One of the highlights of the King Crimson 50th anniversary CD/Blu-ray editions to date has been King Crimson producer David Singleton’s series of Elemental Mixes as he utilises the full spectrum of available studio sessions for each album to produce very different takes on the familiar songs and pieces.
This is especially true of Lizard where the ambition of the material, the much-expanded line-up of musicians - the background of many of them in the jazz rather than the rock world - and the number of takes recorded, resulted in a large amount of material to be considered for this album.
There was enough material for David to be able to mix and produce alternate takes for every piece from the original album.
As well as giving great insight into the recordings, the nature of Elemental Mixes allows for different takes from individual musicians to be included – sometimes alongside one another - in a way that would never be considered in the formulation of the original album.
David comments that “When I was working on the Elemental mixes, I jokingly described them as ‘Lizard for those who don’t like Lizard’. They were a complete revelation. Lizard is the one album which, in its initial incarnation, never quite convinced me. And yet these Elemental mixes, with their opportunity to look ‘under the hood’ of the album, revealed something fresh, wonderful and astonishing. So, if you are a King Crimson fan, who like me, has never quite taken Lizard to your heart, then these are essential listening. And hopefully equally fascinating to those who already love the album”.
Presented as a single 200gram LP and including the complete album in Elemental Mixes form, running in the same sequence as the original album, this release showcases Lizard in a very different manner to how it’s previously been heard.
Lizard’s reputation has grown, deservedly so, in recent years as old and new audiences alike rediscovered the album, initially when it was first remixed for new Stereo and 5.1 Surround Sound editions in 2009 by Steven Wilson and then as much of it was performed live for the first time in concerts by the most recent King Crimson line-up between 2016 and 2018.
We're excited to announce 2 stone cold classics from Theo Parrish on Peacefrog - First Floor Part 1 and First Floor Part 2.
Originally released in 1998 "First Floor” is Detroit/Chicago auteur Theo Parrish’s debut album. Released on vinyl in two parts for maximum playability; the raw bluesy, soulful offbeat grooves have long since buried themselves deep under the skin of the house community.
Showcasing Theo’s innovative use of drum programming and effects its uniquely loose but taut knit of minimalist elements worked to maximal, hypnotic effect have solidified its reputation as a contemporary classic and served as a corner stone for Theo’s truly legendary status.
"First Floor” is one of those albums that has transcended generic borders to influence heads of all stripes with its unmistakable soul-nuzzling texture and groove. Essential.
Rotes Vinyl, limitiert auf 1000 Exemplare. 4x A6-Postkarten mit Bandfotos Exklusives Interview auf den Innersleeves. Wir feiern das 30-jährige Jubiläum des legendären Albums ,The Bridge" von Ace of Base - jetzt als limitierte Auflage auf rotem Vinyl, in einem Gatefold-Sleeve und mit 4 exklusiven Postkarten mit Bandfotos. Das ursprünglich 1995 veröffentlichte Album markierte einen neuen Abschnitt für das schwedische Pop-Phänomen und verband unwiderstehliche Melodien mit einem reiferen und introspektiveren Sound. Mit Hits wie ,Beautiful Life", ,Lucky Love" und ,Never Gonna Say I'm Sorry" fing ,The Bridge" den Geist der 90er Jahre ein und bewies gleichzeitig die zeitlose Anziehungskraft der Band. Remastered und auf exklusivem rotem Vinyl gepresst - eine unverzichtbare Sammleredition für jeden Ace-of-Base-Fan.
GEMiNii Records proudly announces its latest release, featuring three exceptional artists who redefine the boundaries of deep-minimal production.
Bauch & Niimm deliver an iconic track, "Paradisiac," that transports listeners into a realm of celestial pads and captivating basslines. This deep-minimal masterpiece is adorned with delicate piano touches, creating an auditory experience that truly feels like the gates of paradise opening before you.
Renowned for his expertise in break-microhouse, Rumenian Maestro CEZAR LAZAR elevates "Paradisiac" to new heights with his unique remix. Infusing the track with echoes of ethereal voices and synths that transcend human knowledge, Lazar’s remix adds a layer of complexity and intrigue, making it a must-listen for discerning ears.
Don’t just sleep on this release but let it inspire your dreams.
A further landmark release number hit as we announce our 30th (eeek!) release on home label Rezpektiva. Stepping up for this occasion we present Mystic Base aka Ziggy P, producer and label owner of the original label it was released on in '92, Boo Records out of Düsseldorf. Consisting of three original tracks with magical tendencies that stand out for any time at any place you could argue its sound is more relevant than ever before.
Back when the first white labels started floating through the hands of German, British, American and Canadian DJs in late ’84, nobody was ready for what was coming. The official drop hit in early ’85 and the scene was never the same again. This was the moment Mike Mareen broke through the static. Yeah, he’d been working with Chris Evans-Ironside since the ’70s but nothing hinted that together they’d channel something this futuristic. “Dancing In The Dark” sounded like it had slipped through a wormhole: melancholic, hypnotic vocals wrapped in vocoder haze, riding an arrangement so razor-sharp it made most releases of the era feel prehistoric. It didn’t need the pop charts… It owned the clubs. And the clubs listened.
One drop of that electro bassline and DJs were hooked. Crowds were hooked. The whole underground was hooked. Soon Europe’s radio charts caved under its pressure, and the track crossed borders on mixtapes, becoming a cult anthem behind the Iron Curtain. It was everywhere, even where it technically wasn’t allowed to be.
Fast-forward four decades and the spell hasn’t faded. “Dancing In The Dark” still shows up in indie dance, italo wave, house and deep house sets. Producers keep re-editing it like it’s sacred material. It’s one of those tracks that DJs treasure, a timeless weapon, one of the top three defining singles of Mareen’s entire career.
And now for the 40th anniversary of its official release, Vintage Pleasure Boutique and Night’n Day Records drop the vinyl every collector and selector has been waiting for: a special reissue loaded with four brand-new remixes spanning the full spectrum of today’s underground indie/disco/italo/house energy.
