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2025 Repress
Juan Mendez aka Silent Servant is a figure in techno history that needs little introduction. As a member of the Sandwell District collective and the label’s art director he collaborated on works that were responsible for a global focal shift in the genre as their label adapted and challenged the paradigm of minimal techno, taking influence from other sources such as dub, post-punk, and even classical minimalism.

But Mendez’s relationship with music goes back much further than these seminal releases. With In Memoriam, Silent Servant’s latest release on Tresor Records, Mendez writes a deeply personal memoir of a 30-plus year career spent exploring and absorbing the shadowy side of music; a carefully crafted elegy to people, places, and times past and the lasting effect they have on the present.

Across the four tracks, Mendez pays tribute to the earliest Detroit techno and electro, the Belgian EBM movement and the wave music that followed, the monumental dub techno sound from Berlin, and the harder, abrasive sound of the UK at the turn of the last millennium; exploring and referencing the genres that informed his later work. Each track name gives a hint to the timeframe he is revisiting and re-contextualising as the E.P. repurposes the styles that exerted an influence on him.

This E.P. represents a pure distillation of Mendez’s memories whilst also cementing his place in the current and future sound of 21st century techno; aware of where we came from but focused on where we are heading.

For over two decades, Dub Inc has been a cornerstone of the French-speaking reggae scene, embodying both power and authenticity. Hailing from Saint-Étienne, the band has built a strong identity, whether on stage or through their productions, always driven by the will to deliver meaningful messages that resonate far beyond borders. Dub Inc now returns with their new project Atlas, the result of a full year of creation at their new Greenlab Studio. Writing and composing went hand in hand, guided by powerful themes and a constant awareness of today's world. To enrich this record, the band invited three renowned artists: L'Entourloop, Kabaka Pyramid, and Marcus Gad. The result is an explosive fusion of reggae, world, and urban sounds - a 9th album that stays true to Dub Inc's DNA while opening new musical horizons.

Born from a profound devotion to the piano and a reverence for the organic flow of life, byt’ surprises listeners by presenting "paths of sand", a remarkable creation by Amsterdam-based composer xico, offering sound and soul to those willing to listen beyond the surface.

Through the magic of experimentation, xico captured the fleeting beauty of the muse of improvisation, as described by Nachmakovich, transforming the ephemeral into something lasting. Performances recorded on the same old piano during the 2023 Kaalstaart Festival in the Netherlands have since evolved into a fully realized work. A journey of nearly three years of dedicated silence that began with Telva’s intuitive recognition of xico’s voice, starting with an invitation to her radio show and blossoming into a captivating fascination with what unfolded. This process led to the art of shaping the selected live recordings into a collector’s item, now materialized as a limited edition of 200 pressed vinyl copies, forever remaining as an artistic memento.

Perfectly attuned to the energy of the autumn equinox, paths of sand unfolds as an intimate reflection of music’s ability to hold what cannot be held, to speak what cannot besaid, and to embody what can never be described.

xico is a sound artist and improviser from Ibiza whose work explores the merging point between disruptive and post-natural soundscapes, crafting immersive sonic environments through compositions that unfold like ecosystems.

Encouraged by an understanding of chance as nature’s and awareness' most accessible voice, he focuses on creating generative live-sets with varying degrees of unpredictability. For him, subordinating human intention to nature’s order is a conscious choice, and making art through this lens becomes a statement and a spiritual practice. With his distinctive touch, his compositions resonate with the world in unexpected and profound ways, offering experiences you may never have heard before.

Interstitial Spaces is Martin Brandlmayr’s debut release on Faitiche. In this award-winning radio collage, the well-known drummer and composer (Radian, Polwechsel) explores the quiet moments in music and film recordings.

The last notes of a piece of music fade out in the space. The pianist and the violinist remain frozen in place, holding their breath. The sound engineer sits silently at the desk. Once he has switched off his tape machine, the dull drone of a ship’s horn is heard in the distance. Otherwise, not a sound. Or was there something else hidden in the white noise?

Interstitial Spaces is based on short excerpts from music recordings, films, TV adverts and field recordings. Brandlmayr takes these quiet scenes, intervals in which nothing seems to happen, and brings them into the foreground, subjecting them to a microscopic spotlight. Moments in which one hears only the space itself, or the subtle presence of someone in the space: faint breathing, footsteps and the soft creak of a chair. We also hear preparations for an orchestra rehearsal: the musicians are all busy tuning their instruments, talking to each other, the concert has not yet begun.

This leads to a shift in perception: incidental details hidden in the hubbub of voices or in the silence suddenly take on a leading role. In the empty spaces, we discover various shades of noise, sharpening our awareness of sonic peculiarities. In a gentle rhythm, Brandlmayr’s radio collage offers a sequence of strange, not immediately identifiable sounds that are woven in the second part into a dense structure. At the end, the carefully captured sounds are released back into the empty space. Interstitial Spaces is a bold spectacle that celebrates the eventful uneventfulness.

Los Angeles-based producer and composer Hayes Bradley returns with his most ambitious work yet, Audience, out now via StrataSonic Records. A departure from his years composing for film and fashion, the 14-track album marks a return to his dancefloor roots by melding breakbeats, trip-hop, and ambient textures into something both nostalgic and forward-thinking.

After two beatless, melodic LPs on Secular Sabbath, Bradley arrives at Los Angeles’ StrataSonic—an independent label celebrated for prioritizing artistic freedom—with Audience, a record defined by moody, churning breaks and rich soundscapes. Across the album, he merges the emotional depth of his scoring work with the kinetic energy of underground dance music, crafting a deeply-layed and adventurous project that exists beyond trends while highlighting his versatility as both producer and performer.

The album features collaborations with Luna on the ethereal “Dear Treasure” (accompanied by a music video with collaborator and partner Luna Blaise) Amtrac on “Be Right With You,” and Oxis on “Wishes,” alongside a range of instrumental cuts that highlight Bradley’s approach to rhythm and sound design.

At its core, Audience is an exploration of embracing personal and musical chaos. Bradley channels moments of anxiety, uncertainty, and raw emotion into tracks that are unpredictable and immersive. The album reflects his philosophy of leaning into disorder—turning moments of anxiety, unpredictability, and chaos into kinetic music that moves both body and mind.

From the depths of Greyscale’s acclaimed Mood Series, a new chapter rises to the surface: Deemkeyne – Ending Dynasty.

Across four immersive cuts, Deemkeyne sculpts a sound world rooted in the foundations of dub techno yet unafraid to push into fresh territories. Each track is built with raw textures and spatial awareness, weaving hypnotic patterns that echo through space like sonic architecture. Sub-bass pulses anchor the body while hazy chords and shifting atmospheres guide the mind into a deeper state.

This is dub techno and house at its most essential- music for true heads who understand the beauty in restraint, the subtle power of repetition, and the art of detail. Whether in the intimacy of a late-night set or the solitude of a headphone journey, Ending Dynasty unfolds with timeless weight and precision.

