen. An dem Ort, an dem wir das Album aufgenommen haben, wurde schon vor Tausenden von Jahren gesungen. Das Leben ist kurz, aber die Musik ist ewig."

Norman Blake und Raymond McGinley machen seit 37 Jahren gemeinsam Musik bei Teenage Fanclub, und auch wenn manche Aspekte des Bandlebens mit der Zeit einfacher geworden sind, können ihnen die einfachsten Dinge immer noch einen Strich durch die Rechnung machen. Blake sagt dazu: "Es ist schwierig, wenn es darum geht, sich einen Namen für ein Album auszudenken. Vor allem, wenn man schon 12 davon gemacht hat." Der Titel ,Do Not Dare To Dream" leitet sich ab von Blakes ,I Do Not Dare To Dream", einem mitreißenden, hymnischen Song, der von klangvollen Akustikgitarren getragen und am Ende von einem Duell elektrischer Gitarren begleitet wird, die sich wie eine beruhigende Umarmung umeinander schlingen. Blake erklärt, dass der Titel jene Memes verspotten soll, die die Menschen dazu auffordern, zu träumen, was für ihn irgendwie lächerlich ist. "Ich glaube nicht, dass die Welt so funktioniert." Das 13. Album von Teenage Fanclub ist voller Songs, die ruhig und entschlossen sind und eine Bestandsaufnahme des angespannten Zustands der Welt vornehmen, ohne der Verzweiflung zu verfallen. Blakes warme, von Orgelklängen untermalte Midtempo-Ballade ,Day In The Sun" und Raymond McGinleys ,Over And Over" sprechen beide davon, wie jeder einen neuen Sinn im Leben finden kann, indem er sein Herz öffnet. "Wir können immer noch fröhlich und optimistisch sein, auch wenn die Lage nicht gerade rosig ist", sagt McGinley. Blake und McGinley werden auf ,Do Not Dare To Dream" von ihren Bandkollegen Euros Childs (Keyboards und Gesang), Francis Macdonald (Schlagzeug) und David McGowan (Bass) begleitet. Dieses Quintett spielt nun schon so lange zusammen, dass keiner der beiden Hauptsongwriter und Gitarristen von Teenage Fanclub das Bedürfnis verspürt, sich vor dem Gang ins Studio über ihre Songs den Kopf zu zerbrechen oder Arrangements auszuarbeiten. Sie warten lieber auf die Beiträge der übrigen Bandmitglieder. Die Aufnahmen fanden im Black Bay Studio in der Ortschaft Kirkibost auf der schottischen Insel Great Bernera in den Äußeren Hebriden statt. Wie langjährige Fans wahrscheinlich wissen, nimmt Teenage Fanclub jedes Album an einem neuen Ort auf, damit die einzigartige Atmosphäre dieses Ortes die Musik beeinflussen kann. Great Bernera war ihr bislang abgelegenster Aufnahmeort, was der Band half, sich auf die Arbeit zu konzentrieren, sie aber auch in einen Zustand der Ehrfurcht versetzte, da sie von der tosenden See und antiken Ruinen umgeben waren. Das Ergebnis ist eine Sammlung von Liedern, die von der richtigen Perspektive von Musikern durchdrungen ist, die schon eine Weile im Geschäft sind, aufgenommen an einem Ort, der schon noch länger existiert. Wie Blake es ausdrückt: ,Ich glaube, es läuft einfach so ab, dass man von einer Sache zur nächsten übergeht, und ehe man sich versieht, sind 30 Jahre vergangen." McGinley fügt hinzu: ,Ja, es ist schon eine ganze Weile her, seit wir mit dem angefangen haben, was wir tun, aber für uns kommt es uns vor, als wäre überhaupt keine Zeit vergangen. An dem Ort, an dem wir das Album aufgenommen haben, wurde schon vor Tausenden von Jahren gesungen. Das Leben ist kurz, aber die Musik ist ewig."

Creole Culture is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, Creole Culture pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following New Breed (2019) and Second Line (2021), Creole Culture is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.


Creole Culture follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s Quiet in a World Full of Noise, found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”
That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. Creole Culture presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on Creole Culture with the care of a botanist nurturing new hybrids in a rose garden.


What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on “l v r” serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on “chuuuurch.” “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”
In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” Creole Culture is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. Creole Culture is her most stunning one yet.

Creole Culture is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, Creole Culture pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following New Breed (2019) and Second Line (2021), Creole Culture is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.


Creole Culture follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s Quiet in a World Full of Noise, found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”
That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. Creole Culture presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on Creole Culture with the care of a botanist nurturing new hybrids in a rose garden.


What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on “l v r” serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on “chuuuurch.” “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”
In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” Creole Culture is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. Creole Culture is her most stunning one yet.

OK, so the original pressing of the Heartstopper vinyl box set sold out in 2.5 hours.... Incredible!
We're making another version available. This is basically the same version, except it's NOT numbered. Also, this pressing will be released on October 9.

Heartstopper is the critically acclaimed Netflix coming-of-age romance that has captured the hearts of millions around the world. Based on the bestselling graphic novels and webcomic by Alice Oseman, the story follows Charlie Spring and Nick Nelson as they navigate friendship, love, identity, and growing up. Praised for its authentic representation and warmth, Heartstopper has become a cultural phenomenon, earning a devoted global fanbase and widespread critical acclaim. The series comprises three seasons, which aired between 2022 and 2024, followed by a feature-length film in 2026.