Tallac – the American Berlin dweller – dives deep into the hypnotic soul of the original, pulling out its buried deep-house DNA and carving out a spacious, emotional roller.
Luksek, Italian producer & DJ, goes raw and dirty: loop-driven, gritty, underground, hypnotic, the kind of edit that eats dancefloors alive.
Flemming Dalum, the Danish Italo grandmaster, finally gets to remix the track he’d always dreamed of touching and of course it’s pure Flemingish electro-italo magic.
And the Polish sparkle: A.P. Mono delivers a shimmering mix of italo disco, glitterbox groove, disco glamour and synthwave glow, all while keeping the spirit of Mareen’s original heartbeat intact.
The wax also features two historical heavy-hitters: the 1985 Jens Lissat’s team remix and Luis Rodriguez’s original arrangement, essential cuts in the Mareen universe.
This release isn’t nostalgia. It’s a resurrection. A celebration. A reminder. “Dancing In The Dark” didn’t survive 40 years by accident, it survived because it still moves bodies, breaks hearts and lights up floors in ways modern tracks can only wish for.
If you’re an indie, italo, wave, house or disco DJ… This record isn’t just worth owning… It’s mandatory.
Drummer-composer Tom Skinner announces Kaleidoscopic Visions, his second solo album, out 26th September 2025 via Brownswood Recordings and International Anthem
Kaleidoscopic Visions unfolds across two distinct sonic landscapes. Side A presents entirely instrumental compositions performed by Skinner's live Bishara band—bassist Tom Herbert, cellist Kareem Dayes, and Robert Stillman and Chelsea Carmichael on various woodwinds and reeds—with electric guitar on two tracks courtesy of Portishead's Adrian Utley. A drummer-composer bringing his wealth of experience to bear on the role of bandleader, Skinner composed primarily on guitar, embracing the freedom that came with writing on his secondary instrument.
These compositions include "Auster," dedicated to late novelist Paul Auster, and "Margaret Anne," which honours Skinner's mother Anne Shasby, a former classical concert pianist prodigy who abandoned her own promising career in the face of systemic misogyny, only to impart on her son what Skinner calls "the gift of music."
Skinner’s musical world opens further on Side B, where a collection of poised vocal collaborations stretch out from jazz and improvisation towards a more dream-like, soulful sound. The centerpiece is "The Maxim," a ten-minute collaboration with Grammy Award-winning Meshell Ndegeocello, a dubby, spacious meditation on life and death, delivered with a free-spirited grace. For Skinner, working with Ndegeocello—whom he first saw at Glastonbury as a teenager in 1994—represents a full-circle moment, indicative of the indirect paths and inspirational detours that have shaped his life.
The album goes on to feature South Carolina-based singer Contour (Khari Lucas) who appears on the low-lit soul ballad ‘Logue’, and closes with ‘See How They Run’, featuring London keyboardist-vocalist Yaffra (Jonathan Geyevu). It is the album’s most overtly lyrical track, an articulate exposition of jazz-inflected spoken word that speaks not only to the genre-fluid nature of the music but the breadth of Skinner’s palette.
This should come as no surprise. On Kaleidoscopic Visions, one of London’s most vital musical figures gives us a sparkling glimpse of the multi-coloured lens through which his unique sound is now refracting.
DJ Support: Sasha, Marco Faraone, Robin M, Just Her, FKA Mash, Paul Van Dyk, Adriatique and CamelPhat
Bedouin joins forces with vocalist Marieme for their latest release ‘Reason’, available now on the duo’s Human By Default label. The track marks part of the imprint’s fifth anniversary celebrations.
‘Reason’ blends Bedouin’s hypnotic grooves and emotive melodies with Marieme’s soulful, evocative voice. Her lyrics explore themes of identity, freedom, and self-perception, resulting in a collaboration that balances movement with emotional depth.
Comprised of Tamer Malki and Rami Abousabe, Bedouin has spent over a decade developing a genre-blending sound rooted in their Middle Eastern heritage and Western upbringing. Their music has appeared on Crosstown Rebels, Big Beat, and more, while their Ibiza residency SAGA—now at Chinios Ibiza—has become a staple of the island since 2017. The duo has also performed at Coachella, Tomorrowland, Kappa Futur, Burning Man, Ushuaïa, and Hï Ibiza.
Marieme, born in Mauritania and raised between Senegal and the US, brings a distinctive storytelling approach through her recent singles ‘Harmony’, ‘Tell Me’, and ‘Havana Nights’. Her work promotes self-love and liberation, expressed with a powerful vocal presence.
Marking 50 years of David Bowie’s groundbreaking tenth studio album, the limited-edition picture disc LP is pressed from the same master and includes an exact reproduction of the original promotional poster used at release.
For this anniversary edition, the Half Speed Master album has been recut on a customised late-model Neumann VMS80 lathe with fully recapped electronics, sourced from 192kHz restored masters of the original Record Plant master tapes. No additional processing was applied, delivering the closest possible representation of the album’s original sound.
Fides Records pushes further into its 10-year anniversary journey with X3, the third chapter of the series. Staying true to the label’s decade-long commitment to forward-minded underground techno, this new instalment sharpens the focus with five cuts that move between peak-time impact, melancholic tension, and dubwise pressure—each one a different angle on the Fides aesthetic.
Side A opens with Dustin Zahn’s “Madness”, a no-nonsense peak-time weapon built on stomping momentum, immersive pressure, and relentless drive—proof of why the US veteran remains a constant reference point. Marco Bruno follows with “Aura”, where melancholic leads and detuned synths shape an introspective yet heavy-hitting groove, capturing the Italian producer’s emotional weight and versatility. Closing the side, JANEIN (co-founder of Seelen Records) delivers “Polaris”, a spatial, bleepy roller that leans into darkness while keeping the propulsion locked forward.