Pressed with care and presented on vinyl for the first time, this release is not just another record, it’s an invitation to step inside Deemkeyne’s world of shadows, echoes, and infinite space. A must-have addition to the shelves of anyone dedicated to the underground continuum.

TX2, AKA Evan Thomas, prides himself on injecting authentic stories and experiences from his own life into his lyrics. As someone who is a member of the LGBTQIA+ community himself, he admits he hasn't always fit in. His songs document that experience, but really - his stories are about all of us, penned for anyone who has ever felt alone. Per usual - the singer is willing to cause a little chaos with his new track, if that's what it takes to draw attention to important societal issues. With his tracks, he's making his voice heard loud and clear. "10 years ago I started TX2, and when the project first started I was the joke of my hometown. I was bullied by my entire hometown, and told by family that I would never make it. Years later I am still the joke, but now a punching bag for the entire internet. I've practiced what I've preached and consistently talked about mental health awareness, safety, and LGBT rights just to be made fun of and seen as `one of the most hated artists'. This world is filled with vultures, and I'm sure everyone can relate." Six track debut EP available as CD & LP

After completing his nationwide run with Ice Nine kills, the rocker has been hard at work prepping Cruel World. The collection of songs includes several notable features, including the likes of From First To Last, as well as Ice Nine Kills. The 9-song minialbum is chock full of TX2's well-known hard-hitting sinister sound, and he's bringing an added dose of heavy with these new songs as well. Fan-favorite track "MAD," which has seen 10,000+ video creates on TikTok and has created an unstoppable buzz around the project. Rising out of the shadows of a small town known for music, Fort Collins; TX2 brings an unmatchable intensity in his music through the form of powerful raw lyrics and explosive performances. After struggling for so many years as an artist, TX2 used his pain as fuel and finally found his sound. As a result, his music went viral on TikTok and he now has ~800K followers on the platform. TX2 has since begun a movement known among his fans known as the "X Movement", which is all about bringing awareness to mental health and creating a safe space for those in need to talk. The rules are simple, any member can vent and share how they are feeling, while other members are encouraged to push other members' self-esteem up. The movement is currently growing every day, providing a platform to speak about mental health, vent, and support one another. TX2 wants everyone to know they are not alone in their struggles. The nine rack minialbum is available on CD & LP!

Released in 2021, Fortitude cemented Gojira’s status as one of the most influential metal bands of their generation, with powerful tracks such as Amazonia, Born For One Thing, and The Chant. Balancing raw intensity with ecological awareness, this album remains an essential reference. Available October 31, 2025, in a limited brown & gray splatter vinyl edition.

"It's a Beautiful Day" brings together 12 outstanding songs recorded between 1971 and 1976, reminiscent of sunshine pop, psych folk and soft rock with Peruvian touches, taken from extremely hard to find records, some of them reissued here on vinyl for the first time. A mindblowing look at a really stunning musical moment in Peru. Unusual instruments and exceptional vocal play also feature in the ten original songs and two cover versions, all performed by Lima-based groups. MAG has been, since its foundation in 1953, an essential label in the music scene of Peru, allowing the development of the careers of both tropical artists and musicians of other genres. At the head was Don Manuel Antonio Guerrero, its founder, whose name comes from the acronym of the label itself (M.A.G.). In 2021 MAG was acquired by the Spanish company Distrolux SL, owner of the Munster and Vampisoul record labels, after years of previous collaborations in which some of the most emblematic titles in the catalog were already reissued for the international market: Nils Jazz Ensemble, Sonora Casino, Traffic Sound, Al Valdez, Pax... Following our recent release "14 MAGníficos Bailables", comprising some of the best tropical music on MAG, this new compilation brings together 12 songs recorded between 1971 and 1976, reminiscent of sunshine pop, folk psych and soft rock but with Peruvian touches. The lyrics range from youthful reflections, environmental awareness, paradigm changes to all shades of love that the youth of the day experienced. Unusual instruments and exceptional vocal play also feature in the ten original songs and two cover versions, all performed by Lima-based groups.

LIMITED ITALIAN IMPORT. 500 ONLY.

Introducing "BLACK WAVES", a cinematic soul journey rooted in social justice, love, and introspection.

From the vibrant streets of Rome, Luca Sapio crafts an evocative musical landscape that echoes the soulful activism of Marvin Gaye’s "What’s Going On", Curtis Mayfield’s "There’s No Place Like America Today", and Eugene Mac Daniels’ "Headless Heroes of the Apocalypse".

Infused with the timeless sounds of Italian vintage soundtracks—Piero Piccioni, Ennio Morricone, and their cinematic grandeur—this album is a powerful blend of social awareness and heartfelt emotion.

Among the guests legitimising the sound of the album are the legendary Dennis Coffey (Original Motown Funk Brother) Rob Harris (Jamiroquai) and the veteran Boston rapper Ed O.G. along with the same strings used by Ennio Morricone.

Record mastered by grammy winner Mike Bozzi

Hailing from Roma, Italy, Luca Sapio is a celebrated singer-songwriter and record producer, known for his soulful contributions to the music industry.

With a career spanning over a decade, in 2012, Luca released his debut solo album, "Who Knows", which achieved notable success on the German and French charts and was recognized as the best independent record by SIAE, Italy's copyright collecting agency.

In 2014, he solidified his partnership with producer Thomas Brenneck and released his sophomore album, "Everyday Is Gonna Be The Day” once more backed with members of the Dap-Kings and the Budos Band.

In syrupy slow pursuit of a strong 2023 debut, Yungwebster's somnolent sequel is bolstered by pitch-perfect production from Space Afrika and Nathan Melja, who vaporise the rapper's auto-tuned post-Future drawl with euphoric orchestral drones, brittle micro-trap beats and weightless pads.

Over a decade ago at this point, Future released 'Codeine Crazy', the decelerated finale of 'Monster', one of his best-loved mixtapes. The track neatly summarised themes the Atlanta rapper had been circling for years at that point, layering his slurred, lean-dizzy rhymes over producer TM88's rubbery, melancholy synths. "Take all my problems and drink out the bottle," he moaned robotically, using the track's minor key bounce to represent the crushing delirium that followed fame and its tasting menu of intoxicants. It's still Future's high water mark creatively, and its traces can be observed in a full spectrum of contemporary sounds, from 6LACK's downtrodden, self-aware R&B to Lil Uzi Vert's feverish trap. But it's Yungwebster who's taken the haze to its logical conclusion, reimagining the Magic City-sculpted bumps as hypnagogic Actavis- 'n Xanax-hued ambient music. You could argue it was bound to happen - the more you sip, the slower it gets - and plays as a cracked mirror to cloud rap's long-smoked hybrid of Southern psychedelia and post-OutKast eccentricity.