An essential part of the series’ emotional impact is its music. Across the series and film, Adiescar Chase’s music beautifully underscores the characters’ journeys, capturing the excitement of first love, the uncertainty of growing up, and the quiet intimacy of everyday moments. Her compositions have become an integral part of the Heartstopper experience, adding depth and atmosphere to the story’s most memorable scenes.

In collaboration with Netflix, Music On Vinyl proudly presents the complete Heartstopper soundtrack on vinyl for the very first time. This deluxe box set brings together the original scores from all three seasons of the series and feature film across four releases, pressed on stunning marble-coloured records in blue, pink, yellow, and orange, and housed in a beautifully crafted collector’s box. The set is complemented by an 8-page booklet featuring exclusive liner notes by Alice Oseman, four A4 art cards showcasing the original artwork from each release, and a Heartstopper diary for personal use, inspired by the series. Together, these carefully curated elements make this the definitive collector’s edition, celebrating the music and legacy of Heartstopper in a truly special format.

Fasme and Quadratschulz join forces for a very special record: Ghost in the Machine. Finding cacophony and harmony through their blinking music boxes, these two knob-twiddlers melt genres. Through live jam sessions, a week of braindance shenanigans, the pair emerged from a Hamburg studio with five spur-of-the-moment cuts. Bubbles of acid pop, dreamy notes float, keys dash and race as robotic voices slice through this helter-skelter interplay of melody and percussion. A celebration of impromptu experimentation where analogue alchemy reacts with impulsive energy.

TEMACHII creates immersive worlds where music, visual art, nature, and emotion blur together. Evoking the hazy surrealism of a once forgotten dream, the San Antonio-based multi-instrumentalist has built a devoted global audience through ethereal soundscapes, hand-crafted visuals, and songs that feel both deeply personal and universally comforting. Her music pairs ambient textures and dream-pop charm with an intimacy that feels like eavesdropping on an artist in conversation with herself—absorbing influences like Radiohead, Fiona Apple, Mitski and Aphex Twin while remaining less guided by genre than by feeling.

Her 2023 debut, flora maniia, was anchored by the 50 million-streamed hit “may you never forget me,” blending hypnotic acoustic guitar, lilting synths, and airy vocals into a reflection on love, memory, and the desire to leave a lasting impression. The follow-up LP, akrasiia, arrived later that same year, revealing a more stripped-back side of her sound while preserving the wonder at the heart of her work. Together with 2024 single “not/lost,” the releases have brought Temachii's art to fans around the world, a reach that feels especially meaningful given her Puerto Rican heritage. More importantly, they have transformed that audience into something more meaningful than simply streams and likes: a space for listeners to feel both safe and seen.

Adam Ten and Yamagucci team up on Rekids with ‘Keep Workin’’. Label head Radio Slave steps up with a remix.

Frequent collaborators Adam Ten & Yamagucci drop 'Keep Workin’' on Rekids, with a remix from label boss Radio Slave. The single is an irresistible club tool with immeasurable bass weight. Bold, rubbery drums and grinding low-end combine in bouncy fashion while a vocal fragment loops up top to create perfect dance floor tension. Brighter chords eventually rise through the mix, providing emotional release that will get hands in the air and take things to the next level.

On the remix, Radio Slave strips the original ‘Keep Workin’’ back to dusty, shuffling drums with jazzy flourishes. The track has a live, lived-in feel, complete with vulnerable piano keys that haunt the spaces above its weighty groove and transfix any crowd with eerie beauty.

Adam Ten is a long-time House innovator, Maccabi House co-founder and Upon You Records and Higher Ground artist, with over twenty Top 10 Beatport releases and millions of streams to his name. He blends the grit of Techno with escapist melodies in versatile, curious sets and productions that have earned him bookings worldwide. Yamagucci has made an equal impact on the world stage through his field recordings and organic percussion, adding a unique twist to his tracks on labels like Disco Halal, as well as Diynamic and Crosstown Rebels, labels that Adam Ten and Yamagucci have also collaborated on together.

Driven by a lush and irresistible energy, Beyond Brazilian Stories takes you on a musical journey between Brazilian traditions and jazz improvisation.

Introduced to the richness of Brazilian music by Philippe Baden Powell, pianist Mathieu Bélis and double bassist Stéphane Dardour founded BSP PRODUCTIONS and formed the quintet Beyond Brazilian Stories, joined by saxophonist David Florsch, drummer Louis Bao Lao, and Äulne, vocalist and flutist.

Together, they revisit masterpieces by giants such as Milton Nascimento, Airto Moreira, Hermeto Pascoal, Dorival Caymmi, Edu Lobo and Moacir Santos, blending popular melodies with soaring instrumental passages.
The group also brings its own compositions, inspired by the vibrant energy of Brazilian music, creating a sound that is both authentic and innovative.

Their new album O ritmo do sonho has been awarded the “Revelation” distinction by Jazz Magazine!
Album contributors:

Mariana Zwarg - flutist, daughter of Itiberê Zwarg, Hermeto Pascoal’s bassist.
Edmundo Carneiro - Brazilian percussion legend (Tania Maria, De La Soul, Saint Germain, etc.).
Jessica Simon - trombonist, member of the Orchestre National de Jazz.

“An explosive fusion where samba, bossa and jazz become the playground for joyful and virtuosic freedom....” Jazz Rhônes Alpes
“...the brilliant Hermeto Pascoal,
whose spirit is present throughout O ritmo do sonho...” Revelation Jazzmag

Man With Seven Heads takes shape at an angle. Meticulous, bouncy, clever throughout.