Flipping to Side B, Yant’s “Fractured” shifts the palette: playful yet precise, kinetic in motion, with textures that keep mutating as the rhythm snaps into place. DHÆÜR “Sealand” captures the mood of a young Italian artist carving a new lane in minimal, elegant, unapologetic techno—energized and raw, yet defined by clean design, confident restraint, and a sharp personal signature. The record concludes with Hadone’s “No Longer Observed”, a dub-tinged stomper rich in detail and low-end depth; club-weight with an emotional undercurrent, balancing elegance and power in a way that feels unmistakably Fides.
Real Lies’ new album ‘WE WILL ANNIHILATE OUR ENEMIES’ will arrive on April 16th 2025 via Tonal. The album is about taking the hand of someone you love intensely and running headlong into the chaos and noise and grinding forces that dominate modern life. It follows gilded 2024 collaborations with Mall Grab, Kettama and Drain Gang’s YEAR0001 label. Lyricist Kevin Lee Kharas and producer Patrick King created the record in their studio, hidden away under a railway bridge somewhere in London’s Zone 3. Three pictures stared down at them from the walls throughout, including an image of a young Sasha Shulgin in the relief print style of Che Guevara t-shirts sold at Camden Market, and a photo of an orbiter fairground ride in flight, taken sometime in the early 2000s. Kharas’ lyrical inspiration comes when he steps away from the tsunami of data flooding his consciousness and paces London’s rain-soaked streets late at night. “I wanted the songs on WWAOE to confront modern reality head-on, unflinching,” he explains. “I didn’t want to whine about a lost past. I didn’t want nostalgia. I wanted to learn to love the modern world, with all its horrors and futility.” After a teenhood spent playing in hardcore bands, the duo found ecstasy at a squat party for the first time, and moved to London. Since then, they’ve made music about finding romance and fun when the moon is up, becoming a cult act in the process.
Footnotes is proud to announce the release of Twenty, a set of 4 EPs that showcase the fresh talents of Channell, Noppo & Bazil, Zar and Viiah — each contributing a distinct flavour to the project's flow.
The 12" sampler contains one track from each EP on a project that bridges the soulful side of Drum & Bass.
Megadeth have announced their final, self titled album, for release in 2026, via Dave Mustaine’s Tradecraft imprint in partnership with Frontiers Label Group’s new BLKIIBLK label. The campaign is anchored by the first single “Tipping Point”, multiple variants and exclusives and and a farewell tour has been hinted for 2026 “There's so many musicians that have come to the end of their career, whether accidental or intentional,” DAVE MUSTAINE says. “Most of them don't get to go out on their own terms on top, and that's where I'm at in my life right now. I have traveled the world and have made millions upon millions of fans and the hardest part of all of this is saying goodbye to them. We can't wait for you to hear this album and see us on tour. If there was ever a perfect time for us to put out a new album, it's now."
For the first time on Little Beat More, Sweden’s Cumbiasound deliver a vibrant 7” that expands their ever-evolving exploration of tropical soundscapes. Led by Daniel Fridell, the band has long been pushing the boundaries of cumbia while keeping its analogue heart beating strong, blending classic Colombian and Peruvian sounds with Afrobeat, reggae, jazz, funk, and beyond.
The A-side Mas Paz (Rework) breathes new life into one of Cumbiasound’s most beloved tracks, originally featured on their album Cosas del Universo. Vocalist Lis Flores Varela brings her unmistakable smoothness, while Chilean rapper Boogie Castillo lays down thoughtful verses with his signature flow in a track that captures the essence of the band: rooted, soulful, and globally connected. And to top it off, this new version has a fresh new vocal feature by Congolese singer José Pereelanga.
On the flip side, Jinsei, is a collaboration with Japanese cumbia band Mumbia y Sus Candelosos, led by composer and percussionist Mutsumi Kobayashi. With its breezy guitars, soft tropical groove, and the warm vocals of José Pereelanga, the track drifts like a slow river, effortlessly bridging continents and traditions.
With this 7”, Cumbiasound once again affirms its place among the most interesting projects in today’s nu-cumbia landscape with a vision that crosses borders with ease.
Made with Love by Little Beat More 2025 “We Dance We Think”
Motor city royalty Floorplan, aka Detroit techno pioneer and creator of minimal techno Robert Hood and his DJ/producer daughter Lyric Hood, announce their forthcoming inclusion in the deeply respected ‘fabric presents’ mix series with the release of their new single ‘You’re A Shining Star’, out now. The full mix drops on digital/vinyl/CD via fabric records on 28th November.
Robert has been a long-standing fabric favourite since the institution's earliest years, clocking up over 20 sets in Room 2, including a live session on New Year's Eve, 2012. In 2008, he'd turn in Fabric 39 which is among the most revered contributions to the fabric mix canon. Now, with the forthcoming ‘fabric presents Floorplan’ mix, the story comes full circle - marking both the duo’s debut on the iconic mix series and a monumental moment for the family project.
About Floorplan: Emerging from a musically rich Detroit upbringing steeped in Motown and vinyl culture, Robert Hood became an early member of the seminal ’90s collective Underground Resistance, helping to spearhead the rise of techno. Going solo, Hood created minimal techno with his Minimal Nation LP. Groundbreaking productions, acclaimed performances, and his own M-plant label followed, until in ’96 he formed Floorplan - an alter ego to expand beyond minimal techno into gospel, soul and house-infused techno. Immersed in music from an early age, Lyric eventually caught the same electronic spark that’s driven her father for decades. In 2014, after the release of Hood’s debut Floorplan album Paradise, the project evolved as the then-16-year-old Lyric joined him to perform as Floorplan, including a supreme closing set at Dekmantel’s Boiler Room stage. Two years later, Lyric officially became a full member of Floorplan, cementing their father–daughter collaboration, and they’d release their co-produced album Victorious on M-Plant that same year.
Limited Edition Transparent Black Vinyl Version - 500 Units Only
There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.
Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.
Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.
Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s The House Music Anthem (Move Your Body) featuring Curtis McClain.
The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.