Webster's opiated POV is clearer than ever before on 'II'. Just peep the cracks in his voice on the Space Afrika-produced opener 'Skyfall' as he coughs and splutters over watery samples, booming subs and SA's patented collage of soundtrack-ready strings and sirens. Presented at regular speed and in chipmunked form, it sets the pace for an album that, like its predecessor, constantly fucks with the timeline, pitching the whole master into doubletime or slowing it down to a crawl to present a curved, inebriated narrative rather than a straight line. Even without the tempo switches, Webster singles out beats that accent his warbled rhymes that sound as if they'll fall apart at any moment. French DJ and producer Nathan Melja backs 'Disheveled' with Black Ark-styled oscillations and airlock'd echoes, filtering the bassline until it almost disappears entirely; with room to breathe, Webster's able to take the lead - you might not be able to pick out the words, not entirely at least, but you get the message.

In fact it's Webster's voice that's the revelation on 'II' - with a coherent mix from producer tnotsobad, the nuances and fluttering tonalities emerge more vividly than they have before. It makes the flip between the regular speed and fast on 'Txts Red on iMessage' a textural decision, the different pace shifting the warbled cadences so Webster's voice becomes far more important than the additional elements. And on the album's Space Afrika-produced eight-minute centerpiece 'Crochet / I Swear', Webster's mumbled bio-mechanical whines create a much-needed foil for the decelerated boom-clack and suspended save room ambience. We get to encounter a personality here, not just an aesthetic, so as the album moves into its twilit fourth side, the beatless, voice-led somniferousness of 'YA SA' and ululating 'Phone' come off like a descent into tranquillised sedation. Rap has rarely sounded so chimeric.

"In association with Back Lot Music, Waxwork Records is thrilled to release M3GAN 2.0 Original Motion Picture Soundtrack by Chris Bacon.The murderous doll who captivated pop culture in 2023 is back.

And this time she’s not alone. Two years after M3gan, a marvel of artificial intelligence, went rogue and embarked on a murderous (and impeccably choreographed) rampage and was subsequently destroyed, M3gan’s creator Gemma (Allison Williams) has become a high-profile author and advocate for government oversight of A.I. Meanwhile, Gemma’s niece Cady (Violet McGraw), now 14, has become a teenager, rebelling against Gemma’s overprotective rules.

Unbeknownst to them, the underlying tech for M3gan has been stolen and misused by a powerful defense contractor to create a military-grade weapon known as Amelia (Ivanna Sakhno; Ahsoka, Pacific Rim: Uprising), the ultimate killer infiltration spy. But as Amelia’s self-awareness increases, she becomes decidedly less interested in taking orders from humans. Or in keeping them around.

Sdban Records is proud to announce the first official reissue of Coal Mining, the 1978 debut album by Dutch jazz pianist René van Helsdingen. This album marks a significant milestone-the beginning of van Helsdingen's decades-spanning career as an innovative and independent musician.

Born in 1957 in Jakarta, Indonesia, but holding Dutch nationality, René van Helsdingen began classical piano studies in the Netherlands in the early 1960s. While initially following in his family's footsteps by enrolling in mining engineering at the Technical University of Delft, his passion for music ultimately prevailed. His academic path may have diverged, but it set the stage, both figuratively and literally, for what would become an extraordinary musical career.

Coal Mining was originally released on Munich Records, a respected Dutch jazz and roots label founded by music producer and musician Job Zomer. The album features a blend of jazz influences from giants such as Oscar Peterson, McCoy Tyner, and Bill Evans, and showcases van Helsdingen's distinctive voice as a composer and pianist at the very start of his professional journey.

The record includes contributions from a rich ensemble of musicians, including Wim Essed (bass), Klaus Flenter (guitar), Børge Ring (double bass), Henk Zomer (drums), Martijn Nesenberend (drums), Dick Pluim (bass), and even a student orchestra formed during van Helsdingen's time at Delft University.

Often mistakenly referred to as Piano, a result of the album's back cover design prominentlyfeaturing the word, Coal Mining is both a literal and symbolic title. It alludes not only to van Helsdingen's brief academic past, but to the depth and labor of jazz creation itself: layered, gritty, and forged under pressure.

A year after the album's release, van Helsdingen moved to Los Angeles to continue his jazz studies. While living in Hollywood, he shared a house with future musical collaborators including Kent Brinkley, Essiet Okon Essiet, Brian Batie, John Rigby, Edmond Allmond, David Best and John Butler. Even in the early stages of his career, van Helsdingen displayed the entrepreneurial spirit that would define his path, self-releasing albums and even pioneering an early form of crowdfunding by selling 400 ad spaces on a record sleeve to finance an LP project. After his jazz studies in Los Angeles, he performed extensively in Europe, Canada, the U.S., Australia and Asia, often traveling with his own 'Stage bus', which housedboth a stage and instruments.

In August 2018, van Helsdingen was diagnosed with Parkinson's disease. Despite the physical challenges brought on by the condition, he continues to perform and compose music. His openness about the diagnosis-shared publicly in a 2019 documentary-has helped raise awareness of Parkinson's and the role of creativity and improvisation as tools for resilience.

Now, nearly five decades after its initial release, Coal Mining is finally receiving a well-deserved reissue. Introducing a new generation of listeners to the raw talent and visionary beginnings of a true European jazz original.

Singer, songwriter, humanitarian, activist, poet, philosopher, artist… ever since music lovers first became aware of Labi Siffre in the early 1970s subsequent generations have continued to discover and be beguiled by his timeless artistry. To this day, his music has endured – seemingly as relevant and contemporary as when first released. It was these qualities that led Madness to cover his 1972 UK hit ‘It Must Be Love’ in the early 1980s, and Eminem and Dr. Dre to sample a substantial chunk of ‘I Got The…’ for the former’s debut hit ‘My Name Is…’ in 1999.

His 1988 classic ’Something Inside) So Strong’ became an anthem twice over when it both soundtracked the struggles of Apartheid South Africa and became a beacon of strength and solace for gay men during the AIDS crisis. More recently, the streaming / TikTok / Insta generation have responded in their hundreds of thousands to ‘Crying Laughing Loving Lying’, as featured in the 2023 cult film ‘The Holdovers’ and to ‘Watch Me’ as included in the ever-iconic ‘Dr Who’. Also, this decade, they might have been drawn into Labi’s world via another film, ‘Companion, or the TV shows ‘Better Call Saul’, ‘Sweetpea’, and ‘The Man Who Fell To Earth’. To bring things bang up to date, they may have been among the legions who liked, shared, and saved ‘Bless The Telephone’ after its unforgettable soundtracking the season 4 finale of bitter-sweet comedy phenomenon ‘Hacks’. ‘The Best Of’ is the definitive Labi Siffre collection for the ages. Released on 2LP and 2CD formats, it was personally sanctioned by Labi himself who also provided art direction for the package.

Psychedelic Krautwave wrapped in analog warmth, raw guitar bursts, and machine-driven pulse, carried by a mesmerizing voice. Songs that stretch time, reject convenience, and crave the real. A romantic revolt against the daily noises that numb and distract – slow, honest, and widely aware. For those who still long to long and refuse to get comfortable. Changing Rules is the third studio album by Berlin-based duo AFAR – a sonic manifesto of presence, eruption, and resistance.

If you're a serious music fan but not a native Kiwi, your first awareness of New Zealand's fab music scene may have come from the debut of The Chills' mesmerising Kaleidoscope World collection of early singles. Within a few years, a great number of NZ acts saw music released by various UK and US labels . . . generally to great praise and enthusiasm. That this occurred without any of these acts having to move abroad to further their chances was nearly as delightful a feat as the music itself. The exception to this was Dead Famous People, radical in a snap decision after a five-song 12" for Flying Nun, Lost Persons Area, to change hemispheres and make a go for it in London. It started well. Three London recordings were added to three from their Flying Nun EP and put out by Billy Bragg's Utility label - about as perfect a mini-album as there's ever been. Response was positive, more songs recorded, the group did a John Peel session and played out often, but the vaguely impoverished group began to fall apart. Singer and primary writer Dons Savage - determined to make it - had a near-miss at becoming Saint Etienne's singer on an early take of their 'Kiss And Make Up' cover, and there was a fine performance from her on The Chills' 'Heavenly Pop Hit' . . . but dismay had set in. Upon learning of her mum's passing back home, Dons returned to NZ and was quiet for decades. Most of their London recordings were later released later in minuscule quantities by very small labels, but these saw scant press or attention and enjoyed next-to-no sales. Their moment had passed, and the band has suffered the strange fate of being the least-known of the truly brilliant acts associated with Flying Nun. Listening to these `lost' songs, it seems unfathomable that they could have fallen by the wayside. No NZ songwriter comes as close to equalling Martin Phillipps' pop brilliance as Dons. Her superbly sweet vocals, delicious harmonies and sophisticated arrangements aside, the songs dealt perceptively with universal follies of youth and yearning in tandem with a then-unusual twist of lyrics dealing matter-of-factly with her sexuality at a time when `women's music' was seen as exclusionary (segregated into its own bin in shops, if it existed there at all), and the riot grrrl movement was years away, later breaking through due to its radical stance. Dons is a pioneer in myriad ways, the irony of her transcendent brilliance failing to propel a greater career may rest in the fact that she leapt to the head of the class too quickly for people to grasp it; a fate that's befallen so many musical geniuses acknowledged today but less in their time - something rather tragically acknowledged in old pal Martin Phillipps' song with The Chills, 'A Song For Randy Newman, Etc.' None of these thirteen songs fails to deliver something both immediate and unique. And we're proud to debut 'Vampirella"', a magical fantasy song of longing and intrigue - surely one of the most perfect tunes to ever sit around unreleased for decades! Dons is again busy conjuring new songs; in the meantime we're delighted to unveil these obscure gems from the past.

In 2024, Kyoto Jazz Massive released their third album as a digital-only project, 30 years after their debut. It now receives the honor of a special vinyl edition, featuring brand-new exclusive mixes by Young Pulse—elevating these already great tracks to even greater heights, for both your ears and your feet.
This marks the first and exclusive collaboration between KJM and Echoes Of A New Dawn Orchestra (aka Jéroboam), the unique Parisian band that has been performing live with KJM across Europe for the past three years. On this occasion, KJM recorded four new tracks with EOANDO, including three original songs ("Power", "Love Wars", and "Impulsive Procession") and a new rendition of “Stand Up”, a previously released composition. To complete the album, you'll also find a stunning cover of KJM’s iconic track "Substream" by EOANDO, as well as their signature piece, “EOANDO's Theme”.
"Power" and "Stand Up" were recorded with Vanessa Freeman, while "Love Wars" features Bembe Segue. This London-based duo has been singing live with KJM since 2004.
"Power" is a crossover anthem, blending jazz-funk and French disco with a gospel touch. Vanessa Freeman’s uplifting lyrics call for collective awareness and energize audiences. "Love Wars" is a live-band interpretation of broken beat with a boogie spirit, enhanced by Bembe Segue’s sharp and spiritual vocals. “EOANDO’s Theme” was specially composed by Echoes Of A New Dawn Orchestra for KJM, capturing the Okino Brothers' love for boogie-funk jams with Brazilian and Balearic influences reminiscent of Azymuth.
“Impulsive Procession” fuses Afro, funk, jazz, fusion, soul, rock, house, and techno—drawing inspiration from several of KJM’s most respected musical heroes. A brand-new version of “Stand Up”, originally released in 2008, was re-recorded live in the studio with EOANDO and fresh vocals by Vanessa Freeman.
The album closes with a reimagined version of “Substream”, one of KJM’s most beloved tracks, covered by EOANDO for the official Tokyo Crossover/Jazz Festival 2023 compilation. This new version was recorded as an organic disco interpretation at Danilo Plessow’s studio in Paris.

Transparent green vinyl. After an uncomfortably long five-year hiatus-likely spent arguing about time signatures, chord progressions, and who forgot to bring snacks to rehearsals-Glutton is finally back. The beloved (by at least a few people) trio is ready to unleash their questionable wisdom upon an unsuspecting world with their upcoming album: "Skiva heter Vishnu!" On their latest outing, Glutton boldly ditches vocals (likely realizing that nobody was really listening to their lyrics anyway) and commits fully to an instrumental format. This time around, it's only guitar, bass, and drums-because who needs keyboards or vocalists when you have enough distortion pedals and élan? Guitarist Eirik Orevik Aadland (Spurv), bassist Ola Mile Bruland (Actionfredag, Jordsjo), and drummer Jonas Eide Hollund (Mt. Mélodie) clearly didn't bother to consider commercial viability while crafting this sonic oddity, delivering tracks like "Hallux Valgus," "Orkensur," and "Rematusenogennatt" with absurd seriousness and delightfully misplaced confidence. Expect a reckless fusion of punk attitude, jazz complexity, and prog rock pretentiousness, presented with complete sincerity and zero self-awareness (well, almost zero). Each track is carefully constructed to give the illusion of a band deeply serious about their art, while simultaneously admitting that they may have no idea what they're doing. Whether you're a sophisticated music connoisseur with an ear for complexity, or just someone who enjoys pretending to appreciate weird music, Glutton's latest record promises to be precisely the type of organized hotchpotch you didn't realize your life was lacking. "Skiva heter Vishnu!" - because of course it does.

I was aware of Submerse from a long time ago, mainly for when he was making hip-hop & footwork tunes but I had noticed that a few years ago, on his SoundCloud page, he was uploading jungle tunes that he had started making, which got me interested in keeping tabs on what he was doing.

But it wasn't until I met him in Tokyo where he's based, when I played after him at an event at Circus (venue in Osaka & Tokyo) and then met up with him again later on that week that I realised how much he had been making.

He sent me some of the stuff he'd been doing that wasn't available publicly yet and I was really impressed by how strong the melodies were and how much influence from video game soundtracks he had in his tunes, I knew I had to get him on Future Retro London for a release.

Big up to Submerse for allowing me to put out this EP of his on Future Retro London, look out for more music from him to come on Future Retro London and other labels!