To mark Grid's second anniversary back in 2023, the label brought together 13 tracks from the bass scene's most forward-thinking artists, all of which sank you into deep sonic chambers. Now, six of those tracks are available on wax for the first time in what is an essential sampler featuring boundary-pushing contributions from forward-thinking artists. Sister Zo opens with the percussive pressure of 'EMP,' Ronan lays down a lithe rhythm that befits its 'Shadowbox' title and Seekersinternational drill down into warped low-end chaos. There is a deftness to Jonny From Space's tumbling perc and E-Unity brings clean lines and a futuristic sheen to his deep dub workout 'Of All The Places I Could Be'. Tammo Hesselink brings ambient soundscaping with his floating delight, 'Paint Reduce Trick.' This is high-quality, original music that moves both mind and body.
We’re thrilled to announce our debut release — Lucid Departure EP, marking the beginning of our journey. Kicking things off in style with David Pasajero and Artesano Titer, each bringing their own unique blend of trance.
David Pasajero’s A1 Matter of the Mind and A2 Stage One showcase his distinctive touch — a driving fusion of Goa textures and heavier trance energy that sets the tone for what’s to come.
Artesano Titer’s B1 Declaration and B2 The Sparrow reflect his Uruguayan roots, weaving dark, progressive layers into an atmospheric trance experience.
The Éthiopiques series returns! Essential archive recordings from an extremely fruitful period in Ethiopian music.
Before “Swinging Addis” took over the world, there was Moussié Nerses Nalbandian — the Armenian-born composer who shaped modern Ethiopian music. Mentor, arranger, and pioneer, he laid the foundations of Ethio-jazz.
This Éthiopiques volume revives his forgotten legacy, recorded live by Either/ Orchestra First issue ever with new exclusive photos and in depth liner 8-page insert.
“Ethiopian jazzmen are the best musicians that we have seen so far in Africa.
They really are promising handlers of jazz instruments.”
Wilbur De Paris
(1959, after a concert in Addis Ababa)
አዲስ፡ዘመን። *Addis zèmèn* **A new era.**
The time is the mid-1950s and early 1960s, just before "Swinging Addis" bloomed – or rather boomed – onto the scene. Brass instruments are still dominant, but the advent of the electric guitar, and the very first electronic organs, are just around the corner. Rock’n'Roll, R’n’B, Soul and the Twist have not yet barged their way in. Addis Ababa is steeped in the big band atmosphere of the post-war era, with Glenn Miller's *In the* *Mood* as its world-wide theme song, neck and neck with the Latin craze that was in vogue at the same period. Life has become enjoyable once again, with the return of peace after the terrible Italian Fascist invasion of Ethiopia (1935-1941). The redeployment of modern music is part and parcel of the postwar reconstruction. *Addis zèmèn* – a new era – is the watchword of the postwar period, just as it was all across war-torn Europe.
The generation who were the young parents of baby boomers** were the first to enjoy this musical renaissance, before the baby boomers themselves took over and forever super-charged the soundtrack of the final days of imperial reign. Music is Ethiopia's most popular art form, and very often serves as the best barometer for the upsurge of energy that is critical for reconstruction. Whether it be jazz in Saint-Germain-des-Prés or the *zazous* who revolutionised both jazz and French *chanson* after the *Libération*, be it Madrid's post-Franco Movida, or Dada, the Surrealists and *les années folles* that followed World War I, the periods just after mourning and hardship always give rise to brighter and more tuneful tomorrows. Addis Ababa, as the country's capital, and the epicentre of change, was no exception to this vital rule.
**Two generations of Nalbandian musicians**
Nersès Nalbandian belonged to a family of Armenian exiles, who had moved to Ethiopia in the mid-1920s. The uncle Kevork arrived along with the fabled "*Arba Lidjotch*", the** "*40 Kids*", young Armenian orphans and musicians that the Ras Tafari had recruited when he visited Jerusalem in 1924, intending to turn their brass band into the official imperial band. If Kevork Nalbandian was the one who first opened the way of modernism, pushing innovation so far as to invent musical theatre, it was his nephew Nersès who would go on to become, from the 1940s and until his death in 1977, a pivotal figure of modern Ethiopian music and of the heights it. Going all the way back to the 1950s. Nothing less. And it is Nersès who is largely to thank for the brassy colours that so greatly contributed to the international renown of Ethiopian groove. While the younger generations today venture timidly into the genealogy of their country's modern music, often losing their way amidst a distinctly xenophobic historiographical complacency, many survivors of the imperial period are still around to bear witness and pay tribute to the essential role that "Moussié Nersès" played in the rise of Abyssinia's musical modernity.
Given the year of his birth (15 March 1915), no one knows for sure if Nersès Nalbandian was born in Aintab, today Gaziantep (Turkiye/former Ottoman Empire) or on the other side of the border in Alep, Syria... What is certain is that his family, like the entire Armenian community, was amongst the victims of the genocide perpetrated by the Turks. Alep, the place of safety – today in ruins.
Before Nersès then, there was uncle Kevork (1887-1963). For a quarter of a century, he was a whirlwind of activity in music teaching and theatrical innovation. *Guèbrè Mariam le Gondaré* (የጎንደሬ ገብረ ማርያም አጥቶ ማግኘት, 1926 EC=1934) is his most famous creation. This play included "ten Ethiopian songs" — a totally innovative approach. According to his autobiographical notes, preserved by the Nalbandian family, Kevork indicates that he composed some 50 such pieces over the course of his career. This shows just how much he understood, very early on, the critical importance of song as Ethiopia's crowning artistic form. Indeed, for Ethiopian listeners, the most important thing is the lyrics, with all their multifarious mischief, far more than a strong melody, sophisticated arrangements or even an exceptional voice. (This is also why Ethiopians by and large, and beginning with the artists and producers themselves, believed for a long time — and wrongly — that their music could not possibly be exported, and could never win over audiences abroad, who did not speak the country's languages).
Last but not least, one of Kevork's major contributions remains composing Ethiopia's first national anthem – with lyrics by Yoftahé Negussié.