Forming in 2014, Fury established themselves quickly, releasing both a demo on Washington, D.C.'s Mosher Delight Records and the "Kingdom Come" EP on Boston's Triple B Records in the same calendar year. They built on the melodic legacy of Orange County by way of heavy, rhythmic, start-stop guitars and Stith's wordy and referential lyrics. Then, in 2016, came their debut LP on Triple B Records, "Paramount," which was met with respect from the hardcore community and praise from outsider critics."Failed Entertainment" documents the work, both personal and creative, undertaken since the release of "Paramount," a period of time marked by as many difficulties as successes. Stith said, "I've asked myself `Why have I done this?' and `Why do I continue to do this?' more times in the last two years than the rest of my life combined." Those eternal, existential questions form the thematic foundation of the new songs, which look past the superficial concerns about status and popularity that preoccupy so many musicians, focusing instead on life's inevitable, inescapable problems and the ways in which they can be compounded by the banal realities of art-making _ the isolation of being on tour, the pressure of being expected to somehow transform that universal angst into nice, catchy songs that provide simple lessons.

Through the album trilogy Misanthropical House, Algorithm and Blues and Research and Destroy, The Good The Bad and The Zugly have limped their way through midlife crises and pubescent antics. Loud-mouthed and bitter, we have embraced our fate as mediocre losers on the narrow and winding Scandirock path. Haunted by a constant bad conscience over the outcome of our miserable lives, which in addition to bitterness, have resulted in substance abuse, pettiness, greed, spiritual lethargy, bastard offspring, excessive self-confidence, understated self-awareness, and of course - bodily decay. In breif; A urinal without a drain. The question has always been nagging: Why us? Why have we, since the dawn of time, been made to curse the day we were born? Well, the truth shall set you free, as they say.

Limited pink vinyl. Through the album trilogy Misanthropical House, Algorithm and Blues and Research and Destroy, The Good The Bad and The Zugly have limped their way through midlife crises and pubescent antics. Loud-mouthed and bitter, we have embraced our fate as mediocre losers on the narrow and winding Scandirock path. Haunted by a constant bad conscience over the outcome of our miserable lives, which in addition to bitterness, have resulted in substance abuse, pettiness, greed, spiritual lethargy, bastard offspring, excessive self-confidence, understated self-awareness, and of course - bodily decay. In breif; A urinal without a drain. The question has always been nagging: Why us? Why have we, since the dawn of time, been made to curse the day we were born? Well, the truth shall set you free, as they say.

Influenced by the vibrant Caribbean community and the reggae sounds that permeated his environment, Danny Red was drawn to music at a young age. His journey began in the 1980s, but it was in the early 1990s that Danny Red truly started to make his mark in the reggae scene. Rise to prominence was marked by his unique voice and his commitment to the Rastafari movement, which heavily influenced his music. In the 1990s, as dancehall began to dominate the reggae scene, Danny Red stayed true to his roots reggae origins, focusing on socially conscious themes and spiritual messages.

Known for his powerful vocal delivery and a profound lyrical approach, Danny Red’s music often explores themes of cultural identity, social justice, and spiritual awareness. Here teamed up with south Italian collective Mystical Powa to bring lyrically rich and musically vibrant single. Exploring Rasta believe in holy place called Mount Zion that awaits for each good person. Backed with highly popular anthem horn piece entitled Kunta Kinte played by Eddie T-Bone. Both tunes comes with tuff dub versions ready to mash up all dances worldwide.

'it’s his loosest, dreamiest dispatch yet, an enveloping and atmospheric collection that constantly comes together and breaks apart.'

Maxo releases his new album Mars Is Electric. Earlier this week, Maxo released a third haunting video, directed by Vincent Haycock, from the visual world of ‘Mars’ for the title track. Maxo previewed the album with the release of singles “Human?” and “Donahoo’s Chicken” this spring, which arrived with equally raw, inventive, and unnerving music videos.

Mars Is Electric is Maxo’s first official release since he dropped two critically acclaimed albums in 2023 with Even God Has A Sense of Humor and Debbie’s Son. His fifth full-length album finds the Southern Californian artist self-aware and mature. Having lived the last decade of his musical life intentionally creating specific bodies of work rooted in imagery, observation, and capturing moments, Maxo spent this previous year freely creating without a specific plan, relieved from all obligations and restrictions.

“This is the first time that I really didn’t care, I didn’t approach things so seriously,” the artist shrugs off, meaning that without expectations or specific goals, his creativity flourished. This opening finds the artist having conversations he’s been avoiding, having lived silently in the pain of those topics for the past few years. Exploring uncomfortable themes about personal life, relationships, and family fractures, life before and after the loss of innocence, and an abundance of existential spirals.

The exploration was not only thematic but also musical in nature. During the creation process, Maxo was immersed in a wide array of music from past to present - France Joli, $amaad, Steve Spacek, Cherelle, DJ Quik, Lisha G - influences that seeped their way into these songs. The album opens in a loose, dreamlike state—experimental and searching, mirroring the emotional fog of someone looking for something real to hold onto. But as it progresses, so does Maxo’s energy as he fiercely rides and weaves on songs with a contagious confidence, producing some of his most kinetic and lyrically impressive music to date.

As the work and vision coalesced into a body of work, Maxo found that he was unlocking a creative language with his collaborators that felt wholly new - a new understanding of why and how he was making art for this world. What emerged from this year-long process was a new musical journey and a future where Maxo refuses to be another bad example of what could be, refusing to mind the blueprint set down. Maxo is the sole voice on the album featuring production by lastnamedavid, Quelle Chris, Baird, Groove, and more.

Listen to Mars Is Electric above, see full album details below, and stay tuned for more from Maxo very soon.

A“This album is about what it means to be human, and its creation is my offering. I attempt to tell a tale of the human experience in the reflection of my own.”

‘In the Andean mythology, condors are believed to be immortal. It is said that once they feel old, without energy, and useless, they climb to the highest peak and let themselves fall to death.’

The Allegorist is a visionary, enigmatic, transmedia, and boundary-pushing artist known for crafting deep, immersive dark sonic tales. Embracing a wide array of influences, weaving together the mysteries, art and spirituality, the art project defies categorisation, resonating with those who seek the unconventional.

From Birth Until Death is an introspective and immersive concept album that reflects on the essence of the human experience. Crafted over six years by The Allegorist (aka Anna Jordan), the album traces the arc of life—from its fragile beginnings to its inevitable end—using sound art to explore existential and philosophical terrain. Inspired by the Andean mythology of the condor – a symbol of immortality – the album blends electronic soundscapes with raw field recordings, evoking a deep sense of connection between the natural world and human existence.

The album’s progression mirrors the stages of life, starting with the birth of new beginnings and culminating in death, with each track offering a unique reflection on the moments in between. From the dynamic energy of Momentum, to the ethereal, illusionary world of Fata Morgana, the tracks guide the listener through emotions, perceptions, and experiences that shape the human condition.

A distinctive feature of From Birth Until Death is its intricate production. The album incorporates field recordings from Grunewald Forest, a distant roar of a jet, barking dogs, blending the sounds of nature – footsteps in the snow, birdsong, ocean waves – with layered synthesisers and electronic beats. The bass and ambient textures are crafted using an array of analog hardware, while all vocals, both lead and backing, are performed and recorded by Jordan. Some of the vocal takes were intentionally left raw, capturing the spontaneous energy of early recordings, while others were re-recorded to balance the album’s organic yet polished feel. Each element is meticulously crafted, revealing its deeper meaning as the album unfolds like a multidimensional, living sculpture.

At its core, From Birth Until Death is a meditation on the full spectrum of life. The album’s title track, From Birth Until Death, encapsulates this journey, reflecting on the passage of time and the unique experience of being human. The final track, Death, offers a melancholic yet beautiful exploration of endings, not as finalities, but as moments in the grand cycle of life. With its combination of evocative sound design and deeply personal themes, From Birth Until Death invites listeners to contemplate their own lives, offering a moving experience of reflection, growth, and transformation.

About From Birth Until Death
Words By Robin Rimbaud (Scanner)

From Birth Until Death is a deeply personal and reflective album and beautifully crafted. A detailed listen reveals that Jordan was in search of a profoundly human and authentic expression. In an era when so much around us seems defined by speed, Anna Jordan, aka The Allegorist, stands apart – aware that skimming the surface of life is neither sufficient nor rewarding. She reminds us of the value of deep, authentic listening.

The track Andean Condor seductively draws us into a smoky, blurred rhythmic soundscape, capturing the essence of the darkest Berlin nightclub, while Birth pulses with an almost shamanic transformation of sound, moving from the organic to the musical. It features a recording of Jordan’s footsteps in the snow in Grunewald Forest, Germany.

At times, the music feels almost sculptural in shape and tone – lifting, pushing, lilting, opening, and closing – where each piece is given room to fully develop. Many of the works blend synthetic sound with the natural, incorporating the human voice alongside environmental recordings: the wild waves of the ocean, a jet flying overhead, and barking dogs.

With From Birth Until Death, Jordan, like an alchemical architect revealing in the process of getting lost and relinquishing control, leaves us with a taut, immersive soundtrack in which to lose ourselves.

About the album ‘From Birth Until Death’
words by The Allegorist

“The album From Birth Until Death did not come easily to me. I started working on it in 2019, and it underwent many alterations over the years. I produced multiple versions of the tracks each year, but the album name, the track titles, and the album cover art stayed the same for 6 years. Not everything I did fit into the album’s final form, but I hope the heavy selection just made it better. I played this piece live in my techno live set between 2019 and 2020, and in the years after, I performed different art, ambient, and vocal versions of it, most notably the one at the church St. Marienkirche in Berlin in 2022. It just wanted to live and didn’t want to be finished. As I aged, this album aged with me. And now I’m ready to let it go.”

When they performed a handful of concerts as a duo in the summer of 1998, Kristen Noguès and John Surman had already worked a lot on the interweaving of genres: Noguès had confronted traditional Breton music with contemporary music and Surman had changed his jazz into atmospheric numbers that would be amongst the finest recording on the ECM label. As a duo, the harpist and the saxophonist would go on to invent something different: free folk, traditional ambient, modal ‘fest- noz’ … it is difficult to label, because the duo Noguès / Surman is one of a kind.

Diriaou, means “Thursday” in Breton. It is also the title of the first piece that Kristen Noguès and John Surman played together in 1991. Noguès learned the Breton language as a child, at the same time as the Celtic harp, – taking lessons with Denise Mégevand, who would go on to teach others, notably Alan Stivell. At the beginning of the 1970s, Noguès discovered Breton singing (soniou and gwerziou) At the beginning of the 1970s, she discovered the Breton song tradition (soniou and gwerziou) and became involved in Névénoé, a cooperative of traditional expression founded by Gérard Delahaye and Patrick Ewen. She recorded a single with the two musicians in 1974, then her first album, two years later.

Everyone who has listened to Kristen Noguès debut Marc’h Gouez, is now aware of her mysterious plucked strings. Her art, leaving Brittany, would go on to take in all landscapes and folklores, in the same as that of John Surman, conceived a little further north including vernacular jazz, international fusion with Chris McGregor or Miroslav Vitouš, and exploring more personal territory. Remember the Cornish landscapes in one of the best albums on the ECM label : Road To Saint Ives.

Kristen Noguès and John Surman thus shared an ‘extra-Celtic’ inspiration infused with free improvisation. On this recording, made in 1998 by Tanguy Le Doré at the Dre Ar Wenojenn festival, the duo uses original compositions which refer back to traditional songs (Maro Pontkalek, Le Scorff). The musicians then create fantastic impressions: Baz Valan, on which Noguès and Surman have a heavenly exchange; Kernow, on which the shared theme slowing disappears into the mist; Maro Pontkalek and Diriaou which move from the storm to the calm. Elsewhere, there is singing, first with Surman (Kleier) and then moving on to Noguès (Kerzhadenn and her signature song Berceuse). On a canvas of traditional music, the two musicians weave countless memorable landscapes.

Eine Band, die so laut spielte, dass ihre gesamte Fangemeinde taub wurde und nie wieder über sie sprach. Super Static Fever wurde 1993 im Vorort von San Jose, Kalifornien, gegründet und spielte in den kurzen zwei Jahren ihres Bestehens nur eine Handvoll Gigs, bei denen sie die Zuschauer mit einer Tinnitus verursachenden Wah-Wah-Wand aus Marshall-gestapelter Verzerrung bestraften. Ihr Sound war eine Mischung aus Melvins-esque Sludge, dem melodischen Crunch von Swervedriver und der Vorliebe von Black Flag für Lautstärke, wie man sie aus der Stereoanlage eines 1985er Ford Econoline hört. Unvollendete Bänder von zwei ohrenbetäubenden Sessions sind alles, was die folgenden 25 Jahre seit ihrer gleichgültigen Auflösung überlebt hat, gemischt von dem anspruchsvollen Steve Albini als einzige Bedingung der Band für die Wiederveröffentlichung. Die Verpackung riecht nach der computerverkrüppelten D.I.Y.-Ästhetik der 90er Jahre, mit VHS Unschärfe und undurchsichtigem weißem Raster auf Spanplatten. Eine Platte, die es gerade noch so gibt und wahrscheinlich auch nicht geben sollte.

Bone with Red Splatter Vinyl. New album from Field Medic, "surrender instead". surrender instead is everything a Field Medic fan could want and everything a Field Medic agnostic could need as a convincing sampler. The album returns to each checkpoint in Sullivan’s career thus far, documenting a twentysomething musician becoming a thirtysomething musician—an artist settling into what life exists just beyond the pale and oft-daunting demands of songcraft. This music does not adhere to one shape, and Sullivan is acutely aware of his own lore. He does not avoid well-trodden ground, but this is not the patchwork of old material that Floral Prince was near the dawn of this decade. These songs spawn from a never-finished nexus that hems the Field Medic universe together.