Nersès Nalbandian moved to Ethiopia at the end of the 1930s, at the behest of his ground-breaking uncle. Proficient in many instruments (pretty much everything but the drums), conductor, choir director, composer, arranger, adapter, creator, piano tuner, purveyor of rented pianos,... he was above all an energetic and influential teacher. From 1946 onwards, thanks to Kevork's connexion, Nersès was appointed musical director of the Addis Ababa Municipality Band. In just a few years, Nersès transformed it into the first truly modern ensemble, thanks to the quality of his teaching, his choice of repertoire, and the sophistication of his arrangements. It was this group that would go on to become the orchestra of the Haile Selassie Theatre shortly after its inauguration in 1955, which was a major celebration of the Emperor's jubilee, marking the 25th anniversary of his on-again-off-again reign.
At some point or other in his long career, Nersès Nalbandian had a hand in the creation of just about every institutional band (Municipality Band, Police Orchestra, Imperial Bodyguard Band, Army Band, Yared Music School…), but it was with the Haile Selassie Theatre – today the National Theatre – that his abilities were most on display, up until his death in 1977. To this must be added the development of choral singing in Ethiopia, hitherto unknown, and a sort of secret garden dedicated to the memory of Armenian sacred music, and brought together in two thick, unpublished volumes. Shortly before his death (November 13, 1977), he was appointed to lead the impressive Ethiopian delegation at Festac in Lagos, Nigeria (January-February 1977).
His status as a stateless foreigner regularly excluded him from the most senior positions, in spite of the respect he commanded (and commands to this day) from the musicians of his era. Naturally gifted and largely self-taught, Nerses was tirelessly curious about new musical developments, drawing inspiration from the very first imported records, and especially from listening intensely to the musical programmes broadcast over short-wave radio – BBC *First*. A prolific composer and arranger, he was constantly mindful of formalising and integrating Ethiopian parameters (specific “musical modes”, pentatonic scale, and the dominance of ternary rhythms) into his “modernisation” of the musical culture, rather than trying to over-westernise it. It even seems very probable that *Moussié* Nerses made a decisive contribution to the development of tighter music-teaching methods, in order to revitalise musical education during this period of prodigious cultural ferment. Flying in the face of all the historiographical and musicological evidence, it is taken as sacrosanct dogma that the four musical modes or chords officially recognised today, the *qǝñǝt* or *qiñit* (ቅኝት), are every bit as millennial as Ethiopia itself. It would appear however that some streamlining of these chords actually took place in around 1960. It was only from this time onward that music teaching was structured around these four fundamental musical modes and chords: *Ambassel*, *Bati*, *Tezeta* and *Antchi Hoyé*. A historical and musical “details” that is, apparently, difficult to swallow, especially if that should honour a *foreigner*. Modern Ethiopian music has Nersès to thank for many of its standards and, to this day, it is not unusual for the National Radio to broadcast thunderous oldies that bear unmistakable traces of his outrageously groovy touch.
Neroli reaches release number 50 during its 20th anniversary and celebrates with a special project, an album of songs by some of the label artists and friends. The title reference goes back to 20 years ago when label’s honcho Volcov decided to give the label the name of Brian Eno’s Neroli album, an hour long ambient opus inspired by the oil derived by the flowers of the Seville orange. So after 20 years and 50 releases the label goes full circle and offers an album of delicate and heartwarming melodies and atmospheric songs. The talent of original UK dons Kirk Degiorgio, Dego and Ian o’Brien is enrolled once again to guarantee sophistication and depth. Patrice Scott and Fred P, who had recently released eps on Neroli, are joined here by fellow spacecadet Aybee…all delivering warm futuristic pieces! K15 and Linkwood debut on the label, opening and closing the album with class. And there is even a lost composition by Volcov himself with Detroit’s Gerald Mitchell and Pirahnahead as part of some 2010 sessions that might resurface soon…THE FIRST CIRCLE is complete!
Design by Al White. Manufactured and Distributed by Mother Tongue, Verona.
Groovin Recordings proudly announce the forthcoming release of "Back From Paradise", a track co-produced by the legendary Italian DJ Costantino “MixMaster” Padovano and renowned South Italian producer Antony Reale.
This record is a dedication to the enduring legacy of Costantino MixMaster Padovano. Originally produced in the late 90's but never officially released, this collaborative piece is finally seeing the light of day as a powerful celebration and tribute.
Costantino MixMaster Padovano needs no introduction to house music aficionados. He was one of the first Italian DJs to achieve deep respect in the 90s US house scene, regularly sharing the decks with titans like Frankie Knuckles, Kenny Dope Gonzalez, Louie Vega, and Todd Terry. His studio influence was massive, including official remixes for legends such as Marvin Gaye, Diana Ross, Gloria Gaynor, Chaka Khan, Mary J. Blige and many more.
Antony Reale is an established Italian DJ and producer with a large discography spanning the last two decades. He has produced and remixed a roster of top artists, including Chaka Khan, Mary J. Blige, Ultra Naté, and RuPaul.
"Back From Paradise": Originally created by Antony and Costantino during their creative prime in the late 90's, Antony has now decided to finally release the track. It serves as a beautiful and fitting monument to the memory and fantastic career of this iconic Italian DJ and producer who helped define the 90's house scene.
Manizeh Rimer, founder of London’s Love Supreme Projects, announces her debut album Mahku, releasing on vinyl and all digital platforms on December 5, 2025 via LEITER.
A bold contribution to contemporary spiritual jazz, the album was co-produced by LEITER labelmate ganavya – who recently released the celebrated Daughter of a Temple and Nilam. Recorded in early 2025 at LEITER’s Funkhaus Studio in Berlin, Mahku features eight chants, including a reimagined version of Fleetwood Mac’s Landslide, with ganavya appearing on three tracks.
The album brings together a stellar cast: Grammy-nominated Jai Uttal; bassists Ben Hazleton and Doug Weiss; harpist Miriam Adefris; pianist Jay Verma; and Manizeh‘s teenage daughter, Mahku Rimer, on vocals and guitar. Tracks range from a 3,000-year-old Zoroastrian prayer (‘Ashem Vohu’) to Sanskrit and Buddhist mantras (‘Asato Ma’, ‘Gate Gate Paragate’) to the devotional ‘Avan’s Sita Ram’, dedicated to Manizeh‘s late mother.