It’s very difficult to describe someone as prolific as Misha Panfilov. So, I feel the best way to define him is to think of a “Trivial Pursuit Playing Piece,” where each pie piece represents one of the bands he heads up, and each band has its own distinct style and genre. Yet, when looked at all together, create the whole musical persona of Misha. This is the lens I would like to view his latest endeavor, Days As Echoes.

The vibe on this sophomore release channels Krautrock philosophy and Library music, peppered with elements of jazz, Ethiopian, cinema, ambient and bits of everything between. This atmosphere is created from all the instruments Misha uses and the resulting compositions are heard as repetitive patterns that are forged from the multiple layering of melodies. Thus, creating six unique songs with emotional granularity, yet collectively encompass a genuinely positive “feel good” vibe…with a hint of nostalgia.

Moods of the day, moods like echoes say, A future of hope is yours, by following the Sun’s ray.

The opening track, “Days As Echoes,” is a dedication to a much simpler time when the sky was bluer and the snow was whiter…just like how you remember it when you were a child. A time when people honestly cared more about everything as a given, and not as a selfish accolade. A time when optimism seemed within reach. In other words, nostalgia marred by awareness.

…Leading to a path where the skies are not gray. Where dreams of castles in the air are the mainstay.

“In A Dream” has a style that pays homage to both spiritual jazz and ambient music. A simple theme is introduced and leads to the climax of this stormy dream, putting it all in perspective. That pivotal point when one realizes the truth by re-tracing the events, which led to the epiphany of how to find the answer while traveling within this airy soundscape.

…Diurnal or nocturnal, day or night, Traveling the path of truth must be done without fright.

One can’t help but feel a definite traveling vibe that comes from “Moonscape Waltz” To me, it has a dual-characteristic that can be visualized as a train trip, either at sunrise or sunset. Regardless, the time is not of major relevance, but the actual pursuit is. Lao Tzu said, “The journey of a thousand miles begins with that first step.” This track takes you beyond that initial step into this vast world toward your destination as you search for the truth.

…The unknown is real, but you know the deal. People need people to show which direction you point the wheel.

“Together” is the most peaceful and solo oriented compositions of this album. It shows how one cannot achieve happiness alone, but the importance of having someone special or a group of others to help along the way. Not only to help seek your goal, but also the ability to enjoy the scenery while on your journey

…The end of this tunnel has a light that’s so bright. Illuminating the trodden way, your destination, now in sight.

One is free from the chains of the unknown as you listen to a “Few Layers For Smith”, a dedication to a friend. A song that draws energy from the ECM works of Steve Reich, thats married with a primitive lo-fi basement setting. Its positive force breaks those encumbrances and gives you a glimpse of your prize. But you ruminate on this and come to the conclusion that the path that led you there is equally important as the goal itself. Question is, how do you share your realizations and experiences?

…The route was cast, the trials have passed. The glittering treasure you sought is yours now, at last.

“Ocean Song” meanders from the ritual rhythms of its shoreline to the crashing riptides of unbridled guitar feedback, creating this raging ocean atmosphere. However, its message is quite clear and states that people’s goals and experiences are not just meant for personal growth, but to be shared with
others, so that they too can live vicariously thru your story and somehow utilize it for their own.

…The prize has been won, but the journey is never done. You now have the responsibility to share everything under the Sun.

These six songs, each with its own sound, collectively comprise the vibe of this album. One cannot help but feel a sense of joy and fulfillment when listening to it. Each song has its own unique mood, yet together create an atmosphere of hope and happiness that has no choice but to spill out of the listener. I feel this was the ultimate goal of Misha’s on this record. Quite a challenge for the man who never sleeps, but is always searching for the perfect beat. One may not fully grasp his musical mind, but this album does give you a gateway into the moods and magic of Misha!

- Brent Sawicki

Bebedera takes the style of Tarraxo to a heightened awareness of its sexual nature. Tight, wicked layers of percussion, a suggestive ID ("Drinking is his life"), a slow pace that's not only perceptively slow, it sounds charged with intent, even malice, dissolution. Letting go of morality may be the big attraction in the music, permission to get down, this time in a heavy, conspicuous manner instead of a spiritual, breezy floatation. One has to recognize the impulse in ourselves. Once at peace with this rough nature, there are sublime grooves to follow, mind-boggling arrangements, a freedom from judgement in connecting with what may seem to be at first a very masculine take on dancefloor sensuality but which is in fact only human. Just with less filters.

In other ways, an aural combination of metal and flesh produces this notion of a cyborg, a very expressive physical body making its weight known to everybody around, a sort of walking fortress as in the "Moderan" group of sci-fi short stories. A glorious rattle of lata percussion, scraps from the junkyard. A sense of unease, even slight danger starts a flow of adrenalin. According to DJ Marfox, it's not the only thing flowing, there's also a strong desire for intercourse when a Bebedera tarraxo is playing. His very distinctive style has been a cult favourite for years. Accordingly, it took years to make contact, to reach an agreement, and the result is a set of classics that stretch as far back as 2014. Still the same punch, still the feeling no one has really stepped into this territory with such force.

Flipping the construct on its head, there's two Bebedera house tracks, we'd say almost an oddity, an abrupt change from the previous density of atmosphere, though they retain all the percussive bounce. Sensual, sure, a different tempo also letting through a romantic disposition other than the sheer physical attraction. One of the titles sums up the aesthetical power at play: "I Will Beat The Top High". As in reaching further out, further up. Wanting to. Time freezes - 2014 and 2016 (production years of these two tracks), fold up and melt into the Present. Where it matters.

"The nineteenth entry in the Altered Circuits catalog comes courtesy of Alex Neri with a selection of 4 tracks that distill an equal amount of decades in the studio. They are undeniably straightforward yet difficult to pigeonhole. It is clear Neri is aware of current trends and, at times, might even throw them a little nod - but overall, his music escapes easy temporal classification. On the "Club Voyage EP", he aims at the brash and brazen yet keeps the pace lighthearted. When the results come buttressed with the type of technical prowess at hand, it is hard not to get sucked into the adventure. "Teller Mood", charged with a fierce bassline, boisterous drums and jittery arps, is a slab of electroshock production. The track comes complete with extra motivational vocals to drive the point home, and when it arrives at its most stripped parts, instead of toning down, an alarm-like lead emerges. "Schelter's Sounds" features an FM bass and gently modulated, slow-attack synth embellishments. It is a set-up that allows for catching a breath until a grandiosely introduced portamento-heavy patch cranks things up a notch again. On the other side, the delayed and flanged percussion of "Tenax Roots" forms the ideal conditions for ominous synth work and robotized vocals; a theme that could have been lifted from a giallo flick completes its suspenseful, hypnotic ambience. "Move Tokyo Inputs" starts with another salvo of invigorating percussion. Amidst subtly evolving formant basslines and several risers, the tune directs a tweaked deadpan vocal sample to take center stage, showcasing how, in the right hands, the sparsest source material can be turned into a showstopper."

Congratulations, Electro connoisseur! You are about to enter the Electrifying Dojo. A place where Sifu pdqb and Sensei Rolando teach a transcendental, one-of-a-kind neo-futuristic martial art that does not use hands but something far more delicate and powerful: MUSIC.

Blending martial discipline with the art of electronic music is something deeper, something that no words can properly describe. The skills you will be taught here are feeling music, embodying it. pdqb and Rolando believe that true harmony comes when the mind, body, and soul are united in the sounds that vibrate through the air.

The sounds of this first lesson are soft at first, almost imperceptible. But then they grow into a delicate, trembling melody that fills the room with an emotion that is difficult to place. It isn’t sadness, nor is it joy, but something in between. The more you listen, the more you will be aware of something strange: tears will fall gently, silently. They are not forced, nor are they out of sorrow - it is simply because the music feels so beautiful. Your deepest emotions will be triggered, every note will carry out an old truth, a secret truth, buried deep in your heart.

Another quality drop from Synaptic Cliffs. 4 dark and beautiful signature-style Electrocognition journeys from pdqb, playful with a modern twist while still remaining loyal to its roots. And on the flipside: two stunning, classic Rolando remixes, each with the potential to be the crowning moment in the club.

Arkeo is my most eclectic and techno-driven album to date—a fusion of my love for subterranean aesthetics and my deeply-rooted connection to Detroit’s underground music scene.

While always keeping the dance floor in mind, this album also reflects something more personal: my spiritual journey and how it applies to my daily life.

Arkeo represents the awareness that I have weaknesses, but rather than seeing them as limitations, I view them as opportunities for God's power to work through me. It’s a reminder that my dependence on Him allows me to walk more fully into the abundant life I’m meant to live.

Jesus said, “My grace is sufficient for you, for my power is made perfect in weakness.” — 2 Corinthians 12:9

As you listen, my hope is that you don’t just hear the music, but that you feel a connection to something deeper.

"Wind, Again" is Sary Moussa’s fourth studio album and second album on Other People. Based between France and Lebanon, Moussa returns with a riveting electro-acoustic album informed by his ever-changing relationships to space, listening, and resonance as well as his growing interest in the study of harmonics in electronic and electro-acoustic music.

Years in the making, “Wind, Again” approaches distinct musical worlds and languages by bringing together improvisations by musicians performing on Western and West Asian instruments such as the Hammond organ, clarinet, saz, and buzuk with electronic arrangements and textures. Rather than force a rapprochement of these musical worlds through the instruments, and keenly aware of the weighty sonic histories they carry, Moussa proposes another way through which they can exist together in contemporary electronic composition.

Composed of six tracks, each of which demonstrate an array of recording and processing techniques, the album generates moments of tension produced by the synthesis of textural, tonal, and harmonic encounters that Moussa calls “shadows”, which outline an impressionistic musical language, existing at the edge of familiarity. Such moments permeate tracks like “Everywhere at once” and “Violence” that open with the Hammond organ and the saz respectively and slowly reveal an expansive field of sounds that showcases each of the musicians’ characteristic performances and Moussa’s densely layered textures. It is a latent yet unrelenting tension through which the composer invokes rather than represents a collective experiential state, especially familiar to those who know his environment. In “Wind, Again” these shadows are articulations of sounds steeped in traditions they are never quite tethered to. Such articulations are implied and alluded to, they play within a musical reference without the latter explicitly existing in the recording, always teetering, never completely here nor there.
Sonically and musically, the album is fueled by the cultural, social, and personal realities that Moussa was brought up and lives in.

Both personal and musical ties with the musicians who feature on the album is central to Moussa’s practice. In the title track “I will never write a song about you”, musician Julia Sabra opens with rolled piano chords, followed by Paed Conca on clarinet and Abed Kobeissy on buzuk, before Moussa’s electronic processing pieces together, lifts, and sustains the melodic direction of the track that emerged from the musicians’ separate improvisations. For Moussa: “The initial connection between the three performances was made on a track that no longer existed, the original recording was both an obstacle and necessary step for the track we hear on the record. It’s as if we were all telling different stories and I pulled on the thread that held them together”. The track, and more generally the record, is tinged with a melancholy of things lost, though it never fully succumbs to it.
“Everything inside a circle”, Moussa’s most personal track and for which he provides the only vocals on the record, harkens back to a childhood memory of listening to music with his mother in a car: “There was a sound I was looking for — a memory of a sound and how I first heard it. This track is a hybrid of that memory and what I wanted to make of it”. The track relies heavily on generativesystems and perhaps embodies most the ambiguous quality of the record’s music in its refusal to be pinned down by one musical tradition or another.
“Wind, Again” is both familiar and alien, cold and warm; it pays homage to the mechanics, materials, and tactility of the instruments and converges acoustic and synthetic spaces. What anchors the sound of the album are the elements of a whole that cannot find its own idiosyncrasy and that is precisely why Moussa’s album is a tour de force.

Eighteen Berlin-schoolish Synthwave tracks published under pdqb's moniker Aipd Q41/B47. Carefully prompted and edited many moons ago with an AI model that is already outdated.
To become aware of transience in our fast-paced world, the album is not available digitally or via streaming. It exists only on tape. A relic on a relic! It's as if reading this text on the paper of an extinct tree.

To remind the listener of their own transience, the tape's appearance is mirror-like silver; one can see their reflection in it, look at themselves, and with the next glance, the previous one is gone.

Salt N Pepper Vinyl. New pressing of Mom Jeans. 2018 album, Puppy Love. The Berkeley, CA quartet is lauded for stream-of-consciousness lyrics and energetic performances that prompt audiences to shred their worries and simply bounce along. By trading the sappy for heartfelt and the melodramic for truthful, Mom Jeans have created a brand of emo that's self-aware but not self-indulgent. 2018's Puppy Love follows up 2016's Best Buds and oers up more of that sweet noise that fans of bands like Modern Baseball and The Front Bottoms, will love. Recorded by Ryan Ellery. Mastered by James Trevascus.

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

In Emptyverse, Biemsix crafts a sonic exploration through the infinite expanse of emptiness - a state where all meaning is stripped away, leaving only the raw potential for reinvention. The release captures the fragile yet powerful moment of self-discovery, as awareness emerges from the void. Each track embodies the tension between nothingness and creation, drawing listeners into a space where they can confront and redefine their own transformations. Both a mirror and a map, the record leads listeners through the profound depths of self-discovery. For Biemsix, this collection serves as a personal odyssey, reflecting an emotional state where emptiness is not an end but a canvas for creation and growth. ''What lies beyond meaning?'' w/p: Marco Bianchino remix contribution by: Felix Benedikt Contains insert with D/L Code and bonus track. design: Janu Krohm mastering: Giuseppe Tillieci a.k.a. Neel @ Enisslab, Rome distributed by: Clone