Mahku means “eclipse” and is also the name of Manizeh’s grandmother. Developed from her long-standing chanting practice and deep creative partnership with ganavya, the album opens and closes with three generations of women’s voices, exploring music as a timeless, intergenerational loop. Recorded in a space Manizeh describes as “suspending you in an infinite river of time,” Mahku is both personal ritual and universal offering, flowing through lineage, loss, and love.
The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.
Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.
This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.
Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.
Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.
For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.
Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE
· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”
· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”
· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”
· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”
· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”
· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”
· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”
· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”
· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”
· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”
· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”
· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”
· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”
· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”
· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”
· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”
· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”
· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”
SOULMEEX record label marks its first anniversary in November 2025 with a milestone release: the label’s debut 7-inch. This special edition offers a new opportunity to expand its catalogue of forward-thinking sounds while honoring the timeless spirit of vinyl.
For the occasion, SOULMEEX presents signature tracks from NYC-based artist Evan Michael, whose productions balance depth and groove with finesse. On Side A, “Drifted Past” flows with hypnotic textures and steady momentum, creating a journey that bridges nostalgia and modern club energy. Side B, “Total Fiction” reveals a darker, more intricate narrative, weaving subtle rhythms and immersive layers that highlight Michael’s skill in uniting experimentation with dancefloor appeal.
As in the label’s very first release a year ago, the artwork is once again crafted by watercolor artist Celia Egea, whose visual language perfectly captures the spirit and emotion behind SOULMEEX sound.
More than a record, this release acts as a bridge between tradition and innovation, embodying the SOULMEEX vision: connecting timeless electronica aesthetics with fresh artistic voices. One year of music, community, and creative exploration.
South London producer Nima announces his debut album. A project five years in the making that pays homage to the formative dance floors of UK bass music. Drawing from the spirit of nights like FWD>> and DMZ in London, and many from Bristol, the record sits at the crossroads of hip hop, dubstep, grime and cinematic sound design.
Of Iranian heritage, Nima grew up on a steady diet of 90s Hip Hop and Grime before discovering 140 culture through pioneers like Skream and Benga. His sound developed further in Bristol during one of the city’s most vital periods for bass music, later refined at London’s Roundhouse studios. His productions blend filmic atmosphere with the physicality of sound system music, heavy hip-hop drum structures, rolling 140 basslines, and emotive grime-inspired melodies.
Across the album’s tracks, Nima explores the evolution of UK sound system culture through his own lens. From the weightless grime-inspired “Imperial Dreams” and cinematic, jungle-inflected “Big Up”, to the stripped-back melodic grime of “Ruff Sqwad” and the deep, meditative bass of “One People.”
Referencing everything from Plastician’s Beg to Differ to Mala’s Boiler Room set, Fugees skits, and samples from films like Imperial Dreams and Belly, the record is a reflection of the cultural layers that have shaped Nima’s musical identity.
Nima’s debut is a personal statement to the foundations of UK bass music. Cinematic, weighty, and built for the dance floor.
Spandau20 delivers its eleventh various artists release, a sonically rich and future-facing blend of broken grooves, spatial moods and modern Detroit romanticism. Four tracks, four new angles on the dancefloor. ANNA Z sets the tone with 'Kabeljau', an eclectic, IDM-flirting workout. On the opening track, elastic rhythms stretch and snap while ethereal pads drift overhead, punctured by sudden turns and glitchy surprises. Moody, weird and beautifully unpredictable. Dajusch continues with 'Fallout', diving into shimmering Detroit-inspired chords and pristine production. Clean yet full of soul, its dreamy propulsion moves with effortless optimism. It's a track that lifts heads and hearts without ever losing its club focus. Flip the record and FJAAK welcome you into a breakbeat-infused haze. 'Your Time' pairs groovy percussion and airy atmospheres with those unmistakable powerhouse vocal chops, a warehouse anthem with a gentle cosmic touch, driving yet deeply emotional. Closing the EP, Claus accelerates the pulse. 'Moist Logic' is a faster, more urgent exploration of the techno continuum. Machine funk encoded into a forward-thrusting groove, a sleek atmosphere swirling around a sharp, kinetic core. With SPANDAU20 011, the West-Berlin collective celebrates a hybrid future that is rhythmically adventurous, melodically rich and rooted in the love for the dancefloor. This record combines Berlin grit with dream-state techno, balancing rough energy and refined emotion across four cuts that leave their mark on the floor.
Best Intentions announces Inverse, a new 4-track EP from Melbourne-based producer and DJ; Pugilist, arriving 12 December on digital and limited white-label 12" vinyl. Marking his first release on the London imprint, Inverse sees Pugilist expanding further into the shadowy, percussive terrain he has become known for, merging future-focused techno, lo-fi industrial, and the energy of early hardcore breaks through his own atmospheric lens. The EP captures both the toughness of the dancefloor and the subtle experimentation that runs through his catalogue. A Scottish/Kiwi artist now based in Melbourne, Pugilist has built a reputation for stylistic range and rhythmic depth. His releases on Modern Hypnosis, Samurai Records, and 3024, along with the recent launch of his own imprint Ruff Kutz, demonstrate his ability to move across tempos and moods while maintaining a distinctive sonic identity. On the decks, he is celebrated for tightly curated sets, deep crates, and an array of unreleased dubs. Speaking on joining the Best Intentions roster and the inspiration behind the project, Pugilist shares: "Stoked to be joining the Best Intentions fam with 4 x retro rave rollas across the hardcore continuum, from minimalist Techno, to smoked out Electro, to krusty Hardcore and Breaks. This EP is a mix of styles which have informed my production style over the years. It is great to be putting out music with a shared vision for giving back for a greater cause. I have been a fan of the label since its inception so jumped at the chance to do a 12". I will be donating my share of profits to the Asylum Seeker Resource Centre - a wonderful Melbourne-based charity for asylum seekers here in Naarm. They do wonderful work." The EP's closing track, FKRY, a collaboration with POD, brings warped leads, stepping drum work, and old-school jungle tension into a modern, heavyweight techno frame.
Astropolis Records, the label born from the legendary Brest festival, marks a decade of electronic passion with a sprawling, heartfelt anniversary compilation — slightly delayed, but still delivered with flair.
It comes in two EPs, spotlighting the many facets of the Astropolis universe: in-house artists, long-time festival collaborators, and rising stars from France’s ever-bubbling scene. Eighteen artists guide us through a sonic journey where rave heritage, electronic dreamscapes, and collective fervor converge — true to a festival whose DNA has never recognized borders.
The second EP dives into darker territories, spanning original electro, multifaceted techno, and sunlit vibes toward the close.
Astropolis has always thrived on happy collisions, and this EP is a perfect demonstration.
For synth lovers, Legowelt & Cuften revive the spirit of early electroclash on Liar, a carnal fusion of analog synths and DIY attitude.
Zaatar & Trunkline inject raw energy on Come Into The Light, a sweaty, visceral banger bridging techno, dark disco, and EBM.
French scene stalwarts Scan X & Electric Rescue deliver a masterclass in elegant techno on Lost In Time.
When Manu Le Malin meets Kmyle, the result is as sharp as it is cinematic: Little Big Man builds dramatic tension, balancing raw emotion with contained fury.
On a more contemplative note, we’re thrilled to unveil one of the first productions from our dear Célélé with Théo Muller: the subtle Drum and Drift, threaded with dubby vibrations and sun-drenched bursts.
This anniversary compilation reaffirms the label’s openness to new generations and recent sonic hybrids while honoring the techno scene that shaped its beginnings. Like the festival itself, it embodies the same sincerity and collective energy: a small manifesto connecting generations, aesthetics, and territories — celebrating roots without nostalgia, and the future without bending to trends.
Astropolis Records, the label born from the legendary Brest festival, marks a decade of electronic devotion with a sprawling, heartfelt anniversary compilation — slightly belated, but executed with undeniable flair.
It also comes in two EPs, showcasing the many facets of the Astropolis universe: in-house artists, long-time festival collaborators, and fresh talent from France’s ever-bubbling scene. Eighteen artists guide us through a sonic journey where rave heritage, electronic dreamscapes, and collective fervor intertwine — true to the spirit of a festival that has never recognized borders
The first EP bathes in warm tones across electronica, house, g-tech, old-school rave, and melodic techno.
It opens with grace and magic via Rone, whose electronic touch conjures the intimate and the infinite. Between electronica and downtempo, The Dolphin Ambassador delivers luminous melancholy, offering a gentle calm before the storm.
The unlikely pairing of Mézigue and Swooh catapults house into a g-tech vortex with the unrestrained Broken Roll To Venice, a compact fusion of groove, hybrid sounds, and playful inventiveness.
Belaria & Madben continue this alchemical thread on Into The Void, an incendiary anthem where 90s rave, EBM, and modern intensity collide in hypnotic trance.
For old-school dancefloor loyalists, KiNK finally resurrects a cult live set staple: Give Me, a bona fide banger merging breakbeat and vintage house, engineered for late-night sweat sessions.
Oniris & Benjamin Rippert revisit the melodic techno roots of the label on Sonate, demonstrating a masterful command of harmony.
This anniversary compilation underscores the label’s openness to new generations and recent sonic hybrids, while paying homage to the techno scene that shaped its early days. Much like the festival itself, it embodies the same sincerity and collective energy: a small manifesto connecting generations, aesthetics, and territories — celebrating roots without nostalgia, and the future without bowing to trends.
Sedan is an obscure Soul group from Cincinnati, Ohio that was formed in the 80's.They released only one record, and little info is known about them.Craig E. Robinson was a one of the members (he later went on to form Dayton and became a producer) The record celebrates it's 40 year anniversary and features the singles “Snake Dancin’ & “You Ain’t Got Nothin’ To Do”. This hidden gem is widely seen among disco boogie electro funk fans as a rough diamond. Sedan is now available as a limited numbered edition of 500 copies on red coloured vinyl.
Originally released in 2005, OK Cowboy, Vitalic’s first album, is celebrating its twentieth anniversary with a reissue in several formats (box set, double vinyl, CD, digital), enriched with rare tracks and previously unreleased versions.
OK Cowboy is a landmark album in electronic music, a pivotal record between eras.
It perfectly captures that period while also anticipating the raw, abrasive new sounds of French Touch 2.0 (the movement led by Justice and the artists of the Ed Banger label). Twenty years later, the impact and power of this major album still mark it as a defining release of the mid-2000s, retaining its full sonic relevance today.
Box set contents: double LP, 7-inch single, CD, vinyl slipmat, booklet, 6 coasters, keychain, sticker
Alice Deejay was the Eurodance project founded and produced by Wessel van Diepen, Dennis van den Driesschen, Sebatiaan Molijn,
Eelke Kalberg and vocals by female singer Judy. Their 1999 single "Better Off Alone" reached charts worldwide, hitting #2 in the UK,
cracking the Billboard Hot 100 in the USA and dominated dance floors across Europe. Follow-ups "Back In My Life", " Will I Ever",
"Celebrate Our Love" cemented their place as one of the Netherlands' successful dance acts of the early 2000s.
Their debut albumWho Needs Guitars Anyway? was released in 2000 and also made strong impact across international charts, including the United Kingdom where it peaked at #8. Celebrating it's 25th Anniversary, the album is now available on vinyl for the first time, featuring their chart toppers
"Better Off Alone", "Back In My Life" amongst others. Who Needs Guitars Anyway? is available as a limited edition on purple coloured vinyl, and includes an insert.
We’re proud to present the sixth record of our limited series, which marks the 15th year of our label.
On the A side we have legendary Analogue Cops with their track “Iron fist”: a raw-acid jam with a funk sample which makes this so unique and special.
A2 is all about Bologna finest Dj Rou with his “051 Deep Journey”: the title speaks itself for this hot track that matches soulful pads and funky high keys.
On the B side we have Riviera resistance: label owner Alessio Collina and Deep House master Deep88.
“Spoken Randomly” by Alessio Collina is pure House without compromises: old-school bassline, floating pads and a neverending groove.
“Darlin” by Deep88 is a pure bliss: melancholic atmosphere, dreamy strings and arpeggiated synths which make this jam deeper than expected.
Continuing the epic journey through three decades of trance excellence, Platipus 30 Years – Volume 11 lands as the penultimate installment in the acclaimed anniversary vinyl series. This edition brings together a stunning selection of classics and remixes that embody the unmistakable Platipus sound: the power of Union Jack – Cactus (Original Mix), the modern reimagining of Art of Trance – Before The Storm (Gai Barone Remix), the euphoric depth of Moogwai – Viola (Original Mix), and the psychedelic force of Quietman – The Sleeper (Man With No Name Remix). With its mix of legendary originals and visionary reinterpretations, Volume 11 stands as a testament to Platipus’ enduring influence and offers collectors another essential piece of electronic music history.
Hanyo van Oosterom lived in the small cave of the Kallikatsou in the early eighties, finding inspiration there for the Chi project (1983-1986). From the nineties to 2006 he created drones, loops, samples and soundscapes, traveling numerous times annually back and forth to the Kallikatsou for fine-tuning. With the Original Recordings and Bamboo Recordings, both strongly connected to the Kallikatsou, creating the perfect timeframe, 'the circle is closed. Together these recordings reflect and express the different aspects of the experience. A trilogy of random dream-catching over 30 years.
Ambroos De Schepper and Pepijn Gyssels became roommates when PiP moved to Brussels in 2021. Both paid close attention to each other’s musical approach and interests. One year later, Ambroos moved out. When he swung by to pick up some boxes, they decided to record something for the fun of it. Between May '23 and November '24 they continued experimenting with textures and improvisations. This collaboration has become the deepening of a friendship and a way to maintain it at the same time.
PiP: “We would have coffee or the occasional beer and everything we recorded came very organically. Ambroos would just bring his saxophone, a clarinet, some FX pedals or a weird flute. Whatever he felt like on that particular day. A few hours later he would usually be on his way again, leaving me with the recordings. I could treat them as I pleased.”
Ambroos: “I liked the idea of working with someone focussing on the physical side of music. Not so much on chords and tonality, but on texture and atmosphere. This gave me a framework with less concrete references, using words like “dark” or “busy”. I could improvise freely and we would try and catch a particular moment."
“l’Esprit de l’Escalier” is meant to be a musical meditation, opening up a continuous and detailed sound palette, aimed for the right mental state to listen with. Ambroos came up with the melody in COVID times and later in PiP’s studio, they recorded it on clarinet.
“Sans Loup” is the first jam the duo did together, after Ambroos and Lou moved out of the apartment they shared. Lou Wéry eventually found her way back to the album, as she can be heard playing the wing piano in this track.
PiP: “We recorded in the apartment we used to rent together. Since the title track and the entire album are named after Lou being absent in this dynamic, it seemed only natural to invite her in a later stage.”
“Spring Whistle” was an attempt to embed Ambroos’ musicality in dreamy textures and “Bring Back Bones” was built around an endlessly evolving krakeb recording that PiP took home from on a trip to Morocco. Both tracks are not aimed to end or evolve drastically, they just make the clock tick slower.
To conclude this release, “Velours de Tendre” is built out of a deconstructed groove and a field recording of the “Ronde van Vlaanderen”, a small reference to the countryside where PiP grew up. The reverberating chords you hear are the echoes Tijn Driessen squeezed out of an old harmonium, in a staircase of De Grote Post in Ostend.
PiP: “During a residency in De Grote Post we recorded in a staircase with a spaced pair of omni microphones. And you can take ‘spaced’ quite serious; one was positioned 5 stories higher and the other 3 stories lower.”
Sans Loup is the first vinyl to release on PiP’s label. They look alike, but none will be identical. The cover is screen printed in various combinations + a risograph insert. A highly personalized object.
credits
Released on Zitstill Records
Recorded in Brussels, Horebeke, Morocco and elsewhere, between September 2021 - November 2024
Music, mixing and production by Pepijn Gyssels
Saxophone, flute and clarinet by Ambroos De Schepper
Grand piano on “Sans Loup” by Lou Wéry
Harmonium on “Velours de Tendre” by Tijn Driessen
Mastering and lacquer cut by Anne Taegert at Dubplates & Mastering
Pressing by Objects Manufacturing
Layout and graphic design by Liselotte Van Daele & Otis Verhoeve
Photography by Willem Mevis
Special thanks to: Stijn Cools, Victor De Greef, De Grote Post
Opsin- the new collaborative alias of longtime friends and producers Keydell and Kincaid - announce their debut LP on wax, Through The Wall, from London-based record label Hypnic Jerks.
Artist Info:
Opsin is the debut project between artists Keydell (Liam Keydell Myers-Cook) and Kincaid (Joe Arthur). The Pair have previously released on the following labels: Well Street Records, Banoffee Pies, Redstone Press & Bliss Print.
Both have extensive work in sound design and collaborated on the soundtrack for Mithridate at London Fashion Week 2024. Kincaid also produced the soundtrack for Alexander Whitley's Anti-Body Ballet.
Release Info:
The album is named after the birthplace of its creation. Sharing files between bedroom walls during COVID-19. Keydell's meticulous Ableton-based resampling of found audio and modular synth racks, and Kincaid's Reaktor-driven synthesis in Logic.
Draws on a wide spectrum of electronic influences the album infuses elements of rave, techno, industrial and ambient sounds, whilst never quite landing in any specific genre.
Second release from London label Hypnic Jerks on 4 sides of 180 gram vinyl, in a gatefold sleeve designed by Jacob Wise and mastered by Rashad Becker.
A followup from their first release - Toumba's debut physical release 'Rosefinch', which saw later releases from Hessle Audio and Nervous Horizon.
